Canadian singer Justin Bieber makes his MotD debut with “That Should Be Me,” the final track on his first studio album, My World 2.0, released in 2011. The song, which was co-written by Bieber, Nasri Atweh, Luke Boyd, and Adam Messinger, debuted at ninety-two on the Billboard Hot 100 chart. The lyric portrays the singer pleading with his lover to take him back.
The tune begins in C minor and transitions to the relative major, Eb, for the chorus at 0:41. There is a full modulation, up a half step to E major, coming out of the bridge for the final chorus at 2:34.
“Curiosity” is featured on Canadian singer Carly Rae Jepsen’s eponymous 2012 EP. The track has a similar feel to “Call Me Maybe,” Jepsen’s breakout hit from the same EP. “[Curiosity] brings the same lighthearted vibe while touching on a more personal note,” said critic Jen Appel. “This song encompasses the feelings of a girl fighting to keep her relationship alive while struggling with the ever-present curiosity of “what ifs.”
The tune begins in E and shifts suddenly up to F# at 2:12.
Canadian singer/songwriter Lauren Spencer-Smith released her debut album, Unplugged, in 2019, and appeared on the 18th season of American Idol in 2020. Her big break came in 2022 with the single “Fingers Crossed,” which charted in the top 20 in the United States and other countries. “All I Want” is featured on her 2020 EP Mixed Emotions. The tune, a plaintive song with just piano and voice, begins in Db and deceptively transitions to Eb at 2:14, with the vocal reaching up to the fifth scale degree. It stays in Eb till the end.
“Blending the energy and melodicism of pop-punk with theatrical pop ambitions and a progressive rock spirit, Canadian quartet Marianas Trench — named after the Pacific Ocean trench which is the deepest known spot in the world — rose to widespread popularity at the end of the 2000s thanks to platinum-selling concept albums like 2009’s Masterpiece Theatre and 2011’s Ever After,” (AllMusic). “With an increasing trend toward thematic grandeur and a growing worldwide audience, the Vancouver band continued to expand both their sound and commercial reach with the ’80s adventure film-themed Astoria in 2015 and the lush, haunted pop of 2019’s Phantoms.“
Reviewing Phantoms,MelodicMag adds: “Full of theatrical moments, textures, colors, and unconventional sounds … Reminiscent of Queen’s ‘Bohemian Rhapsody,’ (‘The Killing Kind’) sounds like multiple songs in one … Each section is like organized chaos. They build onto each other, while staying central to a certain theme or idea.”
Starting in B minor, the track ends in the relative major key of D major — but this seemingly straightforward shift is handled in an indirect fashion: a meandering path through a landscape constructed from equal parts 1970s Queen-style pomp and the gleaming grandeur of contemporary symphonic metal.
“That’s The Way It Is” is one of Dion’s biggest hits, and was heralded by Billboard as one of the greatest songs of 1999. “‘That’s The Way It Is’ doesn’t sound like it’s trying to be Britney Spears,” said the website Can’t Stop The Pop.“It sounds like the authentic evolution of a superstar – this is a Celine Dion song through and through – and it’s hard to imagine it being performed by anyone else.”
Dion has performed the song on the Rosie O’Donnell show, twice on the Today Show, as well as on multiple tours. Beginning in E major, the track dramatically modulates up a third to Ab coming out of the bridge at 2:50.
Thanks to MotD contributor Gus Connelly for this submission!
“Shania Twain has been in our lives seemingly forever,” (WideOpenCountry). “So long that it’s hard to even imagine that she has a beginning. Shania just… is. Well, we all start somewhere and country music’s favorite Canadian is no different. Her first major hit, “Whose Bed Have Your Boots Been Under,” from her second studio album The Woman in Me, reached No. 11 on the Billboard country music charts in 1995 and vaulted Shania into stardom. Twain’s first single to get recognition was actually so popular it won Song of the Year at the Canadian Country Music Awards.”
Shania co-wrote the song with then-husband, songwriter/producer Robert John “Mutt” Lange. Lange, who has produced AC/DC, Def Leppard, The Boomtown Rats, Foreigner, Michael Bolton, The Cars, Bryan Adams, Huey Lewis and the News, Billy Ocean, Celine Dion, Britney Spears, The Corrs, Maroon 5, Lady Gaga, Nickelback, and Muse, later produced Twain’s subsequent album Come On Over. According to the RIAA, the album became the best-selling country music album ever released and the best-selling studio album ever released by a female artist in any genre
After an instrumental break, a now-familiar chorus starts at 3:05 — but doesn’t get a chance to complete itself before 3:15 brings a second start for the chorus, this time a full step higher. Many thanks to Ziyad for another great contribution!
Canadian performer Anne Murray’s “A Little Good News” was written nearly four decades ago (1982), but its sentiment still resonates clearly today. “Written by Tommy Rocco, Charlie Black, and Rory Bourke, the heartfelt country ode finds Murray singing about one’s despair over the inhumanity, cruelty, and distress she often reads about in newspapers and hears on the news,” (CountryThangDaily). “Charlie Black remembered the day they wrote the song. The three songwriters were sitting around with their cup of coffee while watching [coverage about] the 1982 Lebanon War … and every news story was worse than the one past it, making them shake their heads of how bad things were. It was at that moment when Black said, ‘Wow, we sure could use a little good news today.’”
Anne Murray released the song in 1983 as the lead single from the album of the same name. A true crossover track, it reached #1 on Billboard’s Hot Country Songs chart, sustaining that rank for 20 weeks — but also reached #11 on Billboard’s Adult Contemporary chart and #74 on Billboard Hot 100. The tune was awarded a Grammy for Best Female Country Vocal Performance and the Country Music Association’s Single of the Year.
There’s an early unprepared half-step modulation at 1:39. Many thanks to Ziyad for another great submission!
From Sputnik Music‘s review of “In the Days of the Cavemen,” from Crash Test Dummies‘ 1993 album God Shuffled His Feet: “Oh Canada! Hail to my neighbor to the north. I praise you because not only have you shared with us some major musical talents over the years, like Rush and Joni Mitchell (for which I am eternally grateful), but you’ve also given us a host of quirky smaller bands throughout the last four or five decades, so many of whom I’ve enjoyed: Bands like Klaatu in the seventies, and Martha and the Muffins in the eighties. Oh, and in the nineties — Crash Test Dummies!
Although they made a nice little career for themselves in the great white north, God Shuffled His Feet was this band’s only internationally successful album … (It) took off around the world … powered by the success of one unconventional single, a slow and poignant track about how it feels to be different, the oddly- titled ‘Mmm Mmm Mmm Mmm'”.
Brad Roberts’ voice is quite unusual for a frontman, given its edge-of-the-bell-curve bass/baritone range. Adding to his immediately recognizable sound are the relatively slow pace of the lyrics and his habit of over-enunciating: it often seems as if he’s passing on time-sensitive directions on how to diffuse a bomb — over the phone, to a middle school student. Roberts also was central to the band as an instrumentalist. Frequent contributor JB adds: “The bassline is exquisite throughout the whole tune: clean and melodic, but the same can be said of almost every bass part played by Brad Roberts.”
The tune is set in B major for the verses and the chorus; there’s a big jump to G major for a bridge at 1:35 – 1:54 (or rather a bridge-like section, because it happens again at 2:37 – 3:16).
Pasek & Paul’s 6-time Tony Award-winning, blockbuster 2016 musical Dear Evan Hansen opened in London in November 2019 before closing the following March due to the COVID-19 pandemic; it is scheduled to re-open this October. English actor Sam Tutty plays the title character in the production, and is featured here singing “For Forever” with three other Evans: Andrew Barth Feldman from Broadway, Robert Markus from Toronto, and Stephen Christopher Anthony from the national tour. The show’s music supervisor Alex Lacamoire produced and arranged the vocals, Dillon Kondor wrote the guitar arrangement, and Tim Basom and Ethan Pakchar accompanied for this performance.
A film adaptation of the musical, starring Ben Platt who originated the role of Evan, will be released this September. Key changes at 2:47 and 3:49.
“Orcadian fiddle and mandolin player Graham Rorie is an award-winning folk musician based in Glasgow,” his site reports. “A finalist in the 2021 BBC Radio Scotland Young Traditional Musician of the Year and graduate of the Royal Conservatoire of Scotland’s Traditional Music Degree, Graham has been making a name for himself as a performer, composer, session musician and producer.”
The bio continues: “While still in the early stages of his career, Graham has gained a wealth of performance experience appearing at festivals including Glasgow’s Celtic Connections, Celtic Colours (Canada), Festival Interceltique de Lorient (France) and Celtica Valle D’Aosta (Italy).” The piece “Babiche” is part of “a new suite of music composed by Rorie to tell the story of Orcadians who traveled to Northern Canada between 1600 and 1900 to work for The Hudson’s Bay Company. Orcadians, according to the history website Orkneyjar, are “the indigenous inhabitants of the Orkney islands of Scotland. Historically, they are descended from the Picts, Norse, and Scots.”
Starting in E major, a middle section in an inversion-heavy C# major (2:14) returns triumphantly to the main melody and original key at 2:54. Many thanks to our champion contributor JB for submitting this tune!
modulationoftheday.home.blog 