Tag: 2000s

Rufus Wainwright | Cigarettes and Chocolate Milk

Vocalist/pianist/composer Rufus Wainwright released “Cigarettes and Chocolate Milk,” the first track on his sophomore album Poses, in 2001. Wainwright benefited from classical piano and composition training and has carved out two career niches: a unique brand of chamber pop and opera composition. From AllMusic‘s review: the tune “combines classic Gershwin/Brian Wilson pop feels along with a strong sense of French cabaret show tunes” — nowhere more clearly than in this live version.

Starting in E major, a modulation to E minor hits at 0:50 and reverts to E major at 1:26; the pattern continues from there.

John Mayer | Bigger Than My Body

The first single from John Mayer‘s second album, Heavier Things (2003), was the mid-tempo tune “Bigger Than My Body.” Billboard reported that the tune “delivers a contagious melody, an exhilarating arrangement and lyrics that are thoughtful and touching without stooping to sentimentality or bombast.”

Primarily built around E major, the tune’s bridge centers around F major from 2:39 – 3:06, then reverts to E major.

Pharrell Williams | Number One

R&B/pop phenom Pharrell Williams is best known for his worldwide smash hit “Happy.” Earlier in his career, he released “Number One,” featuring a somewhat more sane version of Kanye West. The 2006 tune features a lot of descending chromatic bass motion — rather unusual. The intro (through 0:17) is based on a 4-chord vamp built around F# major, but the first verse (0:17 – 0:53) drops down into an F major/E minor vamp (the F major serving as a “sub V” for E minor.) The chorus, starting at 0:53, reverts to the same setup as the intro; subsequent verses and choruses follow suit.

Chris Thile | I’m Nowhere and You’re Everything

American Bluegrass/Newgrass mandolinist Chris Thile, known for his work with Nickel Creek and Punch Brothers, released his fourth solo album, Deceiver, in 2004. After a chaotic bridge from 2:50 to 3:10, “I’m Nowhere and You’re Everything” modulates at 3:10, 3:42, and 4:06.

From The Houston Chronicle‘s review: “If you expected Thile to cater to Bluegrass orthodoxy and Newgrass’ oft-meandering constructs, this album’s title suggests you’ve been duped.”