Tag: 1980s

Touch Me With My Clothes On (from “Love Gilda”)

Known for her utterly original comedic style and her status as the first cast member chosen for the premiere season of Saturday Night Live in 1975, Gilda Radner was the first to say that her singing voice wasn’t exactly her strongest suit. But her unfussy, warm delivery always let her huge personality shine through. “Honey (Touch Me With My Clothes On)”, featured in the current biopic film Love Gilda, was part of the comedienne’s 1980 live solo show Gilda Radner Live on Broadway.

The music doesn’t start until 0:55 — but her poignant intro is worth a listen! Key change at 2:59.

Paul Davis | Cool Night

“Paul Davis established himself as one of the most appealing singer-songwriters of the late 1970s and early 1980s,” (TheSecondDisc.com).  “Yet the Mississippi native all but walked away from his solo career at the height of his fame, returning to his roots as a behind-the-scenes songwriter and making cameo appearances on others’ hit records.  Before his untimely death in 2008 at the age of 60, Davis notched fourteen Hot 100 hits and eight Top 40s.”

Paul Davis‘ 1981 soft rock release “Cool Night,” which reached #11 on the US pop singles chart and #2 on the US adult contemporary chart, is also sometimes cited as an example of late 70s/early 80s “Yacht Rock.”

The key change is at 2:39, leading into the final chorus.

Supertramp | Dreamer

The UK band Supertramp created material that’s a bit tough to categorize; their tune “Dreamer” is no exception, landing somewhere between pop tune, nursery song, and schoolyard taunt. “Dreamer,” a pop hit in two different decades (the studio version went to UK #13 in 1975; in 1980, a live version hit US #15 and Canada #1).

The tune starts in D major, dips into a gentler section in C major at 1:25, and finally returns boisterously to D major at 3:05. There are several other passing extra-key oddities here and there, as well.

R.E.M. | Stand

Somewhat unusual among R.E.M.‘s often somber output, 1989’s “Stand” features double direct whole-step modulations (2:30 and 2:48) towards the end of this bouncy, catchy Top 10 hit.

Guitarist Peter Buck described it as “without a doubt, […] the stupidest song we’ve ever written. That’s not necessarily a bad thing, though.” He humbly compared the song to The Kingsmen’s “Louie, Louie” in terms of lyrical content.

Bruce Hornsby + The Range | The Show Goes On

“The Show Goes On,” an album cut from Bruce Hornsby and the Range‘s second album Scenes from the Southside (1988), follows Bruce Hornsby‘s production template for his early work with his backing band before he went solo in the 90s. The tune’s overall D major tonality transitions into G major during the bridge (4:08 – 4:33).

Aretha Franklin | United Together

Aretha Franklin was a legendary soul/gospel/R&B/pop vocalist — but also a civil rights icon and humanitarian.

Though it wasn’t one of the mega-hits among her huge catalog, this track clearly shows Aretha’s warm, dignified persona and the uncontainable range of her artistry. “United Together” (1980) modulates at 3:50.

George Benson | 20/20

Shape-shifting guitarist/vocalist George Benson, a Pittsburgh native, had a string of hits in the 1970s and 1980s, pulling from his 36 albums to date. “20/20” (1984) made a splash on three charts: #45/Pop, #20/R&B, and #3/Jazz.

The tune features a bridge with plenty of compound chords (1:50 – 2:25) which remains in the original key. The third verse (2:25) hits with a direct modulation, followed by Benson’s effortless duet combination of guitar and wordless vocals.

Wang Chung | Everybody Have Fun Tonight

Score another mod for MotD member Rob Penttinen, who suggested this tune:

The UK’s Wang Chung had a few huge new wave/pop hits in the 80s, including 1986’s “Everybody Have Fun Tonight.” The verse and choruses seem pretty straightforward, but then the bridge (2:32) catches us off guard with a few distinct sections — and two modulations — before returning to the original key at 3:29.