Tag: 1980s

Fee Waybill | I Don’t Even Know Your Name

“Read My Lips was the debut album of The Tubes’ lead singer and main songwriter, Fee Waybill,” (FozFan). “Released in 1984, Read My Lips was produced by David Foster and sounded like a textbook for the most refined AOR (Adult Oriented Rock). Foster brought his usual dream team to work on the record including famed engineer Humberto Gatica and hot session aces including Jerry Marotta, John Robinson and the late Jeff Porcaro (1954 – 1992) on drums, Larry Klein on bass, with Steve Lukather and Michael Landau playing guitars.

Lukather, the legendary Toto axe-man, played a big role on Read My Lips by co-writing the bulk of the album with Waybill and Foster. Already responsible for The Tubes’ one-two chart punch of ‘Talk to Ya Later’ and ‘She’s a Beauty,’ the trio of writers came up with a series of solid rock numbers that were channeled through the Hitman’s trademark high-tech atmospheres and showcased various funk and pop influences … the album’s power ballad, ‘I Don’t Even Know Your Name (Passion Play)’, another Foster/Waybill/Lukather co-write, was a killer rock ballad in a catchy style not too far from Lukather’s own legendary band Toto … The veteran singer probably doesn’t have as distinctive a voice as other rock stars, but his passion and strength make up for it … (it’s) easy to understand the chart potential of Read My Lips. All its musical qualities and radio-friendly appeal were killed by Capitol Records’ inexplicable decision to give the album zero support at a time when Foster ruled the North American charts.”

“I Don’t Even Know Your Name” begins in Eb; 0:50 brings a shift upwards to F major for the second section of the pre-chorus. The tune’s power ballad creds start to show as the chorus grows from 1:00 in Db major. At 1:29, Verse 2 begins, again returning to Eb. A bridge in B major begins at 2:44; at 3:18, the chorus returns, this time in E major, repeating into the faded ending.

Nik Kershaw | What the Papers Say

“After releasing two albums in the space of barely six months, Kershaw took his time over the third,” (Moving the River). “He settled in to North London’s Swanyard Studios for most of 1986 to work on the self-produced Radio Musicola (1986), employing the cream of the English session scene (The Kick Horns, Charlie Morgan, Mark Brzezicki, Wix, Andy Richards, Simon Phillips, etc). Yes, Musicola was Kershaw’s chance to take on the Trevor Horns of this world and deliver a big-budget, endlessly-fussed-over studio ‘project’… Perhaps unsurprisingly, given his meteoric rise to fame, the main themes of the album are press intrusion and tabloid sensationalism.

… An interesting album which clearly fell between the stools of art and commerce, Radio Musicola reached a barely believable #46 in the UK album chart, just over a year after Kershaw had played Live Aid. It disappeared without trace in the US … 18 months is a long time to leave between albums when you’re hot, though Kershaw didn’t seem bothered about his new ‘selective’ popularity; in fact, he seemed genuinely relieved, but wondered how MCA were going to sell him now that he was focused on being a musician rather than a pop star.”

“What the Papers Say” begins with an intro in A minor, followed by an unprepared jump to F# minor at 0:15 and a shift to Bb major at 0:30. But as the chorus begins at 0:45, despite the percolating tonality shifts, the return to A minor somehow still (sort of) feels like home. The unsettled pattern continues throughout, all the way to the off-kilter, unresolved ending — entirely appropriate for the tone of Kershaw’s lyrics:

I saw it on the newsstand, it shouted at me!
It said, “We are all good and they are all bad”
Well drive me to the clinic ’cause it’s driving me mad

Michael Bolton | How Can We Be Lovers

“Released in 1989, Soul Provider, Michael Bolton’s sixth studio album firmly established him as a powerhouse in the adult contemporary and pop-rock genres,” (Subjective Sounds). “Known for his raspy yet soulful voice, Bolton delivers a collection of songs that balances power ballads with upbeat tracks, showcasing his vocal prowess and passionate delivery.”

“Michael Bolton is no fool, and when he broke through to platinum sales with The Hunger, nobody had to tell him to record a follow-up devoted to more of the same,” (AllMusic). “Bolton produced most of the record himself, and he teamed with the cream of the era’s romantic rock ballad writers, people like Diane Warren (who gets five co-credits here) and Desmond Child … the result was five Top 40 hits and millions of albums sold … ” Songwriting for “How Can We Be Lovers” was a group effort among Bolton, Warren, and Child.

Starting with a C minor chorus upfront, Bolton’s vocal intensity is turned up to 11 right off the bat. The tune then shifts to A minor for the beginning of verse 1 (0:35), but at 0:42, the initial chorus phrase repeats in C minor. 0:47 brings a shift to C major for the pre-chorus, leading us back to the C minor chorus at 0:57. Later, 2:01 marks the beginning of the obligatory guitar solo during the instrumental section of the bridge, which features a key change of its very own. As Bolton’s vocals return at 2:20, the backing vocals fight for superiority via a catchy sing-along countermelody. At 2:38, we step up to D minor, prepared only by a terminally processed single-beat synth solo. Throughout, viewers’ gears will likely be completely stripped by footage of Bolton’s day-glo band alternating with black and white scenes of Bolton being So Very Earnest. In other words: pure, unapologetic, bombastic ’90s.

Scritti Politti | Bam Salute

“… to these ears, Provision (1988) is an almost-perfect follow-up to the classic Cupid & Psyche ’85,” (MovingTheRiver). “There’s arguably more cohesion – (vocalist Green) Gartside and keyboard-playing cohort David Gamson co-wrote and co-produced all tracks (no Arif Mardin this time) and the guest spots from Miles Davis, Roger Troutman and Marcus Miller are expertly placed.

‘Sweetness’ is the word that seems to follows Scritti around. And despite containing two classic ballads (‘Overnite’, ‘Oh Patti’), Provision is unashamedly happy music – all the songs are in major keys … And is there a Grammy award for arrangement? If so, Provision should have won. Gamson and Green do some intricate things here with backing vocals (check out ‘Bam Salute’), rhythm guitars and synth syncopation. No-one else has really explored similar areas, including the greats of ’80s R&B. No wonder Miles was a bit obsessed with Scritti.

Provision missed the top 100 in the States but made the top 10 in the UK (selling over 100,000 copies) and produced one top 20 hit in ‘Oh Patti’. Writer Nick Coleman gave the album a 9/10 rave in the NME, calling its songs ‘sweeties to rot your teeth and detonate your heart.'”

Starting in C major for the verse, “Bam Salute” both tumbles and climbs(!) into its D major chorus at 0:54. At 1:17, the next verse returns us to the original key. The pattern continues from there. Throughout the track, the solid reggae-inspired groove fights for top billing with polished synths effervescing with syncopated kicks.

Luther Vandross + Cheryl Lynn | If This World Were Mine

“Luther Vandross is R&B music’s tragic hero – a soulful soloist who was most popular while singing backup for rockers, a strict disciplinarian who could control everything except his weight, a hopeless romantic who died alone, miserable, and far too young,” (The Guardian). “It’s a sad story revisited in a (2025) documentary … Directed by the biographical film-maker Dawn Porter, produced by Jamie Foxx and arranged by Robert Glasper, the 160-minute film is a stark reminder of the aversions and prejudices that stalled Vandross’s breakthrough and ultimately broke him.

Stardom should have happened so much earlier for Vandross, who really did have it all: songwriting chops, producing knack, and a velveteen vocal clarity and dexterity to rival Whitney Houston. But record execs refused to see past his dark skin and overweight physique. The stigma had Vandross at once determined to succeed and self-conscious about stepping into the spotlight … Decades on, Vandross endures as a timeless crooner whose vulnerability and sincerity set the standard for male R&B vocalists, practically an endangered species now. In the documentary, Vandross gets due credit for his role in breaking the color barrier in the music industry – where, ultimately, he made truer classifications for himself: adult contemporary, quiet storm.”

“‘If This World Were Mine’ was a hit single recorded by Vandross and Lynn for her album Instant Love,” (ThisIsRnB).) “The song peaked at No. 4 on the Billboard Hot R&B Singles chart in 1982. The song was a remake of the original 1967 version recorded by Marvin Gaye and Tammi Terrell from their album United. The original, written solely by Gaye … (it peaked) at #68 on the Billboard Pop chart and #27 on the Billboard R&B singles chart.”

Starting in a slightly detuned D major, the ballad is a worthy vocal showcase for both Vandross and Lynn, who at first alternate leisurely verses. At 2:05, the intensity builds with a bridge, followed by a trap door of a key change to E major at 2:43.

Bloodstone | We Go a Long Way Back

“Bloodstone’s history goes back to 1962 when a group of Kansas City teens formed the Sinceres who later became the Soulful Emeralds before settling on Bloodstone,” (SoulandJazzandFunk). “The core lineup was Charles Love on guitar, Melvin Webb on drums, Roger Durham on percussion, McCormick on bass/vocals, Harry Williams on percussion, and Willis Draffen on guitar. Working in and around Los Angeles they became known for their ability to blend soul/funk with doo-wop harmonies and rock guitar.

Their best known song was 1972’s ‘Natural High’ – a sweet ballad that became a top 10 hit. The song was recorded under the auspices of famed UK blues producer/musician Mike Vernon. The band’s other hits included ‘Never Let You Go’, ‘Outside Woman’ and ‘My Little Lady.’ In the 80s, Bloodstone enjoyed success with songs like ‘We Go a Long Way Back’ and ‘Go On and Cry’. The ever-lovely ‘Natural High’ enjoyed further success after being featured on the soundtrack to Quentin Tarantino’s 1997 movie, Jackie Brown.“

The R+B ballad “We Go a Long Way Back” (1982) features a super-late half-step key change (4:04), but it could hardly be more dramatic. The lead vocalist belts a super-charged note through the key change which gradually adjusts upwards to the new key, but is quite … piquant(?) … in the process. The new key is fully in effect at 4:09.

“

Clannad (feat. Bono) | In a Lifetime

In the mid-1980s, “Clannad, a family output from Donegal … were best known for the startling ‘Theme From Harry’s Game,’ recorded almost entirely in the Irish language itself,” (FarOutMagazine). “Their horizons were widening, and they felt confident enough in their abilities to work with a singer of Bono’s calibre by the time they recorded ‘In a Lifetime’ (1986). They were a family unit, no hollow metaphor, but a signifier of their place as a family of artists … They were a lo-fi pastoral band from the north of Ireland who were determined to bring the mysteries of life into the forefront, by channelling the songs and tapestries of their forefathers.” By contrast, Bono (lead vocalist of the band U2) “came a world away from that, having grown up in Dublin on a diet of The Sex Pistols, The Clash and The Who.

Paul Hewson was nicknamed ‘Bono’ on account of his strong vocal prowess, and he was adept at trying out new styles of singing … ‘He just walked in the studio and improvised his vocal in two takes, making up a lot of lyrics on the spot,’ Clannad singer Maire Brennan remembered. ‘The whole thing took about 10 minutes. It was one of the most remarkable things I’ve ever seen in a studio,’ … Bono showed that he could work outside of the U2 bandwidth to create compelling vocal demonstrations. His voice melds nicely with Brennan’s, and the two vocals slide in and out of the work to create a more impressive vocal choreography,” In the video, “tellingly, the two vocalists have their backs turned against each other, guided by the power of their partner’s timbre.” Brennan’s death at age 73, after several years of fighting lung disease, was announced today (The Guardian).

After an initial intro of a cappella chant, “In a Lifetime” begins in earnest at the 0:22 point with a more structured intro. Brennan’s vocal is in A minor; Bono’s first feature shifts to D minor starting at the 1:00 mark. The two keys alternate from there.

Devo | Girl U Want

(In 1980), American art-rock band Devo released their breakthrough record, Freedom of Choice,” (Variety). “The album not only spawned the new wave smash ‘Whip It,’ but the full-length still stands the test of time, with singles such as ‘Girl U Want’ and especially the title track, still resonating today with fans … “

Devo member Gerald Casale: “‘Whip It’ was a fluke. Warner Brothers put all their chips on the first single, ‘Girl U Want.’ They released that first, and it just stiffed. Then suddenly this guy named Kal Rudman [the founder of Friday Morning Quarterback, a noted radio trade publication that covered the radio and broadcast industry] — he was a regional programmer, he had a tip sheet, and this was a guy who had ears — he actually listened to the albums people sent him. And on his own, he decided that he loved “Whip It” and started playing it. Warner Bros. wasn’t sending him money to play it; he just loved it. And it took off down south first, then quickly spread up the east coast and by the time it hit New York, it was over. We had to recalibrate our whole tour that year, and we suddenly were no longer playing 400-seat clubs; instead, we were playing 2000-5000 seat venues.'”

During the verses of “Girl U Want,” the melody is in an ambiguous, colorless key of “E” (outlined by the persistently spiky flatted seventh in the melody co-existing with the prominent natural seventh in the accompaniment). 1:16 brings a shift to a more settled C major for the bridge. The pattern continues from 1:26 — until the unresolved ending suddenly drops off a cliff.

Eurythmics | There Must Be An Angel

“Released in June 1985, ‘There Must Be An Angel’ it became Eurythmics’ only UK #1 single — a jubilant, gospel-infused track that remains one of their most celebrated works,” (Ultimate Eurythmics). “Written by Dave Stewart and Annie Lennox, the song is a euphoric blend of soul, pop, and gospel, with Annie’s vocal soaring above a rich arrangement. But what truly elevates the track is the harmonica solo, performed by none other than Stevie Wonder … The single was the second release from the Be Yourself Tonight album, following the punchy ‘Would I Lie to You?’

… The lush orchestration, gospel choir, and Stevie’s harmonica all contribute to a sound that feels transcendent … Annie has described the song as ‘pure joy,’ a deliberate contrast to some of the darker, more introspective material in Eurythmics’ catalogue. Dave Stewart once recalled that when they were working on the track, Annie said, ‘This could be great for Stevie Wonder,’ and the idea of bringing him in added to the song’s sense of wonder and spontaneity.

The 1985 track is built primarily in C major, but from 2:34 – 3:08, the bridge shifts to Bb major, bringing a temporary change in the groove as well. An instrumental verse follows the bridge (including the harmonica feature).

Oli Howe | Livin’ On a Prayer

“After releasing his debut album Moving Forward in 2020, Brighton UK based pianist/producer Oli Howe has been establishing himself a leading force amongst the dynamic UK jazz scene … In 2022/23, Oli released a six-track EP Hackney Daze … which amassed over 2.8 million streams on Spotify alone in just six months (artist website).

… Oli has shared stages with the likes of Yoland Brown, Omar Lyefook, Tortured Soul, Freak Power, The House & Garage Orchestra, Billy Cobham and Taylor McFerrin while drawing sold out houses with headline shows at top UK venues such as Ronnie Scott’s Jazz Club, Pizza Express Jazz Club, Brighton Jazz Festival and most recently Love Supreme Jazz Festival.”

Via his very popular Instagram channel, Howe has made a habit out of cranking out modernized, harmonically up-cycled cover versions of pop favorites. Just like Bon Jovi’s 1986 original, “Livin’ on a Prayer” starts in E minor (later flipping over to its relative G major). But after the bridge, there’s a shift up to Bb major, enhanced by a hiccup in the otherwise stable meter.

NOTE: Howe’s Instagram channel won’t allow direct embeds, so please click through below!