Adam Brown, the creator of the electronic music project Owl City, described this song as being about his “…own participation in snowball fights and sidewalk shoveling. Sleigh rides, present-giving and receiving and of course, the ingestion of marvelous Yuletide nutrition (or lack thereof), namely sugar cookies, hot chocolate and peppermint candy canes…”
Released in 2010 as a stand-alone single, the track has a lilting waltz-like feel, and modulates from C major to D at 2:39.
The title track from Stevie Wonder’s first holiday album in 1968, “Someday at Christmas” is infused with Wonder’s signature Motown spirit. The track has stood the test of time, becoming something of a modern holiday classic, and has been covered by artists across the stylistic spectrum, including The Jackson 5, Diana Ross, Justin Bieber, and Rascal Flatts. Most recently, Wonder recorded a duet version in 2015 with American singer Andra Day for use in an Apple TV commercial, which is featured here. Key changes at 1:22, 2:22, and 2:43.
“The Star” was the first single released from the eponymous 2017 holiday film, inspired by the Nativity story. Performed by Mariah Carey, the song was nominated for Best Original Song at the Golden Globe Awards. In her review at Pop Sugar, critic Victoria Messina claimed “this brand-new jam just might give “All I Want For Christmas Is You” a run for its money.” Beginning in B major, the track modulates to Db at at 2:51 and then to Eb at 3:11.
Happy Thanksgiving to the MotD community! We on the admin team are grateful for your continued support of the page. Today, we feature the southern gospel quartet, The Perrys, with a track from their 2014 album Into His Presence. Key change at 1:42.
Tomorrow we begin our holiday season at MotD, featuring holiday music exclusively through December 25. If you come across any key changes as you listen to your favorite holiday albums, please share them!
“Another Day of Sun” is the thrilling opening number from the Academy Award Best Picture-winning 2016 film La La Land. Featuring a 95-piece orchestra and 40 voice choir and filmed on location in Los Angeles, the song depicts drivers stuck in traffic jam on a highway ramp, singing and dancing about their aspirations to succeed in Hollywood.
“It’s an optimistic song,” said composer Justin Hurwitz, “but it’s also about unfulfilled dreams.” Co-lyricist Justin Paul added, “You pursue that dream, and you go to bed and get up the next day, and it’s a gorgeous day. It encourages you in one breath, and in another breath doesn’t acknowledge that you just failed miserably. You wake up and it doesn’t match your mood. It’s a bright and shiny day.”
Key change at 3:21.
Broadway music director and pianist Greg Anthony Rassen (Bandstand, Bullets Over Broadway, An American in Paris) has written a stunning piano quartet arrangement of “Waving Through a Window,” from the hit 2015 musical Dear Evan Hansen, as a tribute to all of the Broadway musicians and other music staff who have been out of work since their shows went dark in March. “I did this arrangement with all of you in my heart,” Greg said in a Facebook post sharing the video. “Never stop making music.” Key changes at 2:10 and 3:01.
Acoustic/folk singer/songwriter Dar Williams “fits short stories into song,” reports Seattle’s The Stranger, “assesses the moral magnetic compass of the Xer generation, at least, and stays so catchy that you barely realize you’re being tested. Until you get the CD home and check out the lyrics.”
A review in The New Yorker praised Williams: ” … her songs are beautiful. Some are like finely crafted short stories. They are, variously, devastatingly moving, tenderly funny, subtle without being in any way inaccessible, and utterly fresh—not a cliché or a clunker in her entire songbook, which now numbers around a hundred recorded original compositions.”
Williams’ 2012 release “Write This Number Down,” submitted by frequent contributor JB, begins in Eb major. After several short and deliberate verses, the tune finds a more open vista during a brighter, fuller bridge (1:45) as it climbs up to F major. A step back down to Eb accompanies another verse at 2:10. But the musicality of the tune aside, JB calls particular attention to the civics-centered lyrics, a commonplace in Williams’ work:
A vote for one, a vote for all
A right to silence, one free call
You’ll need a warrant for that
No, she won’t sit in the back,
And yes, we’re still abolishing all slavery
Every kind of slavery
“We Are The People” is featured on the eponymous sixth solo studio album of Ziggy Marley, son of the reggae icon Bob Marley and a prominent singer/songwriter, producer, and philanthropist himself. The lyrics to the tune speak for themselves; key change at 2:43.
Brazilian vocalist Maria Rita began performing at the age of 24. According to her own website, the singer has said “’Finding yourself in the world is a very difficult task.'” The daughter of iconic Brazilian chanteuse Elis Regina and pianist/arranger/composer César Camargo Mariano, Maria Rita was told from early in life that she had “a duty to sing, but resisted for some time. ‘I see life as a big process built by small processes along the way. I always wanted to sing. But the question was not wanting, it was why.'” Shortly after launching her career, she won the 2002 APCA Award for Revelation of the Year from the Associação Paulista de Críticos de Arte (São Paulo Association of Art Critics).
AllMusic details that for the 2011 album Elo, of which “A História de Lily Braun” is a part, Rita “re-creates the intimate setting of her appearances at Sao Paolo’s Tom Jazz club in 2010, as she is joined only by the trio of pianist Tiago Costa, bassist Sylvinho Mazzuca, and drummer Cuca Teixeira … To put it succinctly, this is a Brazilian nightclub chanteuse album in which Maria Rita offers her take on well-known songs by the likes of Djavan, Chico Buarque, Caetano Veloso, and Rita Lee.” The spare trio accompaniment certainly couldn’t center the vocal an inch more than it does.
Starting in Bb minor, this sultry, funk-inflected acoustic bossa track transitions to C minor with the help of a short instrumental hinge between 1:55 – 2:00.
Rock/Pop artist Superfly, also known as Shiho Ochi, has cranked out several dozen hits in Japan since the late 2000s. But despite being raised on a diet of Japanese pop, she’s intrigued by soulful American rock hits of the 1970s. The Japan Times recounts that “…in 2008, Ochi’s love for Janis Joplin paid off big-time when Japanese TV station Music On! had her front a travelogue show called Following the Steps of Janis, in which she visited the blues-rock queen’s old San Francisco haunts and interviewed Sam Andrew of Joplin’s one-time band Big Brother and the Holding Company.
‘Since he knew I was a singer, he suggested I play a song for him, so I did. And then he told me that there would be a festival called Heroes of Woodstock in 12 months’ time and asked if I would like to perform (with Big Brother). I thought he was joking, but sure enough, a year later the invitation came.'” Although she speaks no English and learned Joplin’s tune by ear only, she “sang two Joplin covers (‘Down on Me’ and ‘Piece of My Heart’) with Big Brother on the New York State site of the original 1969 event, for an appreciative if unacquainted audience of mostly older Americans.”
Superfly’s “A Bouquet With Love” (a rough translation of the Japanese title), released in 2011, features a mammoth instrumentation, easily matched by some sturdy belting by Ochi. The tune builds to a whole-step key change at 3:56 before closing with a punchy, syncopated vamp built around I major -> v minor — the same one we first heard whispered in the intro.
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