Tag: 1980s

Mike + the Mechanics | All I Need Is a Miracle

A longtime guitarist and writer for Genesis, Mike Rutherford set out on his own in the mid-80s to form Mike and the Mechanics.

“‘Most musicians make solo albums because they’re frustrated in their main band,” (The Guardian). “I think Genesis were uniquely different: we all loved being in the band but ran solo projects … I’ve never written a song like ‘Miracle’ since. I can’t think of any other song quite like it – it’s uplifting without being sugary, hopeful rather than smug. There’s a bit of sadness in there. But there are some clever key changes and it really lifts the audience.”

The Mechanics’ top 5 US hit, “All I Need is a Miracle” (1987) modulates twice, each time up a whole step, at 1:51 and 2:54.

Culture Club | Victims

Boy George & Culture Club released the ballad “Victims” in 1983. The track was a Top 10 hit throughout Europe, but wasn’t released as a single in the US, despite the fact that the band was enjoying the height of its sudden fame at that time. The associated album, Colour by Numbers, sold more than 10 million copies worldwide and appeared on Rolling Stone magazine’s “100 Best Albums of the 1980s” list.

The intro, in Bb minor, shifts to a verse in Ab major at 0:31, then a brief chorus at 0:45 reverts to Bb minor. A long bridge (1:24 – 2:20) in Bb major then shifts to Bb minor from 2:20 to 2:39. Etc.!

Lee Ritenour | Is It You?

Described by AllMusic as a “flawless musical chameleon,” Grammy-winning guitarist Lee Ritenour has collaborated as a session musician with artists from Pink Floyd to Quincy Jones to Dizzy Gillespie as well as releasing many of his own albums. His pop/jazz hybrid release “Is It You” (1981) reached number 15 on both the U.S. Billboard Hot 100 and Adult Contemporary charts.

There’s a classic direct modulation at 3:17, but the bridge (2:23 – 2:53) is perhaps more interesting, pivoting all over the place harmonically.

Nik Kershaw | Life Goes On

Songwriter Nik Kershaw is perhaps best known for his 1984 hit “Wouldn’t It Be Good.” His tunes spent 62 weeks on the singles charts throughout 1984 and 1985 in his native UK — more than the work of any other artist. Kershaw’s 1986 release, “Life Goes On,” features a huge harmonic vocabulary right out of the gate: starting in C# minor, there’s a shift to A minor at 0:08…the first of many.

Johnny Hates Jazz | Shattered Dreams

UK pop group Johnny Hates Jazz scored a worldwide hit in 1987 and 1988, when “Shattered Dreams” was released in the UK and then in the US. The tune modulates up a half-step at 2:00 as the bridge begins. A review on AllMusic calls the tune “…the peak of sophisti-pop before Alternative began to take over the charts. The arrangement is like the audio equivalent of watching a mechanical watch movement.”

J. Geils Band | I Do

Released in 1982, J. Geils Band‘s live version of “I Do” took the sound of 1950s a cappella do-wop, added standard rock instrumentation plus horns and harmonica, and turned it into a #24 pop hit. The track was one of the final releases for the Massachusetts-based band, active between 1970 and 1985. The unmissable modulation, introduced by a huge solo drum fill, is at 1:14.

James Ingram | Just Once

James Ingram, a 1980s/1990s pop/R&B artist, songwriter, and 14-time Grammy nominee, spent his early years singing back-up vocals for the likes of Marvin Gaye and Ray Charles. A demo of this 1981 track, “Just Once,” came to the attention of producer Quincy Jones, prompting a record deal. Ingram continued to work with Quincy, co-writing the uptempo pop confection “PYT” for Michael Jackson’s legendary Thriller album.

The bridge brings key changes at 2:51 and 3:05; one more modulation hits as the bridge transitions to the final chorus at 3:24 before one last shift as the outro fades at 4:21.

English Beat | Sugar and Stress

1982 saw the release of the album Special Beat Service by The English Beat (known back then in their native UK as The Beat). The band was one of the most dynamic Ska Music groups of the late 70s and early 80s. “Sugar and Stress,” a track from the album, is an up-tempo dance rave-up that modulates up a whole step at 1:57.

The Manhattans | Shining Star

The Manhattans’ 1980 release “Shining Star” won a Grammy for best R&B vocal performance for duo/group. The tune reached top 10 across a range of US charts: Adult Contemporary, R&B, and Hot 100 (Pop). After a false modulation (a quick key-of-the-moment-shift, followed by a return to the original key) at 1:34, the tune finally modulates for real at 2:46.