Q:

Help understanding the chord analysis and key of song, "You Are" by Kem

Please help if you can analyze the song "You Are" by Kem.
Verse progression is
| D#m   | B   | D#m | B
| D#m   | B   | E   |F#
and the Chorus progression is
|D   |Em   |F#   |Bm
|D   |Em   |F#   |Bm
It's a beautiful song, but I'm curious if it switches between the keys of Bminor and Bmajor, However F# feels like home. If you can shed some light, please explain how you analyze it.  I'm wondering if I'm just missing that one element that explains it perfectly.  Thank you.

A:

Trust your guts! If F# feels like home, it must be the key!
The song bases on chords from the key of F#, but then also uses many other chords. You could call it a modulation (when you switch to another key for a while), but in this case I believe a more accurate name isquite  modal interchange: chords D, E, Bm are borrowed from the key of F#m. (I don't believe there is Em chord, it's rather Esus).

A:

I've deleted my initial answer and have taken a 180 degree turn on this.
First let me layout what I think the chords are...

D#m7 B(sus2) E(sus2) F#

...with the melody working around F# G# A#.

D(maj7) E(sus2) F# Bm(sus2)

...with the melody working around F# C# B descending back to F#.
I think that's roughly what's happening.
IF I have those m7 and sus2 chords right, then the whole song has F# and C# sustained throughout. Combine that with F# major being the only plain major chord and it makes a solid case for a tonic of F#.
Now, about the E chords. The sound like the third is omitted and replaced with a second leaving them sort of ambiguous in terms of major/minor. But, in the melody there is a G# which would be the major third of the E chord if they weren't sus2. So, the implication is E major. Now it seems pretty clear both sections have E to F# as bVII to I.
In the verse it's a vamp between D# and B ending with E to F#. Roughly IV bVII I dressed up with suspensions.
The refrain is essentially D, E, F# as bVI bVII I.
The song gives two presentations of bVII I where I is rhythmically shifted by a bar and the submediant is a borrowed chord in the refrain as a way to differentiate the two sections.
I still to my point about pop music and key ambiguity. This verse would probably be notated with an F# major key signature and accidentals for bVII. The refrain sort of shifts to minor, but it might be just as well to use a F# major key signature and accidentals so that the borrowed chords are high lighted as such. This where I think it might be best to say it's nominally in F# major in terms of key signature but not in terms of major/minor system cadences defining a key.

