70s

You're All I've Got Tonight - The Cars (1978) - You're All I've Got Tonight - The Smashing Pumpkins (1996)

The Cars: released in 1978 under the self-titled album 'The Cars' - YAIGT is one of the most classic rock songs of the 70s, YAIGT being a concert staple of the band - “We do that [YAIGT] all the time. I like that song. It’s just about ending up with somebody you don’t necessarily care to be ending up with, but something’s better than nothing,” Ric (singer/songwriter) - explained on the 1979 'SuperGroups in Concert series'.

This deep and rich tonality of the song is embedded by being set in b minor however set at 122bpm allowing for a rhythmic upbeat consistency at a level quite followable with anyone listening - or dancing to - forming a groovy nature to the sparkful rock tune.

Verse 1:

I don't care if you hurt me some more

I don't care if you even the score

You can knock me and I don't care

And you can mock me and I don't care

And you can rock me just about anywhere

It's alright

Chorus:

Cause you're all I've got tonight

You're all I've got tonight

You're all I've got tonight

I need you tonight

I need you tonight

In the first verse: the narrator accept the subject of interest’s abuse - either desperate or apathetic, a clear expression of just not wanting to be alone.

In the chorus: the narrator refrains "I need you tonight" reinforcing this expression of desperation however the phrase as quoted in the song title "you're all I've got tonight - infers that this is being spoken or expressed to the subject of interest where without them - they have no one.

The Smashing Pumpkins: released in 1996 under the The Aeroplane Flies High album - which contrastingly had been produced by 'Flood' who had produced many songs for artists such as U2, A-ha, The Killers and many other household names, the song embeds itself as a heavier grungier feel akin to the original where it follows the same melody and structure, however is articulated more suspenseful, a darker contrast to Ric's light-hearted but rebellious presentation of the song. Frontman Billy Corgan moving away from the original tonal range using his signtaure vocal style - the song now set in the key of C sharp major staying at a similar rhythm with a bpm of 124 for 4/4 which keeps the danceability similar - a stable groove.

Using the distorted grungy chords of Bb5,Eb5,Cm,Gb/Ab, light crackly vocals - all contrasted with full instrumentals creating this heavy nature of the song. Now fuller - percussion using claps to create suspense and adding a dark richness to the piece - which builds up to be more and more accentuated.