Tag: 1980s

Anita Baker | Lead Me Into Love

“This deservedly heralded contralto is — in some cases literally — the poster woman for the ‘quiet storm’ radio format, personifying all that that term would represent: seemingly a private person, most assuredly a dignified one, but someone who lets forth with deep-felt bursts of emotion and perhaps sexuality in appropriate moments.” (LA Times).

” … Had it been coined earlier, that format could have been home to Billie Holiday, Sarah Vaughan or Nancy Wilson, of course. Baker’s sound is very much ‘black,’ and quite at home on modern R&B stations, but its debt is more to the black tradition of jazz singing than any strain currently dominating the charts. Her appeal is as multiracial as anyone’s, and stretches across the board from easy listeners to funk fans, giving cynics occasion to celebrate the infrequent triumph of voice over formatting.”

One of Baker’s tunes with a relatively strong jazz influence is “Lead Me Into Love” (1988). Starting in F major, the track shifts to F minor for the chorus (first heard from 1:11 – 1:36). After an unusual chromatic side-step, there’s a return to F major for the next verse; the pattern continues from there.

The Style Council | You’re the Best Thing

“In 1982, Paul Weller disbanded The Jam at the height of their popularity, citing a desire to pivot toward using a more soulful approach to his music,” (Albumism). “He felt The Jam were stuck in a rut and not growing as a band. Bassist Bruce Foxton and drummer Ric Buckler did not share this opinion and the split took them by surprise. To this day, Buckler and Weller are not on speaking terms.

In 1983, Weller enlisted keyboard player Mick Talbot, who previously had stints in Dexys Midnight Runners and The Merton Parkas to form The Style Council. To round out the lineup, The Style Council used a rotation of studio musicians and guest stars like Tracey Thorn and Ben Watt from Everything But the Girl, forming a unit known as the Honorary Councilors. With this new group, Weller was able to branch out and experiment with soul, jazz and pop in a way which was not possible with The Jam.

‘You’re the Best Thing’ is The Style Council’s homage to the ‘70s soul, slow jam era. It borrows themes from popular R&B songs from the previous decade and puts Weller’s spin on it.” After an intro and two breezy verses in E major, 1:18 brings a whole-step shift upwards to F# major. At 1:41, an interlude returns us to E major. The pattern continues from there.

George Benson | Lady Love Me

“Simply one of the greatest guitarists in jazz history, George Benson is an amazingly versatile musician whose adept skills find him crossing easily between straight-ahead jazz, smooth jazz, and contemporary R&B. Blessed with supreme taste, a beautiful, rounded guitar tone, terrific speed, a marvelous sense of logic in building solos, and, as always, an unquenchable urge to swing, Benson’s inspirations may have been Charlie Christian and Wes Montgomery, but his style is completely his own.

Not only can he play lead brilliantly, he is also one of the best rhythm guitarists around; and works often as a sideman. He’s a dangerous swinger, particularly in a soul-jazz format; skills he first got attention for as a member of Brother Jack McDuff’s band in the early ’60s. Benson can also sing in a lush, soulful tenor with mannerisms similar to those of Stevie Wonder and Donny Hathaway. In a sense, he is the guitar-playing equivalent of Nat King Cole, a fantastic instrumentalist whose smooth way with a pop vocal helped solidify his prowess in the marketplace.” It’s not surprising to read that Benson started his career in his native Pittsburgh not as a guitarist, but as a vocalist!

Benson’s funk-infused up-tempo 1983 single “Lady Love Me” starts in F# minor, lifts to A minor at 2:36, and finally ascends just before the fadeout to F minor at 3:31.

Dougie MacLean | Solid Ground

“Dougie MacLean, originally famed for writing the song ‘Caledonia’, has built an international reputation as songwriter, composer and extraordinary performer on his own terms,” (artist website). “He’s taken his performance to concerts and festivals all over the world and to the stages of Carnegie Hall in New York, London’s Festival Theatre, and the Sydney Opera House. Other appearances of note include sharing the stage with Lou Reed and Eddi Reader in the grounds of Culzean Castle at the Burns and A’ That festival, featuring on the BBC Hogmanay programme from Edinburgh Castle with James Taylor, and sharing the bill with the legendary Mavis Staples at Glasgow‘s Royal Concert Hall.

He has received two prestigious Tartan Clef Awards, a place in the Scottish Music Hall of Fame, a Lifetime Achievement Award from BBC Radio 2 Folk Awards, and an Order of the British Empire award.”

MacLean’s 1988 tune “Solid Ground” is built primarily in G minor, but shifts to C minor at 4:05 as the vocal ends and a pipes solo closes out the track.

Midnight Oil | Beds Are Burning

“Australian rock ’n’ roll band Midnight Oil broke into the U.S. charts with an explosive single from their album Diesel and Dust. ‘Beds Are Burning’ was powerful on every level: musically, politically, sonically, even visually,” (MixOnline). “In fact, anyone who had an ear to the modern rock radio format in 1988 can almost certainly name this song in three notes: Those effected horn-and-drum blasts make an unforgettable intro. Midnight Oil were already a huge band in Australia before they made Diesel and Dust. They had put out three Top 10 albums and had gained popularity as well as notoriety for their political activism. The lyrics of ‘Beds Are Burning’ demand reparations to Australia’s Pintupi people, who—like Native Americans in the United States—had been relocated and marginalized by whites: ‘The time has come/To say fair’s fair/To pay the rent/To pay our share.’

Midnight Oil was a band with a message as well as ambition, and they enlisted the help of producer Warne Livesey—who had already achieved significant success with The The and Julian Cope, among others—to help take their sounds to a larger audience. ‘We spent a long time with them sending me demos and having conversations about the direction of the record … (It) was one of the last songs they wrote for the album; it was in the last batch of demos they sent me. That demo didn’t have any verse lyrics on it, but it did have the chorus, and it was very long—a jam. I responded immediately to that absolutely first-rate, killer, hook-y chorus with a great lyrical message.'”

After a gradual intro, the verse and pre=chorus are in E major. The iconic 3-note horn line announces the epic chorus in E minor at 1:13. At 1:58, E major returns for the next verse and the pattern continues from there.

Exposé | Let Me Be the One

“Famous for Latin-flavored dance-pop as well as for adult contemporary ballads, the female vocal trio Exposé enjoyed a great deal of commercial success in the ’80s and early ’90s,” (Qobuz.com). “Exposé was the creation of Miami-based producer/songwriter Lewis A. Martineé, who assembled the original Exposé lineup in 1984.

… Neither Arista Records nor Martineé envisioned Exposé as strictly a club act, and (the group’s 1987 debut album) Exposure received considerable attention from radio thanks to major hits ranging from the adult contemporary ballad ‘Seasons Change’ (which reached number one on Billboard’s pop singles chart) to the R&B/urban-oriented ‘Let Me Be the One,’ which went to #7. Exposure sold more than three million copies in the United States alone.”

Starting with an intro and verse in Eb minor, the synth-driven track shifts to Gb minor for its pre-chorus (0:58 – 1:16) before reverting to the original key for the chorus. The pattern continues from there.

Shalamar | A Night to Remember

“‘A Night to Remember’ was the second single from American disco group Shalamar (members are Howard Hewett, Jody Watley and Jeffrey Daniel), and their sixth studio album Friends (1982).” (StoryOfSong). “It was written by Nidra Beard from American band Dynasty, as well as Dana Meyers and Charmaine Sylvers from The Sylvers. The song is also associated with the introduction of the moonwalk dance by Shalamar member Jeffrey Daniel, when the group performed the track live on UK music show Top of the Pops in 1982.

… The music video for the track was released in 1982 … ‘A Night to Remember’ hit charts in only the UK and the USA, charting at #5 in the UK Singles chart, and #44 on the US Billboard Hot 100, #8 on the US Billboard Hot Soul Singles, and #15 on the US Billboard Dance chart.”

After a start in D minor, the tune shifts to Eb minor from the 2:02 mark to the track’s end. As for the moonwalk moment on Top of the Pops: most of the band couldn’t make it the UK, leaving Jeffrey Daniel to wow the crowd with his solo dance moves (see second video below).


Lisa Stansfield | Little Bit of Heaven

Lisa Stansfield, the northern (UK) lass with a voice that belied her appearance, was (an) integral singer-songwriter storming the charts (in 1989) with her debut album Affection … Over the years, much has been made about Stansfield’s vocals not ‘matching’ her image, whatever that means,” (Albumism). “In reality, one only has to scratch the surface to see that ‘northern’ or ‘blue-eyed’ soul actually has a long standing history in the UK … (it) ultimately began in the ‘60s with British and North American singers like Timi Yuro, The Righteous Brothers, Dusty Springfield, Kiki Dee and of course the legendary Teena Marie. All of them drew inspiration from the sounds of Motown and R&B which heavily influenced their musical style and at times, even their vocals.

Lisa Stansfield was no different. Having spoken of the heavy musical influences throughout her childhood in Northern England with the likes of Barry White (with whom she would later go on to record), Diana Ross, Marvin Gaye and of course the Queen of Soul herself, Aretha Franklin, it was inevitable that these soulful influences would permeate throughout her music … Stansfield was—and still very much is—an originator and Affection, whilst clearly having been influenced by other artists and genres, is unequivocally one of the greatest original debuts to have ever been released.”

After starting in F# major, a downward half-step shift to F major hits at 2:30, just after the launch of an alto sax feature. But at 3:18, we return upward to the original key for the balance of the tune.

Michael McDonald | Love Lies

“Born in Missouri, McDonald moved to Los Angeles in 1970 with his band Blue, worked with Steely Dan from 1975-76, and then joined the Doobie Brothers in 1975, quickly giving the band two big hits — ‘Takin’ It to the Streets’ and ‘It Keeps You Runnin’.’ He’d become the band’s dominant creative force by the time they issued the multiple Grammy Award-winner Minute by Minute in 1978,” (UltimateClassicRock). “McDonald would also collaborate on recordings by good pal Kenny Loggins, Christopher Cross (notably ‘Ride Like the Wind’), Bonnie Raitt and Toto, among others.

Yet he remained steadfastly modest. ‘I came up singing in Top 40 bands, so this was just a dream come true,’ McDonald told this writer some years ago. ‘I felt like I was a kid they pushed into a game where he didn’t really belong.’ The ‘endearing thing about Mike was his almost complete inability to recognize his own talents,’ long-time Doobie Brothers producer Ted Templeman wrote in his memoir, A Platinum Producer’s Life in Music. ‘It was charming to see such humility in a musician, and he’d preface each song by telling me, ‘Oh, this one’s nothing special’ … when in fact they were great.’ … McDonald finally found his own spotlight in August 1982 … If That’s What It Takes soared to #6 and was certified gold. ‘I Keep Forgettin” reached #4 on the Billboard Hot 100 … If That’s What It Takes remained McDonald’s only Top 20 album, however, until a pair of LPs dedicated to Motown covers arrived decades later.”

The animated, funk-infused pop track “Love Lies” is built in F minor overall. But the pre-chorus features a quick shift down to E minor (first heard from 0:37 – 0:46), obscured by a rising melody line. The chorus returns to the original key and the pattern continues from there.


Jitendra Abisheki | Raga Mala in drut ektaal

“The notion of a Raag (Raga) is at the foundation of Indian Classical nusic … a Raag uniquely defines a set of musical notes and their allowed arrangements to form melodies to evoke certain emotions,” (IndianClassicalMusic.com). “In Sanskrit, a Raag means ‘something that colors your mind.’ … Ancient scriptures define a Raag as a composition of sounds capable of bringing joy to the human heart while attaining beauty through specific movements of notes and phrases.”

From first-time contributor Warren S.: “This ‘raga mala’ (1986) is sung by the veteran vocalist Jitendra Abisheki. The shifts from one raga (generative scale) to the next are noted on screen. Interestingly, the song text itself references the name of each raga, literally describing what the music is doing.

To an outside listener it all sounds very similar — to which I’ll just note that a musically uneducated listener hearing key changes will have the same ‘something changed, but I don’t know what’ response.”

Many thanks to Warren for submitting this piece. It presents a musical shift which runs along a different, yet closely related, axis from the Western key changes that are our regular focus.