“With their crisp melodies, biting lyrics, and driving guitars, the UK’s Buzzcocks were one of most influential bands to emerge in the initial wave of punk rock,” AllMusic reports. “Buzzcocks were inspired by the Sex Pistols‘ energy, but they didn’t copy the Pistols‘ angry political stance. Instead, they brought that intense, brilliant energy to the three-minute pop song.”
Buzzcocks’ album Another Music In A Different Kitchen (1977) featured the single “I Don’t Mind,” which reached #55 on the UK Singles charts. The tune features a bridge at 1:16 — unusual for the punk genre. But at the end of the bridge, another rarity arrives: a half-step modulation (1:50), making this 2:20 track quite unusual within its genre.
Many thanks to Rob Penttinen for this contribution!
The Who, already very well-established in 1973, indulged in an ambitious adventure: the rock opera Quadrophenia. The soundtrack spanned a full double album. AllMusic reports that the plot was “built around the story of a young mod’s struggle to come of age in the mid-’60s…re-examining the roots of (the band’s) own birth in mod culture. In the end, there may have been too much weight, as Pete Townshend tried to combine the story of a mixed-up mod named Jimmy with the examination of a four-way split personality (hence the title), in turn meant to reflect the four conflicting personas at work within the Who itself.”
“Joker James” begins in D major, loses a bit of steam as it transitions to the bridge at 1:46, and then returns with renewed energy as it modulates to E major at 2:02.
Many thanks to MotD fan Aaron for submitting this tune!
San Francisco-based folk duo Brewer + Shipley scored a top 10 hit in 1971 with “One Toke Over the Line.” Their website details that “while the record buying public was casting its vote of approval by buying the single, the (soon to be disgraced) Vice President of the United States, Spiro Agnew, labeled (us) as subversives, and then strong-armed the FCC to ban ‘One Toke’ from the airwaves just as it was peaking on the charts.” The band was even added to Richard Nixon’s notorious Enemies List!
Songfacts.com reports that “some radio stations refused to play this song because of the drug references, but not everyone got this meaning. In 1971 the song was performed on the Lawrence Welk Show by the wholesome-looking couple Gail Farrell and Dick Dale, who clearly had NO clue what a toke was. Welk, at the conclusion of the performance of the song, remarked, without any hint of humor, ‘there you’ve heard a modern spiritual by Gail and Dale.'”
The original tune has no modulation, but the Welk crew’s cover, which broke the earnestness meter from its first few bars, added a half-step upward key change at 1:36. The AV Club adds that “Welk’s big band had been carefully pulled together over his years touring and on the radio, and it was filled with the sorts of nice, Midwestern boys like Welk himself (a North Dakota native). The primary goal of the program was to make sure the music never stopped playing, and that it never got to be too much for the show’s predominantly older audience. And that audience was loyal, sticking with the program as it moved from a locally based Los Angeles show to a national one to one that ran in first-run syndication. Welk had a program on the air somewhere in the country from 1951 to 1982, a staggeringly long run that no other musical variety program can really touch. And he did it all without catering to changing whims or fashions, outside of the occasional badly misjudged musical number, such as …”
A submission from MotD fan Kent: “Perhaps my favorite ballad of the 1970s, Frankie Valli’s ‘My Eyes Adored You’ (1974) starts out in A major (after an intro that keeps you guessing which key it’s going to land in).” Written by Bob Crewe and Kenny Nolan, it reached #1 on the Billboard Hot 100 and #2 on the Easy Listening chart, and was ranked by Billboard overall as the #5 song of that year.
The path to each of the modulations is cleared by a V/IV compound chord in the new key, announced by a syncopated kick not found anywhere else in the arrangement. The first one hits at 0:39 at the end of the first chorus; oddly, the tune doesn’t start with a verse. But although that initial kick features the V/IV chord, it’s just a warmup: there’s no modulation. At 1:33, the first half-step modulation hits with the same syncopated kick, followed by more at 2:29 and 2:52.
From stalwart MotD fan Carlo Migliaccio: “I was listening to Earth Wind and Fire, when I remembered that ‘Boogie Wonderland’ modulates briefly to the relative major, twice: once at 1:38 and again at 3:38.”
The 1979 single, the caboose-that-could at the end of Disco’s multi-year train, achieved a #14 ranking on the Dance chart, #6 on the Billboard Hot 100, and #2 on the Hot Soul Singles chart. It also garnered Grammy nominations for Best R&B Instrumental Performance and Best Disco Recording.
According to AllMusic.com, “One of the few records that paired two full-fledged groups successfully, the combination of EWF and the Emotions worked wonders here and it remains a classic of the period. A virtual call to arms of the disco scene, the lyrics relate the power of the extinct musical form, and although loaded with clichés, it still retains a certain period charm. The fantasy life of disco patrons is celebrated here, and in this way, it was a sort of theme song to the Studio 54 crowd. Musically, it’s a straight four-on-the-floor rhythm with a funk melody, and despite its simplicity — or because of it — it was a huge and accessible record that is still played regularly on oldies R&B radio.”
In its first iteration with Peter Gabriel on vocals, UK prog rock pioneers Genesis released the 1972 album Foxtrot. The album showed the group hitting its stride, including the 20+ minute long prog classic “Supper’s Ready.”
From AllMusic.com’s review: “Foxtrot is where Genesis began to pull all of its varied inspirations into a cohesive sound — which doesn’t necessarily mean that the album is streamlined, for this is a group that always was grandiose even when they were cohesive, or even when they rocked, which they truly do for the first time here…This is the rare art-rock album that excels at both the art and the rock, and it’s a pinnacle of the genre (and decade) because of it.”
“Can-Utility and the Coastliners” might as well be titled “Don’t Get Too Comfortable” … harmonically, at least. The track was primarily written by the band’s guitarist, Steve Hackett, whose site explains that the tune is “based on the legend of King Canute, who supposedly ordered the seas to retreat to mock the sycophancy of his followers.” It centers around D until 3:59; around F# at 3:59; and C from 4:56 to the end. Within each key center, the “tonic” chord can be heard as major, minor, compound … they’re all in the mix. In addition, short excursions away from those respective key centers abound, often accompanied by quick shifts and fillips in the meter. There are no epic modulations, but as this track respects no cliches whatsoever, it will keep listeners on their toes from start to finish. Thanks to MotD regular JB for this contribution!
“You Make Me Feel Brand New,” an R&B/Philly Soul ballad released by The Stylistics in 1974, reached the #2 position on the both the US and UK pop charts, but was kept from the #1 position in the US by the omnipresent bubblegum pop tune “Billy, Don’t Be a Hero.” However, the track achieved top 10 positions from Australia to Canada to South Africa.
Written by Thom Bell and Linda Creed, the tune has been covered by Babyface, Simply Red, Boyz 2 Men, Roberta Flack, Ronnie Milsap, and Rod Stewart/Mary J. Blige (as a duo), and more.
The intro starts in A major, transitioning to E major at the verse at 0:32, G major at 1:06, and C major-ish at 1:58 for the chorus. The cycle repeats for the second verse and chorus. Many thanks to Mark Shilansky for this submission!
AllMusic notes that “Steel Pulse are one of Britain’s greatest reggae bands. Generally a politically minded Rastafarian outfit, it started out playing authentic roots reggae with touches of jazz and Latin music and earned a substantial audience among U.K. punks as well as reggae loyalists.”
From AllMusic’s review of “Ravers” (1978): “…for all its debt to the Jamaican dancehalls, the Birmingham bandmembers don’t so much emulate the current island craze as bend it to their own will…set(ting) the stage with (a) flurried tattoo of militant beats and percussion…only partially soften(ed) with a pulsing bassline. One of the many highlights of Steel Pulse‘s True Democracy album.”
A brief bridge from 2:20 – 2:32 shifts the key from G major to Bb major. As the verses continue to the end, the percussion becomes increasingly free, adding unexpected kicks and tumbling triplets over the otherwise classic reggae feel.
Many thanks to regular contributor JB for submitting this track!
In the late 1970’s, Robert I. Rubinsky (conceiver/lyricist) and Marc Shaiman (composer) wrote a musical called DEMENTOS that looked compassionately at the NYC street scene, the homeless, and the marginalized. The finale was a song called “God Save The City.”
Video designer Eric Marciano has created this moving video accompanying Jenifer Lewis’ striking vocal, with background vocals by Capathia Jenkins, Shayna Steele, Jason Paige, and Billy Porter, from a live recording of an AIDS benefit in NYC in 1995. Now, it’s a message of gratitude to those on the front lines of the COVID-19 pandemic, the tireless workers around the world doing their best to help us through. Key changes at 2:02 and 2:18.
“Dark Lady” was a 1974 #1 hit for singer/actress Cher in the US, Canada, and Sweden; the track also reached the top 20 throughout much of the rest of Europe, New Zealand, and Africa, according to About.com. The title track from her eleventh studio album, it was her third US #1 hit; she didn’t top the pop chart again until her worldwide smash hit “Believe,” nearly a quarter century later (1998). The album was released just as her divorce from Sonny Bono became public.
The tune features quite a repetitive melody in the verses — but Cher’s storytelling flair, a varying phrase length (5/6/5/6 measures in each verse, with an extra instrumental measure thrown in just before the chorus), and a half-step modulation (2:01) win the day. Many thanks to our Twitter follower Yellow Walrus (@biggytupac) for this submission!
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