Tag: 1970s

Neil Sedaka | Laughter In the Rain

Neil Sedaka‘s 1975 release, “Laughter in the Rain,” is well under three minutes long — but it packs in plenty of harmonic complexity. Sedaka had a long career as a Brill Building-based songwriter (including composing “Where the Boys Are” for Connie Francis) but also found his own success as a performer.

The F major of the intro and verse transitions to Ab major at the chorus (0:36) and then back to F major for the next verse (0:57), etc. The track hit #1 in the US and Canada — and #2 in Yugoslavia!

David Bowie | Young Americans

David Bowie‘s 1975 album, Young Americans, featured a title track which played up Bowie’s love for soul and R&B — a departure from his previous glam-rock style. R&B/soul vocalist Luther Vandross contributed backup vocals to the track. Self-deprecating as usual, Bowie described the album as “plastic soul…the squashed remains of ethnic music as it survives in the age of Muzak rock, written and sung by a white limey.” Modulation at 2:39.

Tower of Power | So Very Hard to Go

Tower of Power‘s biggest US hit wasn’t one of the powerhouse uptempo funk tracks for which the band is famous. Instead, it was a ballad, “So Very Hard to Go,” which reached #17 on the pop charts in 1973. The verse and pre-chorus are in Bb major, but a modulation to G major hits at the chorus, reverting back to Bb major for the second verse, and so on.

Dolly Parton | Here You Come Again

Dolly Parton‘s biggest crossover pop/country hit of the 70s was likely this 1977 release, “Here You Come Again.” Written by NYC-based megahit composer team Barry Mann & Cynthia Weil, the tune peaked at #1 on the US Billboard Hot Country Singles chart and #3 on the US Billboard Hot 100 chart. Modulations are everywhere, hitting at nearly every verse/chorus intersection.

Willie Nelson + Waylon Jennings | Mamas, Don’t Let Your Babies Grow Up to Be Cowboys

Chalk up another mod for MotD regular Rob Penttinen: Although it was first written and recorded in the 1950s, the signature version of the Country classic “Mama, Don’t Let Your Babies Grow Up to Be Cowboys” was performed by Willie Nelson and Waylon Jennings for their 1978 album “Waylon and Willie.” The tune reached #1 on the US Country charts and crossed over to the US Pop chart as well, peaking at #42. This live version, recorded at Nelson’s own charity event Farm Aid in 1986, modulates up a whole step at 1:10.

Queen | We Are the Champions

This epic modulation stared me in the face for decades before being noticed. Queen’s “We Are the Champions” (1977) features verses which start in C minor, shifts into Eb major for the pre-chorus (first at 0:23), then transitions to F major for the choruses (first at 0:39). Commenting on the tune (among Queen‘s most successful singles of all time), the band’s guitarist Brian May said “We wanted to get the crowds waving and singing. It’s very unifying and positive.”

Captain + Tennille | Love Will Keep Us Together

Originally co-written by hitmaker Neil Sedaka, who released the tune only in France, ”Love Will Keep Us Together“ hit #1 in the US, Canada, and Australia when covered in 1975 by American duo Captain and Tennille. Backed by members of the famed group of session musicians The Wrecking Crew, the tune features a huge upward half-step key change as the outro starts at 2:55. Daryl Dragon, half of the duo (who were married for many years), passed away this week at the age of 76.

Elvis Costello | Accidents Will Happen

Elvis Costello‘s 1979 release, “Accidents Will Happen,” modulates back and forth between D major on the verses and D minor on the choruses; the first of these shifts hits at 0:19. Starting at 2:10, the outro of this compact tune accelerates the pattern by shifting between the two keys every two measures!

Donna Summer | MacArthur Park

Donna Summer’s 1977 dance epic ”MacArthur Park” likely represented Peak Disco. Summer’s unmistakeable vocal style is accompanied by full orchestra, harp, and plenty of synths (all part of producer Giorgio Moroder’s signature sound). There are several key changes, the first appearing at 0:26 as a Baroque-inspired string intro transitions into pop ballad, preceding a shift to straight-ahead disco. If you need more, there’s also a 17-minute “suite” version. 😉

Orleans | Love Takes Time

Orleans scored a bubbly Top 40 and adult contemporary hit with “Love Takes Time” (1979). “When ‘Love Takes Time’ peaked at #11, right above it was England Dan and John Ford Coley’s ‘Love is the Answer’ at #10, ‘Stumblin’ In’ by Suzi Quatro and Chris Norman at #9, and ‘Just When I Needed You Most’ by Randy Vanwarmer at #8.

That whole sound, known as yacht rock today, blended well together — offsetting the disco hits in the top seven positions during that genre’s peak.” (Goldmine).

Orleans’ trademark multi-vocalist firepower is in evidence throughout the track. Several of the tune’s verses and choruses, as well the bridge, come and go before the modulation finally arrives at 3:01.