Tag: 1980s

Talk Talk | It’s My Life

British New Wave band Talk Talk scored a #1 US dance hit in 1985 with ”It‘s My Life,” written by Mark Hollis and Tim Friese-Greene. The tune was later very successfully covered by No Doubt in 2003, resulting in top-20 chart positions around the world. The intro and verse are based around an Eb to Db/Eb vamp — a deceptively simple progression obscured by the percolating bass line and layered synths. The chorus (starting for the first time at 0:53) is centered around A minor. The instrumental bridge (2:31 – 2:55) is based on Bb minor.

Don Henley | Sunset Grill

1984 saw the release of “Sunset Grill,” a top-10 hit from vocalist / drummer / singwriter Don Henley (best known for his work with The Eagles.) The horn section and Pino Palladino‘s fretless bass lines are standouts on this track, which was written in honor of an actual Los Angeles burger joint — still in business on the legendary Sunset Boulevard despite several ownership turnovers through the years. The direct whole-step modulation is at 4:03.

Donald Fagen | Ruby Baby

A decade after he co-founded Steely Dan, vocalist / keyboardist / composer Donald Fagen released 1982’s The Nightfly, an album which featured a distinctively Cold War/1950s vibe and was reportedly inspired by Fagen’s childhood habit of late night jazz radio listening. Not surprisingly given Fagen’s trademark harmonic complexity, “Ruby Baby” modulates at 2:57, but the close harmonies of the backing vocals are so complexly layered that the key change seems almost routine in comparison.

Hall + Oates | One on One

At the peak of their history-making string of hits during the 80s, Hall & Oates released “One on One” in 1983. The spare texture allows the individual players within H&O’s longtime lineup to shine — particularly the inventive bassline from the late T-Bone Wolk and the infectious solo from sax player Charles DeChant.

The intro (0:00 – 0:20) features a C/G to G7 vamp; the verse (0:20) is built around a repeating progression of Ebmaj7 / DMin7 / GMajor; the chorus pivots to a CMajor, G/C, F/C progression at 1:01. Written by lead vocalist Daryl Hall, the tune manages to tip its hat to the 1960s/1970s Philly Soul the band grew up with while remaining squarely within the synth-driven textures of the early 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.