In music, the ♭VII–V7 cadence is a cadence using the chord progression from the subtonic (♭VII) to the dominant seventh (V7). It resolves to I making the full cadence ♭VII–V7–I.
A "mainstay in all rock styles of the '60s", [1] the cadence, heard perhaps most canonically (and often) in Billy J. Kramer's " Little Children", can also be found in such hits as Otis Redding's " (Sittin' On) The Dock of the Bay", Link Wray and His Ray Men's " Rumble", Duane Eddy's " Because They're Young", the Velvet Underground & Nico's " Sunday Morning" and " Femme Fatale", Joan Baez's " Fare Thee Well", and Al Caiola's 1961 " The Magnificent Seven" (0:15-0:17) and " Bonanza" (0:26-0:27). [1]
A similar cadence to the ♭VII–V7 cadence is the ♭III–V7 cadence. In the key of C, this would be E♭–G7–C (♭III–V7–I). Both the ♭VII and ♭III are altered chords or chords borrowed from the parallel minor.
This cadence occurs in The Beatles' " Something", Leroy Anderson's " Sleigh Ride", and Muse's " New Born".