“Yacht Rock” royalty, Player’s polished southern California sound was all over the charts in the late 70s. Multiple lead vocalists, complex chords, and tight vocal harmonies were some of the band’s hallmarks.
For “Baby Come Back,” the band’s smash 1977 hit, the modulation lasts for the duration of the bridge (2:23 – 2:48) before reverting to its original key.
Among the top hits for legendary songwriting team Burt Bacharach and lyricist Hal David, 1970’s “One Less Bell to Answer” helped to cement the career of The Fifth Dimension.
Starting with Bacharach’s trademark torch song melancholy in the first verse, a more hopeful tone is reflected in the long bridge, which starts with a modulation at 1:07. An instrumental verse, beginning at 1:43, returns to the original key.
“Hard Habit to Break,” a 1984 power ballad, was one of Chicago’s biggest hits and part of the band’s era of increasingly pop-friendly tunes. David Foster, well-known for producing lush songwriting, was one of the song’s co-writers and arrangers at this time, layering the band’s trademark horns with towering strings and synth saturation like there was no tomorrow.
The modulations are everywhere: 0:35, 1:00, 1:32, 1:56, 2:19, several quick pivots during the bridge around 3:12, and 3:18.
A classic Steely Dan track from 1974, “Any Major Dude Will Tell You” is among the shortest and most harmonically straightforward tunes in the band’s catalog. But 1:51 brings us to a modulation, then a quick return to the original key at the instrumental verse (2:03.)
This R&B ballad, written by the track’s lead vocalist, Desmond Scaife, Jr, was recorded live on stage at Boston’s Berklee College of Music in 2016.
The track features a quick modulation at 2:25, returning to the original key at 2:30.
This 1979 release by Kenny Loggins, with co-writing, keyboards, and back-up vocals by Michael McDonald, features the harmonic complexity for which both artists are known. The bridge starts at 2:43, shows signs of a big change on the way at 2:57, and wraps up at 3:06 as the modulation hits.
According to Loggins, the melodic and harmonic ideas for the tune were finished long before the lyrics. The songwriting team had initially focused on a crossroads moment in a troubled romantic relationship. But the topic shifted to an adult son encouraging his ailing elderly father to fight hard for his health in the face of a worsening medical condition — a slice from Loggins’ own life. An unlikely hit, for sure, but it reached #11 and won a Grammy.
Here’s Celine Dion performing live at the 1996 Olympic Games with “The Power of the Dream.” Her performance was heard by 100,000 people in the arena as well as 3.5 billion others worldwide. The modulation is at 3:18.
From today’s New York Times: David Foster is responsible for composing and/or producing many of the songs that have been featured on MotD over the years (and on today’s Celine post you can find him at the piano!)
A classic key change: Bon Jovi’s “Livin’ On a Prayer” (1986) features a modulation that sneaks in at 3:23. VH1’s viewers voted the track #1 on its “100 Greatest Songs of the 80s” list. The tune is in 4/4 overall but skips a beat at the key change — as our ears do a double-take.
Here’s a 1989 tune by musician, composer, and producer/engineer Todd Rundgren written in honor of Stephen Hawking, the theoretical physicist and cosmologist. It’s a gospel meditation on the challenges of grasping the unknown and maintaining one’s love for humanity.
The modulation arrives with the bridge at 2:57, reverting to the original key at 4:07.
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