Tag: pop

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.

KT Tunstall | Heal Over

Scottish singer/songwriter KT Tunstall released her debut album Eye to the Telescope in 2004, making a splash in both Europe and North America. The breakthrough hit was “Suddenly I See,” but the release was full of many other gorgeous tunes, including “Heal Over.” Written in E major overall, the tune features a shift to E minor during the the bridge (2:56 – 3:37).

The Cars | Bye Bye Love

“Bye Bye Love,” a 1978 Rock-meets-New Wave hit from The Cars‘ eponymous debut album, features a section built around E major at the start, transitioning to a D major pattern during the gentler pre-chorus (0:48), and then back to E Major (0:59) for the chorus; the cycle then repeats.

Bassist Benjamin Orr on lead vocals and the unmistakably distinctive style of Greg Hawkes on keyboards, covering many of the band’s famously catchy hooks.

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.

Howard Jones | One Last Try

“One Last Try” was a 1992 release by UK New Wave/pop artist Howard Jones, perhaps best known for his 1984 hit “Things Can Only Get Better.” The tune shifts keys quite a few times, including E minor during the first verse, a clear shift to G major during the chorus at 0:38, and some E major during the instrumental bridge at 2:17, which features some lovely arranging for clarinet choir(!) and French horn.

Lara Fabian | Adagio

Another new artist for MotD today — Lara Fabian. Two key changes in this 1999 tune — from G minor to Ab minor at 2:18, and then to C minor at 3:10, with a high quality music video to entertain you along the way. Enjoy!

The tune is based on a composition originally thought to be by Venetian composer Tomaso Albinoni, Adagio in G minor for violin, strings, and organ continuo. The neo-Baroque composition was actually written in the 1950s by 20th century musicologist and Albinoni biographer Remo Giazotto, purportedly based on the discovery of a manuscript fragment by Albinoni.

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).