We generally post videos on MoTD, but here‘s a worthy audio-only link! A track by Boston Music Awards multi-nominee John Powhida and his self-described “rock / disco / soul / pop fuzion” band John Powhida International Airport, “Dirty Birdy and the Funny Bunny” (2011) modulates at 2:20.
https://johnpowhidainternationalairport.bandcamp.com/track/dirty-birdy-and-the-funny-bunny
Today’s featured tune is “Spooky,” a 1979 release by the Atlanta Rhythm Section – Band, a southern rock band which enjoyed a string of hits. A cover of a 1967 original by The Classics IV, ARS’s version adds a direct modulation early on (1:29) and continues from there. The two versions went to #17 and #3, respectively.
Released only six weeks before Freddy Mercury‘s passing at the end of a brief battle with HIV/AIDS, “The Show Must Go On” (1991) reminded Queen fans worldwide of this global supergroup’s originality and vision. Mercury’s vocal timbre was changed by the disease, but he still pulled off a beautiful performance. Modulations at 1:32, 2:13 and 2:55.
Rolling Stone magazine called it “the ultimate 70s teen anthem” and ranked it #471 of its “500 Best Songs of All Time.” One of the most well-known bands on the 1970s global rock circuit, Cheap Trick released “Surrender” in 1978 and then re-released it on their live album Live at Budokan. The intro’s key is raised a half-step at the start of the first verse (0:14), then another half-step upward modulation at 2:16.
“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.
Stone Temple Pilots, fronted by the late Scott Weiland, released “Sour Girl” in 1999. The intro (through 0:19) emphasizes G major as a key area, although it also features a flat 7th. The verse (0:19 – 0:56) flips quickly back and forth from D major to D minor (an F# is featured on the melody line on the word “sour ” — coupled with the restless bassline, often suggesting D minor as it shifts as often as every eighth note — adds to the ambiguity).
A far more detailed and scholarly analysis of the tune can be found on the Aaron Krerowicz site.
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.
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.
UK/US hybrid band Garbage, led by Scottish vocalist/frontwoman Shirley Manson, had scored several hits by the time it arrived at its third studio album in 2001. In keeping with the band’s history of meticulous arrangements and production, the sound of “Androgyny” alternates between synth timbres on the verses and strong guitar-driven choruses, jumping back and forth between A minor and E minor, respectively. But the bridge (1:57 – 2:17) opens up into a completely different texture, bringing strings to the fore as it jumps to an entirely unexpected tonality (Eb major) before returning to the original key.
In 1993, Steely Dan‘s co-writer / keyboardist / lead vocalist Donald Fagen released Kamakiriad, his second solo album, which later garnered a Grammy nomination for Best Album. The album featured the retro-futuristic track “Tomorrow’s Girls.” After Verse 2 and Chorus 2, the bridge starts with a brief, sunny G major bridge (2:00) before a gritty guitar riff marks the return of the original key of Bb minor at Verse 3 (2:44).
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