Tag: 2010s

Matt Bloyd & Chrissy Metz | Anything Worth Holding Onto

Composer lyricist Scott Alan wrote this song in 2010, and went in-depth with the LGBT outlet Advocate on what it meant to him:

“The past year has had its ups and downs. I had the incredible opportunity to do concerts in exciting places like London and Australia, but I also learned how lonely life on the road can be — and how returning home is even lonelier when there’s nobody to return to.

Two years ago when I turned 30, my heart found itself in a place it wasn’t expecting to go. It was, for the first time, ready to start a family. In the song “Nothing More,” sung on What I Wanna Be When I Grow Up by the wonderful Christopher Sieber, I wrote about my yearning to leave more than a song behind as my legacy. I knew there was something major missing from my life, and I knew exactly what it was: a child.

After giving everything I had to a relationship that fell apart only a year later, the question became, How much more of myself did I really have left to give? When the relationship ended despite my best efforts, I felt numb to everything around me and completely exhausted. But more than that, I found that the one constant in my life, writing, was suddenly not happening. It was like I’d been put on pause. I couldn’t find words; I couldn’t hear melody. I felt trapped. Though I had so much to say, I couldn’t find the right words with which to say it. I’d sit at the piano and nothing matched the emotions I felt in that moment. They were just words and notes. Words and notes without any meaning to them.

Here I was at a crossroads; I wanted a family, yet the family that I’d been building with my partner was now nothing more then crumpled pieces of unusable lyrics filling up my floor. I was no longer in control of anything.

To understand me is to understand one important thing — I write about my life and all that comes with it. To say that my music and lyrics define me is an understatement. I put every element of myself into song. All of my secrets, inner turmoil, and celebrations are musicalized. It’s my therapy.

Day after day, I kept sitting down at the piano, hoping that some sort of genius idea would present itself. Then one day I started slowly writing again — When the life you had planned / Slowly slips through your hands / When it feels like you just slept through all the best years of your life / When the heart’s beyond repair / When you wake and no one’s there / When your home consists of only you / Is there anything worth holding on to?

That’s all I was able to write at the time. I couldn’t find other words to describe how completely trapped I felt or how losing the ability to explain it in song made me feel even lonelier. 

I needed to take a break — to just step away from the piano and from everything around me. I took a vacation to Italy. No phone. No computer. Traveled for two weeks. Stayed in the nicest hotels. Got fat. Drank wine. Ate more gelato than I care to admit. And just breathed. In a relationship it’s easy to forget yourself. This was my chance to get to know me again.

When I returned I put all my energy into finishing the new album. As minutes turned into months we had 11 songs finished. But my coproducer and arranger of the album, Jesse Vargas, insisted that we add one more. I hadn’t sat at the piano since I returned from Italy, too afraid to find that I may still be in the same place I was before I left.

I sat down. Put my hands on the keys. I took a breath. I wrote. When you’re so far from home / When you’ve lost signs of hope / When you’re searching for salvation / But there’s none that you can find / When the words have disappeared / When the melody’s unclear / When there’s nothing left inside of you, is there anything worth holding on to? I sat for a minute … there was still something left to say. Cause I will still be holding on / To everything worth holding on to.

I finished — six months after I’d started it, but it was finally finished.

Jesse decided that if this song was going to be the one to complete the album, it had to be stripped down. On an album filled with lavish orchestrations and arrangements, he believed that it needed nothing more than its lyrics, its melody, the incomparable voice of Crystal Monee Hall, and a piano.

The day I released the album I sat on my couch, studying the cover. I took out my two previous albums, Dreaming Wide Awake and Keys, and put all three of them on my dining room table. Taking a close look I realized that for now these are my children. And I couldn’t be more proud of them. For the first time in over a year, my heart felt full again.

An hour later I started planning the next birth.”

Performed here by Matt Bloyd and Chrissy Metz, the song begins in C, modulates up to Eb for Metz’s entrance on the second verse at 2:04, and lands in F at 4:05.

Nickel Creek | Love of Mine

Acoustic trio Nickel Creek‘s first self-released recordings appeared in the 1990s; its platinum-selling eponymous major label debut was in 2000. 2014’s A Dotted Line appeared after a break of nearly a decade. “There’s a fluid confidence that takes (Nickel Creek’s) precocious virtuosity into a musicianship that is as supple as it is kinetic,” (Paste). “…the progressive bluegrass they embraced as teenagers is a mere starting point—integrating the places the trio explored during the seven years since they released a studio project.

(Mandolinist/vocalist) Chris Thile emerges as perhaps the unrepentant romantic. ‘Love of Mine,’ with his voice tenderly tentative, weightlessly caresses what might be (then later might not). The see-saw of emotions is so well-reflected in how the instruments tangle, merge and fall out—paralleling what’s being sung … Not merely a product of maturity, Nickel Creek has grown without losing its palpable joy or wondrous ability to make musicianship as accessible as the engaging way their voices draw listeners to them.”

After a start in F# minor, a brief foray into F minor appears at 0:44 before reverting to the original key at 0:51. The two keys then proceed to quarrel it out to a draw, the intensity of the upward key changes only magnified by the common melody note on either side of the modulation.

Rumer | Aretha

A submission from Paul “Steck” S., one of our regulars:

“Rumer is the stage name of Sarah Joyce, a Pakistan-born British singer-songwriter who has been very popular in the UK, but less well-known in the US. Her contralto voice is sometimes redolent of Karen Carpenter; indeed, Richard Carpenter wrote her to praise her first album, Seasons of My Soul, released in 2010. She’s released several albums since then, one as recently as 2020.

Rumer has been extensively involved with the music of Burt Bacharach. In 2010, she released a Christmas EP with a Bacharach song; in 2012, she performed at the White House as part of the tribute to Bacharach and Hal David; and in 2016, she released an entire album of Bacharach/David songs.

The tune here, “Aretha,” is taken from the first album; yes, it’s Aretha Franklin that she’s singing about. It’s a tale of a schoolgirl, attending a school where the kids are mean, while coping with a mentally ill mother. Listening to Aretha on her headphones is a refuge. It was written by Rumer and producer Steve Brown.

The song is a soul ballad in the key of B♭, mostly in 4/4 time (with a 12/8 feel), with measures of 2/4 and 3/4 in the verse. The bridge at 1:56 features the singer lightly harmonizing with herself. At 2:30, there’s a modulation to C for the final verse.”

Thanks, Steck, for this submission!

Mrs. Green Apple | Love Me, Love You

Mrs. Green Apple is a Japanese rock band, based in Tokyo. In 2016 they released their first full record, Twelve, on the Japanese label EMI records; they have also written music for popular anime series.

“Love Me, Love You” was the sixth single released by the group, and peaked at #19 on the Oricon chart in 2018. The tune modulates from F up to Ab at 3:36.

Alex Newell & Lindsay Pearce | Do You Hear What I Hear

*This is the fourth installment of our weeklong series on “Do You Hear What I Hear”

The cast of the TV show Glee released their second Christmas soundtrack album, Glee: The Music, The Christmas Album Volume 2, in 2011, featuring ten covers and two original songs. Alex Newell and Lindsay Pearce are the featured vocalists on “Do You Hear What I Hear,” which modulates from C up to D at 1:58.

Jennifer Nettles | Do You Hear What I Hear

*This is the third installment of our weeklong series on “Do You Hear What I Hear”

Country singer Jennifer Nettles released her first Christmas album, To Celebrate Christmas, in 2016. Her arrangement of “Do You Hear What I Hear” is the sixth track on the record, and modulates from C to D at 2:31.

Pentatonix (ft. Whitney Houston) | Do You Hear What I Hear

*This is the second installment of our weeklong series on “Do You Hear What I Hear”

The a cappella group Pentatonix took Whitney Houston’s 1987 recording of the holiday standard and dubbed in her vocals to their arrangement, which was included on their 2019 holiday compilation album The Best of Pentatonix Christmas. Modulation from Ab up to A at 2:05.

Idina Menzel | Do You Hear What I Hear

*This post is the first in a week-long series featuring different arrangements of “Do You Hear What I Hear”

Written by Gloria Shayne and Noel Regney during the Cuban Missile crisis in 1962, the song was a plea for peace. Shayne and Regney were married when they wrote the song, with Regney contributing the lyrics and Shayne the music. In an interview Shayne said it was difficult for both of them to perform the song because of the emotions surrounding it. “Our little song broke us up,” she said. “You must realize there was a threat of war at the time.”

The song has since been covered by hundreds of artists and is frequently included on Christmas albums. Idina Menzel’s rendition is the first track on her 2014 album Holiday Wishes. It begins in C major, modulates briefly to Db at 1:53, and lands in E at 1:58. A common tone modulation back to C occurs at 2:30, and we stay there until the end.

Michael Buble | Winter Wonderland

Michael Buble’s 2011 album Christmas has sold more than 12 million copies worldwide, making it by far his most successful album, and one of the best-selling records of the 21st century. “Winter Wonderland” was one of four tracks added to the deluxe edition of the album released in 2012. It modulates from Db up to D at 1:54.

Cee Lo Green | What Christmas Means to Me

Written by Allen Story, Anna Gordy Gaye and George Gordy, and first recorded by Stevie Wonder in 1967, “What Christmas Means To Me” has been covered by dozens of artists over the years. Green included the song on his 2012 Christmas album Cee Lo Green’s Magic Moment, and it reached the #23 spot on the R&B charts in the United States. The tune modulates from Bb up to B at 1:41.