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.
Whitney Houston‘s 1990 release “All The Man That I Need” was just another garden-variety hit for the songstress, then at the peak of her powers: #1 on the US pop, adult contemporary, AND R&B/hiphop charts, plus many more high chart positions worldwide. Modulation at 2:41.
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).
Transatlantic band Pretenders (frontwoman Chrissie Hynde, an American, founded the band with an all-Brit team of sidemen) released “Kid” in 1979, just as the band began to find its audience. The tune features a direct modulation at 1:35.
Seals and Crofts‘ 1972 release “Summer Breeze” features an aural illusion — an apparent modulation where one doesn’t actually exist. The bridge (2:06 to 2:20) is built exclusively on compound/hybrid chords and a soaring vocal line that is unquestionably the high point of the tune. As we arrive back at the final verse at 2:20, it feels as if the tune modulated — all the cues are there. But we are still in the original key of E minor!
During the summer of 1981, Rick Springfield‘s power pop hit “Jessie’s Girl” completed its climb up the charts, finally hitting #1 in August — six months after its release and just as MTV hit the airwaves. Song of the summer? An understatement.
The bridge, starting at 1:39, transitions with a direct modulation to an instrumental section at 2:00, changing back to the original key at 2:14.
Before his solo fame, Lionel Richie scored several big hits with The Commodores, including “Easy” (1977). The tune nears its end with a classic direct modulation at 3:44.
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!
In honor of his 70th birthday today, here’s “Parallel Lines,” a 1989 release from Todd Rundgren‘s album Nearly Human. The huge band was a complete departure from Rundgren’s history of standard 4-piece rock ensembles. Bridge at 2:21, modulation at 3:10.
“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.
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