Tag: 1990s

Pat Metheny | A Map of the World

Like much of his work, guitarist / composer Pat Metheny‘s 1999 soundtrack release for the film Map of the World features quickly shifting, sometimes nearly constant key-of-the-moment passages. The track features two main sections, each played twice. Section 1 (0:00 and 2:30) pivots between G major and E minor (among others), while section 2 (1:13 and 3:41) is loosely built around A major. At 5:12, there’s a brief return to section 1’s tonality for the outro.

Robert Palmer | Know By Now

Unlike his huge 1980s hits, pop/soul artist Robert Palmer‘s 1994 release “Know By Now” was more subtle than flashy. It reached only #25 in the UK and garnered next to no airplay in the US. Sadly, in 2003, Palmer died of a heart attack at the age of only 54. The track, which Billboard magazine reviewed as “stick(ing) to the brain after one spin,” features key changes at almost every turn. The prominent placement of the word “honey” in the lyrics (1:35, etc.) seems to be a nod to the host album’s title.

Palmer told The Canadian Press in 1994: “I happen to think that it is probably the best song I’ve written for many reasons – first of all, it’s three songs in one, in that each piece of it was a separate inspiration at a different time, not merely a reason to get from A to C.”

0:00 C# Major (intro, after a brief F# Minor key of the moment)
0:38 E Minor (verse)
1:11 C# Major (pre-chorus)
1:36 F# Minor (chorus)
1:58 E Minor (verse)
2:30 C# Major (pre-chorus)
2:55 F# Minor (chorus to end)

Lenny Kravitz | It Ain’t Over ’til It’s Over

Lenny Kravitz‘s soulful pop release “It Ain’t Over ’til It’s Over” (1991) featured the Phenix Horns from Earth, Wind & Fire. According to a 2000 interview with VivaMusic.com, Kravitz said “That song just came out one day, and I knew it had a classic vibe, and still love that song very much today.” There’s a modulation during the bridge (2:02 – 2:30).

Opening Sequence (from “Songs From a New World”)

Here’s the opening number from Songs For a New World by Jason Robert Brown. From The Guide to Musical Theatre‘s synopsis: “The theme is the moment of decision, the point at which you transition from the old to the new. The change may be geographical, emotional, professional or marital but things are different than they were before. The result is neither musical play nor revue; it is closer to a theatrical song cycle, a very theatrical song cycle.”

There are modulations at 2:20, 3:45, 4:12, and 4:39.

Thomas Dolby | Cruel

Thomas Dolby is best known for his early-80s New Wave megahit “She Blinded Me with Science.” The UK artist’s 1992 release Astronauts & Heretics featured “Cruel,” a track built around some very mysterious harmonies and Matthew Seligman‘s enigmatic fretless bass.

The main melodic fragment is stated with the first verse, by 0:06 (“Cruel … what a thing to do…”). Later, a beautifully syncopated contrasting passage by guest vocalist Eddi Reader, essentially a chorus, starts at 0:31. By 1:04, we’re at the second verse, but one-half step lower than the first. Eddi’s section, as it repeats (1:35), is also a half-step lower this time. The tune ends on a sustained Dmin7, a full step below where it began. Throughout, the largely stepwise melodies rest on a bed of off-kilter progressions and unusual inversions. It’s as if the modulations were written so that they wouldn’t stand out.

Any theory wonks care to chart this one out?

UPDATE, 6/14/21:

Dolby responded today to a post I made awhile back on a thread about this tune, featured on a Facebook group which he and his staff run. Fascinating!

James Taylor | Enough To Be On Your Way

Far removed in time from his early hits, 1997’s Hourglass was a James Taylor album home to wonderfully woven stories, increasingly complex harmonies, and multi-layered textures. The artist described the collection as “spirituals for agnostics.”

“Enough to Be On Your Way,” reported to have been written in the wake of the death of Taylor’s brother Alex, is quietly stunning even before the modulation — but JT adds a key change to the mix at 4:35. The track features cello by Yo-Yo Ma.

Paula Cole feat. Peter Gabriel | Hush, Hush, Hush

“Hush, Hush, Hush,” a supporting track on Paula Cole‘s breakout 1996 album This Fire (the single was something about cowboys), guest features the singer/songwriter’s mentor, Peter Gabriel as well as some gorgeous and unusual instrumental features. Starting in a minor key, a transition to a major-key bridge starts at 2:01; at 2:33, we return to the original key. An unexpected 4-chord repeating harmonic progression loops from 2:50 to the end.

Deborah Cox | Nobody’s Supposed To Be Here

R&B chanteuse Deborah Cox released “Nobody’s Supposed to Be Here,” the track for which she’s perhaps best known, in 1998.

“‘The song crossed my path in early ’98. I had taken a little time off — I got married in Jamaica — and was really searching for a direction for the second album,” (Billboard). “When Anthony ‘Shep’ Crawford and Montell Jordan (the co-writers) played it for me, I immediately knew the song was a smash. I just remember hearing it and going, ‘Oh my God, this speaks to me!’ I had just gone through the same thing: I was caught off guard with the love of my life, so it really resonated.”

This gospel-infused ballad builds to a big modulation at 3:00.