Henry – Page 33

Rob Thomas (feat. Ingrid Michaelson) | Christmas Time

“Christmas Time” is featured on Rob Thomas’s first holiday album, Something About Christmas Time, released earlier this year. “Every year, I want to do a Christmas album, and every year, it’s too late because I always think about it at Christmas,” said Thomas in an interview with ABC Audio.

“When everything started to shut down in the beginning of 2020, I was home and I had that summer to make a record. I wasn’t on the road and it wasn’t making a solo record. I wasn’t making a Matchbox [Twenty] record. And so it was the only summer that I’d ever had where there was that kind of a time.

“I knew that I didn’t want to do a lot of the traditional Christmas covers,” he adds, noting that he preferred “songs that I grew up with and the artists that I grew up listening to.”

The track, which features vocalist Ingrid Michaelson singing with Thomas, was originally written and recorded by Canadian singer Bryan Adams in 1985. It quickly became his most successful and popular Christmas tune, and is still played on Canadian radio during the holidays.

Beginning in B major, the tune modulates up a whole step to Db at 2:38.

Little Mix | You Gotta Not

“You Gotta Not” is featured on the 2016 album Glory Days by the British girls group Little Mix. The album was their first to reach #1 in the UK; AllMusic claimed “the group deliver[s] a set of hooky, smartly crafted songs that balance swaggering, ’60s-style R&B with stylish, electronic-tinged dance-pop.” Co-written by Meghan Trainor, “You Gotta Not” highlights themes of female empowerment, and its groove recalls Jennifer Lopez’s “Ain’t Yo Mama,” also written by Trainor. The tune modulates from Db up to D at 1:12.

Why (from “Tick, Tick…Boom!”)

“Why” is from the 1990 musical Tick, Tick…Boom! by Jonathan Larson. Larson wrote Tick, Tick as he was approaching age 30 and questioning whether he should continue pursuing a career in the theater after struggling for years to get his work recognized and produced. The show is autobiographical, and of course Larson would finally find success with his acclaimed, Tony-winning 1996 musical Rent, which opened in 1996. Unfortunately Larson did not live to experience the fame that he had so long sought, as he passed away suddenly at age 35 from an aortic dissection the night of Rent’s first Off-Broadway performance.

“Why” comes near the end of the show; it depicts Jon remembering how and why he fell in love with theater in the first place, and what amount of sacrifice is required for sustaining a career in the arts. He ultimately decides he can’t picture himself doing anything else. The track modulates at 3:39.

A new film adaptation of Tick, Tick…Boom!, starring Andrew Garfield and directed by Lin-Manuel Miranda, premieres on Netflix this Friday.

Lorde | The Man with the Axe

“Well, I thought I was going to make this big acid record but I don’t think it was an acid album,” New Zealand singer/songwriter Lorde said upon the release of her 2021 album Solar Power. “I had one bad acid experience in this album and was like meh, it’s a weed album. It’s one of my great weed albums.” The record, which represents a departure from Lorde’s typical synth-dominated style in favor of more acoustic, folk-oriented arrangements, reached #1 in Australia and New Zealand, and charted in the top 10 in thirteen other countries.

“The Man With The Axe” is autobiographical, a love song about a person who affects the singer in a way no one else can. “I wrote this track almost as a poem,” Lorde said. “I was very hungover and I think that fragile, vulnerable quality made it in here. It’s funny because it’s kind of melancholy, but I also think of it as very cozy.

“I’m expressing a huge amount of love and affection for someone. To me, it sounds very private — I sort of don’t even like thinking about people listening to it because it’s just for me…I really didn’t change the poem, apart from maybe taking one line out. That was one of the biggest accomplishments of the album.”

The song modulates from E to F# at 3:14.

Bruno Mars | Versace on the Floor

Featured on the 2016 album 24K Magic, “Versace on the Floor” is an homage to the slow jams of the 1990s, and gives singer Bruno Mars a chance to show off his sentimental side.

In an interview with Rolling Stone, Mars claimed the song through several different iterations before arriving at the final version. “At a certain point, I needed to stop telling you we’re gonna get down, and just get down,” Mars said of his inspiration for the hook.

The track charted moderately well, peaking at #33 on the Billboard Top 100 in the US. A music video, starring American actress and singer Zendaya, and a popular remix produced by French DJ David Guetta, were both released in 2017.

The tune begins in D major and modulates up to Eb for the final chorus at 3:19.

No More Wasted Time (from “If/Then”)

“No More Wasted Time” is from the 2014 musical If/Then, featuring a Tony-nominated score by Tom Kitt and Brian Yorkey. The music incorporates folk elements with a contemporary edge. Performed here by original cast members Idina Menzel, LaChanze, Jenn Colella, and Tamika Lawrence, the song begins in Db and builds into a dramatic modulation up to Eb coming out of the bridge at 2:44.

Chicago | Hard to Say I’m Sorry

“Hard to Say I’m Sorry” was the American rock band Chicago’s number one single, and held the #1 spot on the Billboard Top 100 for two weeks in September 1982. Written by the band’s bassist Peter Cetera, the track was included on the album Chicago 16 and nominated for a Grammy in the Best Pop Performance by a Duo or Group with Vocal category.

Musically the song represents a departure from Chicago’s typical horn-dominated texture, featuring synthesizer and guitar more prominently (producer David Foster, who co-wrote the song, is the keyboard player.) Staying in E for the most part, a modulation up to G occurs near the end at 2:52.

Billy Ocean | Love Really Hurts Without You

British singer Billy Ocean’s first Top 40 hit in the US, “Love Really Hurts Without You” was featured on his eponymous first studio album, released in 1976.

Ocean claims he wrote the song while simultaneously learning how to play the new piano he had just bought. “The novelty of it was coming home every lunchtime and evening and tinkling my piano until eventually I did get something out of it which was the song ‘Love Really Hurts Without You’,” he said. “My left hand started playing the melody and my right hand just did some down beats and my voice just started coming out with [the opening lyric] ‘You run around town like a fool and you think that it’s groovy’ and the song just came together there and then.”

The song has since appeared in the 2013 film Filth, as well as in the Netflix series Sex Education. Beginning in F major, the tune modulates up to G at 2:07.

LeAnn Rimes | Can’t Fight the Moonlight

Written by Dianne Warren and recorded by LeAnn Rimes, “Can’t Fight The Moonight” was originally featured in the 2000 film Coyote Ugly, and subsequently appeared on Rimes’s 2002 compilation album I Need You as well as various greatest hits/best-of releases. The track cracked the top 10 in 19 European countries, and hit the #11 spot on the Billboard Hot 100 in the US. Billboard’s review called the song “[Rimes’s] most compelling pop offering yet–and one of the more intriguing compositions of late from songwriter superwoman Diane Warren.”

Warren herself claimed she had never written a song with so many key changes, and it does indeed bounce around. Following an intro that deceptively appears to set up C minor, the first two verses are instead set in B minor, and alternate with the C-minor chorus at 0:52. A bridge-like interlude begins at 2:25 that passes through both keys before modulating to C# minor for the final chorus at 2:25.

See What I Wanna See (from “See What I Wanna See”)

“See What I Wanna See” is the title song from the 2005 Off-Broadway musical by composer Michael John LaChiusa. Based on three short stories by Ryūnosuke Akutagawa, the show has had an extensive life in university and regional productions, and a second NYC production was mounted in 2013. Idina Menzel performs the track featured here, which modulates up a half step from A to Bb at 2:04.