In response to your request for comment, the camera is great but the lighting is not. It's stark and has a bluish cast that makes you look pale. Color temperature and exposure are off. (Note added 8/14 - Rick abandoned the use of this camera)

Ok, who else is willing to admit that the best part of every RB breakdown video is the "OH!" that signals his joy at the 'surprise' chord?

Now I've heard there was a secret chord

Rick is a freakin' force of nature. Who else could sell out venues all over the world just talking about guitars and music? What an amazing guy. 👍🏻

The warm and cozy vibe of your videos is gone with this new camera.

Hey Rick, since you asked about your new camera: Your picture is leaning too much to the blue making it cold. Might want to turn your settings to a warmer tone. Also maybe adjust depth of field...your background looks a little too blurry.

As a LA songwriter in the 70's-80's, these chord inversions were a big part of my writing style and I use them to this day. On probably my biggest record, a Johnny Mathis-Dionne Warwick duet (with David Foster, Abe Laborial, Mike Beard and Richie Zito as players) I used them extensively. As I was heavily influenced by the David Foster school of writing I just used them without thinking. Just part of the musical language of the time.

The older I get the more I appreciate Peter Cetera's unique vocal talent. He had some nice solo songs as well as the hits with Chicago.

I'd also nominate the "sus2" type bar chords at the intro of songs like Purple Rain and Don't Dream It's Over. They're all over the place because they sound so great with that 80's clean tone and reverb!

The fact that Cetera had the vocal chops for those changes is incredible.

I'm a Church musician. We LOVE inversion Chords. 🥰

Those 80s songs, whether it be by produced by Omartian, David Foster, Jay Graydon, people like that, are just inundated by musicality. Doesn’t matter if you like that production style or not, there’s no denying that.

Written by the great Bobby Caldwell. A pop genius in his own right. RIP ❤️

From 1969 to 1972 this inversion or a variant was in nearly every popular song my band played. The second guitar player would play the root version and I would play the inversion. Both played together made our sound deeper and more robust. I didn't realize that it is uncommon in songs today.

Ricks on point here. 1st inversion passing chords were all over in 80s pop. David foster was a master at it.

I just have to think of 'Ride Like the Wind' and I'm transported back 40 years. Sublime

The key change lifts the conversation between the singers, it brings an excitement to their discovery that they feel the same way towards each other!

The personnel on this track is so good...Chester Thompson on drums, Jeff Porcaro on PERC (!), Omartian (producer) on keys...co-written by Bobby Caldwell...wow.

Rick makes an interesting observation. Until the mid-1970s, pop music bass players mostly played root notes. Exceptions included the Beach Boys "Pet Sounds" album and McCartney also picked up on it in later Beatle albums. Rick demonstrates that the major third in the bass really does change the sound of the song and it was commonly used starting maybe mid-1970s with Steely Dan.

Another song that changes keys in the middle of a verse (chorus) is Somewhere Out There written by James Horner. In the version featuring Linda Ronstadt and James Ingram it changes at