Tag: pop

Natalie Cole | I Miss You Like Crazy

Usually, modulations tend to happen closer to a tune’s end than the beginning, but seven-time Grammy winner Natalie Cole’s “Miss You Like Crazy” (1989) breaks that trend. The track became a huge hit in the US, Canada, and Europe.

“‘So many things have happened in my life,'” Cole reflected on her father Nat King Cole’s death when she was only 15. “‘But the death of my father remains the most painful.'” (Billboard). “‘I adored him in a way that only a teenager girl can adore her dad. When he died, I fell apart. For years, I ran from his memory. I even ran from his music. When I inadvertently stumbled into a career, I was thrilled to learn that I could sing rhythm and blues. I loved singing soul. But it wasn’t until I found the courage to sing the music associated with my father that I found my deepest peace and greatest satisfaction. The fact that even in Dad’s death we have grown closer brings me a beautiful comfort. It makes me think we ascribe too much severity to death. Spirit doesn’t die. Music doesn’t die. And the love that links spirit to music knows nothing about death. That spirit, that music, that love is eternal.’”

This power ballad modulates multiple times starting nearly right out of the gate (0:42) and continues with other shifts. At 2:18, the key locks in at the bridge and remains the same for the duration.

Phil Collins | Two Hearts

Phil Collins‘ career only grew after leaving Genesis, the pioneering UK-based prog-rock band. Producing other artists’ albums, writing for movie soundtracks, and cranking out multiple solo albums were all on the menu for Collins.

“Two Hearts,” a 1988 pop confection based on a relentless fast shuffle, starts off simply enough (the music starts at the 0:40 mark) in G major. But the bridge suddenly takes flight at 2:44, featuring syncopated kicks and multiple modulations before settling into Ab minor, then transitioning back into a chorus (in the original key, although it feels entirely new) at 3:12.

The Babys | Every Time I Think of You

1979’s “Every Time I Think of You” by the UK band The Babys (yes, that’s the spelling) has too many modulations to track. Each verse/chorus pairing, after its series of modulations, reverts to the original key for the start of the next cycle. The frontman was John Waite, who later enjoyed a successful solo performance career. The tune hit top 10 in the US, Canada, and Australia.

Van McCoy | The Hustle

“The Hustle” (1975) by Van McCoy was one of the biggest early disco hits. The tune was a global smash, going top 10 in the US, the UK, South Africa, New Zealand, Canada, and most of Europe, then later appearing on the soundtracks of well over a dozen movies and TV shows.

The tune alternates between F major and Ab major (at 1:11 and 1:32, then again at 2:52 and 3:13.) After an intro featuring backup-style vocals but no lead vocal, most of the remainder of the tune is instrumental, featuring some of the most well-known flute and piccolo work in pop music. Happy weekend to all!

Cathy Dennis | Too Many Walls

British pop singer and songwriter Cathy Dennis released “Too Many Walls” in 1991. The tune was co-written by Anne Dudley, best known for her work with Art Of Noise. The track reached chart positions of US Adult Contemporary #1, US Hot 100 #8, and top 20 in the UK, Ireland, and Canada.

After establishing her own performance career, Dennis went on to write songs for Clay Aiken, Kylie Minogue, and Kelly Clarkson, as well as the chart-toppers “Toxic” by Britney Spears and Katy Perry’s “I Kissed a Girl.”

After an instrumental bridge (2:54 – 3:14), the tune modulates up a whole step.

The Friends of Distinction | Love Or Let Me Be Lonely

Saturday bonus mod: Our frequent contributor JB sends this mod from Friends Of Distinction, a soul, R&B, and Sunshine Pop hybrid group from Los Angeles which made its mark during the late 60s and early 70s. The group’s 1970 hit “Love Or Let Me Be Lonely” reached chart positions of #2 US Pop, #13 US R&B, and #6 Canadian Pop. Between 1969 and 1971 alone, the Friends released five albums!

Starting in Db major for the verse, the tune transitions to A major during the choruses (for the first time at 0:24), then reverts to Db at 0:44, etc. Starting at 2:19, an extended outro is built around a simple but compelling 2-chord vamp featuring everything but the kitchen sink: layers of brass, strings, and backing vocals.

The Cat Empire | Who’s That?

From mod fan Daniel Stackhouse comes this first-time contribution: “Who’s That?” by the Australian band The Cat Empire (2019). AllMusic calls the band’s sound a mix of “ska, rocksteady, Latin jazz, funk, Afrobeat, and hip-hop.”

Daniel’s review: “The modulations at the end of this are so satisfying with the horn line carrying through.” Modulations at 2:21, 2:41, and 2:59.