2010s – Page 3

Rhythm of the Universe | Anthem for the World

In 2010, “a group of Berklee College of Music students set out to show just how powerful music can be,” (Berklee.edu). “The orginal spark came from Emir Cerman and he was joined in his quest by a group of fellow Berklee musicians. The result is Rhythm of the Universe, a musical collaboration project that brings together the voices and sounds of musicians from more than 90 different countries. ROTU was created to promote unity through music and further promote the value of music education … more than 300 Berklee students, from all walks of life, (were) involved in this project, creating ROTU’s “Anthem for the World”—a song written for the world, by the world.

ROTU has performed at (Boston’s) Symphony Hall alongside the Video Game Orchestra and Grammy Award-winning composer and conductor Alan Silvestri. More recently, the group performed as part of the 9/11 memorial event Massachusetts Remembers, on Boston’s Esplanade. It’s also used its influence, through a YouTube video, to raise awareness of the devastation following the October 2011 earthquake in Van, Turkey; that video received more than 80,000 views and was also picked up by more than 15 major news and music channels in Turkey, Germany, and France, reaching more than 50 million people. ‘We’re serving as a vehicle to show unity through music,’ said ROTU cofounder Gabriel Peguero. ‘To show that through this unity, collaboration is possible and together we can do great things,’ … As ROTU embodies this unity, by representing so many countries it is also an example of Berklee’s international reach.”

Starting in E minor, the ambitious track journeys through shifting textures and nods to multiple genres. At 2:03, a surprising whole-step downward key change brings a suddenly quieter accompaniment. At 3:10, the original key returns, then rises another half step to F minor at 4:56 leading up to the track’s closing. The final third of the video is devoted to the credits (along with some wonderful behind-the-scenes footage), which are as extensive as you’d expect for such a large project!

Many thanks to Julia B. for submitting this track — her first (and hopefully not last!) contribution to MotD!

Once and For All (from “Newsies”)

“Inspired by the Newsboys Strike of 1899 in New York City, Newsies revolves around Jack Kelly, a newspaper delivery boy — aka “newsie” — who is living among a group of other young newsies, most of them homeless or orphaned,” (ArtsATL.org). “Jack dreams of being an artist and escaping to Santa Fe. Among his clan are disabled friend Crutchie, Davey, and Davey’s young brother Les, who have joined the group after their father becomes unable to work. When publisher Joseph Pulitzer decides to raise the cost of the newspapers to the boys by a dime, it causes the gang to protest and eventually strike.

The book is by Harvey Feirstein, music by Alan Menken, and lyrics by Jack Feldman. Nominated for eight Tony Awards in 2012, it won two, for choreography and music, losing the big prize to Once … Overall, Newsies is brisk and compact with a tight score, complete with some showstoppers.” The musical opened on Broadway in 2012.

After a gentle intro in G major, “Once and For All” jumps to its relative E minor for most of the track as it tumbles forward with a grim energy. Other minor keys are visited as the focus remains on the compelling lyrics, the straightforward repeated melody, and a relentless four-on-the-floor groove. The key of A minor happens to be in effect when the tonality explosively shifts to A major (3:08) and a less frenetic, more anthemic feel for a late bridge — just in time for the pivotal lyric “There’s change coming, once and for all.” But at 3:34, we’re back to the minor grind for the song’s closing moments.

Dan + Shay | Show You Off

“Just as the line between gospel and classic country was blurry in the Louvin Brothers’ heyday, it remains possible to pull off a certain Saturday night/Sunday morning thing in the modern country and Christian markets simultaneously,” (Stereogum). “There is no shortage of overlap within these worlds, demographically speaking. Sonically, too, both genres have gravitated toward arena rock grandiosity over the years, alienating traditionalists while still appealing to vaguely traditional notions of faith, family, the heartland, etc. Dan + Shay’s music feels targeted to this intersection. They give off big worship leader energy …

It’s working out well for them. The duo is one of country music’s biggest pop crossover success stories in recent memory. Not only did their 2018 self-titled album spin off three country #1 hits in ‘Tequila,’ the storybook-wedding ballad ‘Speechless,’ and ‘All to Myself’ … they also sent two of those songs to the top 10 at adult contemporary radio. They won awards at just about every ceremony within their reach: Grammys, Billboard Awards, Teen Choice Awards, CMAs, ACMs, you name it.”

The duo’s 2014 release “Show You Off,” performed here live with just the two singers and minus a lot of the contemporary Nashville shininess, shifts up a whole step (2:24) after a a brief bridge.

Lucky Daye | Real Games

Painted by Lucky Daye, a 2019 album release, is ” … a modern twist on traditional soul-funk or ‘Neo-soul.’ (TheModernLifeMag.com). “He grew up in a religious household where secular music was largely prohibited,” (AllMusic). “As a result, he developed his musical abilities by learning melodies through church hymns. After leaving his family’s church as a teenager, he immersed himself in R&B, soul, and funk music, drawing inspiration from artists such as Stevie Wonder, Prince and D’Angelo. Following New Orleans’ devastation by Hurricane Katrina, he relocated to Atlanta, Georgia …

Daye was a 2005 American Idol contestant and “a successful songwriter and background vocalist, with credits as ‘D. Brown’ on tracks by some industry A-listers such as Trey Songz, Ne-Yo, Keith Sweat, Boyz II Men, Mary J. Blige, and many more notable artists.”

The hard-charging funk verses of “Real Games” are built in Bb minor. The choruses, first heard from 0:57 – 1:24, shift to several different Bb major-related modes as they immerse us in a noticeably lighter groove and texture. D’Mile, the track’s co-writer along with Daye, also served as producer for the tune. Daye uses one of his apparently favorite techniques — pitch-shifting his vocal down an octave, sometimes doubled with the original vocal — several times throughout the track.

The Summarily Dismissed | Limerent Buzz

“Ari Shagal’s … bold, brash, electrifying album, To Each! channels Laura Nyro, Donald Fagen, jazz in general, Broadway, and a lot more,” (Soundstage Experience). Songwriter Ari Shagal “proves to be a triple-threat performer, singer, and composer/arranger.

Though there are up- and down-tempo songs on this set, it’s full of swagger and confidence — the same feelings I get from a Steely Dan album. Shagal’s music is chic, cool, and invigorating, even when it’s the blues. It goes down easy while leaving a lasting impression.”

“Limerent Buzz,” a track from 2014’s To Each! by the Shagal-led band The Summarily Dismissed, starts in Bb major, but shifts to Db major for all but the tail end of its chorus, first heard between 0:50-1:14). At 1:21, we return to the original key for the next verse; the pattern continues from there.

Tim Minchin | Three Minute Song

“Tim Minchin is an Australian musician, comedian, composer, actor, writer and director,” (artist website). “He has toured extensively in the US, UK and Australia, performing solo, with bands, and with symphony orchestras. He’s released five DVDs, the most recent recorded with the Heritage Orchestra at the Royal Albert Hall. He is the composer lyricist of two hit West End / Broadway musicals, Matilda and Groundhog Day, both of which won the Olivier Award for Best West End Musical and garnered nominations for Best Score and Best Musical in Broadway’s Tony Awards.

Minchin wrote, produced and starred in the Sky Atlantic / Foxtel TV series, Upright, in 2019. Other screen-acting credits include Atticus Fetch in Season 6 of Californication, a Logie Award-winning Smasher Sullivan in the ABC’s Secret River, and Friar Tuck in Lionsgate’s Robin Hood reboot. Stage highlights include Judas in the UK / Australian Arena tour of Jesus Christ Superstar in 2012, and Rosencrantz in the Sydney Theatre Company’s Rosencrantz and Guildenstern are Dead the following year. He has published two books: the graphic novel, ‘Storm,’ and the illustrated childrens’ book, ‘When I Grow Up’. He is a member of the Order of Australia, a philanthropist and a mediocre juggler. ‘Simultaneously an excellent stand-up comedian, a purveyor of physical comedy, an accomplished musician and a lyricist of diabolical ingenuity. Witty, smart, and unabashedly offensive.‘ (The Age, Melbourne)”

Minchin’s “Three Minute Song” needs little description, as it tells its own story. This 2011 performance of the tune was composed specifically for the BBC program Ruth Jones’ Easter Treat. 2:28 brings a whole-step key change, shoe-horned in among a huge number of syllables per minute and plenty of fast piano riffs.

헤이즈 (Heize) | And July

“Heize is a talented rapper and singer-songwriter from South Korea,” (IMDB). “She’s become one of South Korea’s most successful female solo musicians because of her distinctive sound. She has worked with numerous other musicians; her songs have been well-received both domestically and abroad. Jang Da-hye (her off-stage name) … rose to fame after making her debut in 2014 with the EP Heize and showing up on the second season of the South Korean reality show.

Heize won the 2017 Korean Music Awards for Best Female R&B/Soul Artist. She also won Best OST at the 2017 Melon Music Awards for her song “Round and Round” from the Goblin soundtrack, which she co-wrote with Punch. Her music has also been featured on US television shows such as Grey’s Anatomy and Empire. She received a 2018 BET Award nomination for Best International Act.”

Heize’s 2017 track “And July,” featuring a combination of rap and sung melody, is a mix of R+B, funk, and hiphop elements. The track is written in D minor overall, but shifts to Eb major for its noticeably smoother and more lyrical bridge (2:27 – 2:46), featuring lead vocals by collaborator Kwon Hyuk (stage name: Dean) before returning to the original key.

Many thanks to Sri, a longtime MotD reader and first time contributor, for this distinctive submission!

Bill Wurtz | Mount St. Helens Is About to Blow Up

“(Bill) Wurtz’s unique combination of absurd, surreal and non-sequitur lyrics and smooth jazz/pop/easy listening makes him quite difficult to classify as an artist, and I’m pretty sure he’s OK with that,” (TheProgressiveAspect.net). “Add to that his growing number of self-produced music videos featuring random imagery, signature neon text and careful synchronisation with the music and suddenly it feels like you’re in a different universe when listening to his songs. On an initial listen to one of his tunes, the bizarre lyrics really stand out: ‘Mount St. Helens is about to Blow Up’ (2018) features the lyrics:

‘All of these business suits that I’ve just purchased
Gonna have to throw them all away
And slip into something more reasonable and dance the night away.‘

The Beatles only wrote ‘I Am the Walrus’ once, John Lennon’s attempt to confuse listeners as to the meaning of his lyrics. Jon Anderson time and time again wrote faux-mystical lyrics about seasoned witches and sharp distances. But Bill Wurtz employs a different strategy, with lyrics that are grounded in reality, yet used in a non-sequitur fashion so that they resonate with nobody and everybody at the same time. You can spend hours puzzling over the patterns in his lyrics, which are generally positive but can, on a dime, evoke more unpleasant images: see ‘Outside’s’ Now I’m pregnant/With aliens. It seems that there are no rules, but Wurtz has managed to tread carefully and with precision to ensure that his lyrics are truly unpredictable and without any religious, political or any other sort of bias.”

Built in G major overall, the tune diverts to Eb major for the bridge at 0:49. At 1:12, we return to G major — a move that continues throughout, despite plenty of outright key changes and brief steps outside the key. For a much more detailed analysis of this tune’s 900-thread count fabric, we’re also including a video below from the brilliant and insanely fun theory wonk/educator Charles Cornell — very worth the time!

Say No to This (from “Hamilton”)

“I don’t mean to suggest that you’re unpatriotic if you aren’t moved by Hamilton … but in order to dislike it you’d pretty much have to dislike the American experiment,” (Vulture.com). “The conflict between independence and interdependence is not just the show’s subject but also its method: It brings the complexity of forming a union from disparate constituencies right to your ears.

It may confuse your ears, too: Few are the theatergoers who will be familiar with all of Miranda’s touchstones. I caught the verbal references to Rodgers and Hammerstein, Gilbert and Sullivan, Sondheim, West Side Story, and 1776, but other people had to point out to me the frequent hat-tips to hip-hop: Biggie Smalls, the Fugees, ‘Blame It (On the Alcohol).’ And I’m sure that historians in the audience (the show was “inspired by” Ron Chernow’s 800-page Hamilton biography) will catch references that the rest of us fail to notice. (“The world turned upside down,” a repeated phrase in a number about the Battle of Yorktown, is the name of the ballad supposedly played by Redcoat musicians upon Cornwallis’s surrender there, in 1781.) But for all its complexity — its multi-strand plotting and exploding rhyme-grenades — Hamilton is neither a challenge nor a chore. It’s just great.”

Synopses of the 2015 smash hit’s show’s plot are plentiful; suffice it to say that “Say No to This” shows the mix of rap and sung lyrics for which Hamilton is so well known. After a start in A major and a shift to the relative F# minor at 2:33, there’s a quick hop to Bb major at 3:00 before the tune settles into B major from 3:03 to the end.

Laura Mvula | Ready or Not

“Birmingham (UK)-born Laura Mvula is a soul singer-songwriter who graduated from the Birmingham Conservatoire with a degree in composition,” (National Portrait Gallery). “In 2013, she signed a multi-album record deal with Sony, and her debut album Sing To The Moon was released in 2013, reaching number nine in the UK albums chart. Guardian critic Paul Lester coined her music as ‘gospeldelia’. She won awards for Best Female Act and Best R&B or Soul Artist at the 2013 MOBO Awards. She received the 2017 Ivor Novello Award for her second album, The Dreaming Room (2016). She lists her influences as Nina Simone, Lauryn Hill and Jill Scott. In 2017, the Royal Shakespeare Company invited her to compose the music for their new production of Shakespeare’s Antony and Cleopatra.”

“It’s a bold move to cover The Delfonics’ ‘Ready or Not Here I Come (Can’t Hide from Love)’ — especially when considering The Fugees did so years ago with huge success — but British singer Laura Mvula has created a version that does it justice,” (Cool Hunting). “Mvula’s iteration modernizes the song, while remaining faithful to the original: it’s vibrant and danceable, while keeping a bit of the creepy, stalker darkness. With layer upon layer of background vocals, Mvula’s honeyed voice and delightful accent, this version takes on several different lives before its over.

Mvula’s 2016 version lacks the earthy hiphop factor of The Fugees’ 1996 smash hit cover, but keeps us on the edge of our seat from the opening seconds via some odd meters. A larger difference yet is the shifting tonality of Mvula’s version (absent from the Fugees’ version, but present in the Delfonics’ gentle, diminutive 1968 original, which features a run time of only two minutes). Mvula’s cover starts in B minor, shifts improbably to F minor at 0:30, then visits D minor at 0:52. At 1:12, we’ve returned to the opening key of B minor; the pattern continues from there, running at top intensity until the groove drops out for the unresolved ending.