Here are your rankings from Nancy Rost:
Read on for Nancy's reviews!
Given that all the submitted songs met the “something borrowed” prompt in some way, my first several review sessions didn’t take that aspect into consideration. I listened and read for originality, accessibility, cohesion, specific aspects of songcraft, performance and production, and my own overall response to the songs. This resulted in many songs with tied ratings -- so I compared prominent and creative uses of secondary dominants as an aid in deciding. Oh, and speaking of borrowing, I’m going to borrow some of Micah’s review structure.
gammammannn - Collided
A strikingly original entry with a great overall concept, some popping imagery, and some fun rhythmic moments, but with an eclecticism I find difficult to follow at times.
I love the idea of the cosmic protagonists commenting on the misperceptions of humans and sharing solace and beauty. The complex chord structure (including a variety of secondary dominants) adds to that sense of otherworldliness. The idea of Pluto dealing with planetary dysphoria is fresh.
Listening rather than reading, I can’t easily make out that there are different characters or that they are in relationship with each other. Along with the effect-laden vocals and floating tempos, it’s a challenging listen for me. It does make more sense with the song bio, and I could imagine it being very effective in a multi-media context.
Favorite lyrical moment: “With our love so deep it fills your population with/ Cockatoos and blue jays.”
Favorite musical moment: The phasing of “my nitrogen heart” and the beat that drops in there.
glennny - Mottainai (What a Waste!)
Brian Wilson-esque composition meets a jam band in a mental maze.
The core of this song really starts for me about 45 seconds in, with the falsetto-ish vocals and the chordal twists and turns. A favorite early moment in the song is the way “suspended … disbelief” is set over the V of V -- and the way the pre-chorus takes us on a crazy modulating ride before the great payoff of the chorus. Some of the lyrical meaning also seems to parallel the musical journey. (The words are a bit cryptic, but I get a general sense.) The harmonies and high leads are part of what give me Beach Boys vibes, but also it’s the agile melodies over unusual chords.
The intro and guitar solo feel like they could be grafted from another song; I feel they overcomplicate an already complex (yet concise!) song.
Favorite lyrical moment: “Your mouth is running, and it got away”.
Favorite musical moment: Going from D in the verse to Bb minor in the prechorus.
Wendy Wiseman Fisher - Falls Red With You
A symbolically rich, dark equinoctial pagan goth breakup dance rave.
This is the second Wendy Wiseman Fisher song I’ve heard, and I’m developing an appreciation for what may be this artist’s unique niche. Here again are the pumpkins, the surroundings depicted through the lens of death and decay, the suggestions of ancient magick. This lyric, about feeling the pain of abandonment on the equinox, works this imagery for maximum spooky intensity.
The music veers into different attitudes, though, starting out spare and spooky in the first verse, bright and pretty in the second, and downright triumphant by the Gaga-esque chorus. It feels to me like all this shape-shifting is at odds with the strong, cohesive lyric.
I do think the bridge returns to the original mood, while trying some new chord movement in response to this round’s prompt. The vocal melody feels a little uncertain over the changing chords, but I think that’s something that would smooth out with a little more practice, and overall I think it’s a cool and creative use of secondary dominant chords.
Favorite lyrical moment: The entire third verse.
Favorite musical moment: The chromatic vocal melody and harmony on “equinox” coming out of the bridge.
OutLyer - Dive In
An electronic pop fragment with a subtle take on the prompt.
The first thing to catch my ear is the vocal lead, which sounds like a soulful human processed to sound robotic. The lyrics are minimal and sort of general, which fits the song overall. The melody is pleasant, and its repetitions are redeemed by the shorter, upward phrase on “dive in”. The song is short, and I appreciate concision, but it feels incomplete. I’m craving a section with some contrasting chords, an ending that closes the loop, or both.
Harmonically, this was hard to analyze, because the chords aren’t simple triads, but there are no dominant sevenths chords to guide my ear either. My ear wants to hear the tonic as Dm, but it could also be F, and the other chords could be either Em or G, and either Am or C. It’s like the aural version of an optical illusion, and depending on which combination your ears mix and match, the progression could be i-ii-v (what I heard initially), i-IV-v, etc. I think the looping nature of the progression is another reason it’s harder to hear resolution. Micah pointed out that one interpretation would be I-II-V, where the second chord is borrowed.
Tl;dr - this qualifies as a response to the prompt, but didn’t get extra points from me for creative use of secondary dominants.
Favorite lyrical moment: “Life has too much to give for you to squander it”
Favorite musical moment: The blue note on “life”.
David Taro - Something About Her
A well-crafted love song that makes creative harmonic and lyrical use of the prompt, with enough grit and sincerity in the performance to overcome the danger of triteness.
I love the way the music and words reinforce each other here! In the first half of verses, chains of secondary dominant chords underscore questioning lyrics like “don’t know what it is”. In the second half that describes what the “something about her” is, we get a taste of the tonic again, and a V/vi putting a dramatic spotlight on the key metaphor in each verse. Brilliant structure.
The instrumental interlude is in just the right spot for some breathing room. I like the understated, almost comping, playing for this genre; however, I think a little more of a melodic piano solo would help hold interest in this section, and/or this could be a half-verse before going into the (nicely contrasting) bridge.
Lyrically, it works so well because of the unity with the music and the excellent vocal performance. Some of the phrases might seem cliche in another setting, but not here. The only thing I found a little unsatisfying was rhyming “matters” and “matters” in the bridge.
Favorite lyrical moment: “She’s a diamond in a hand of clubs”.
Favorite musical moment: The V/vi chord on “a chord not in a tonic key” - for the sound and the self-reference!
Hot Pink Halo - Borrowed Time
Borrowed time meets borrowed chords for a dreamy, literate tune.
This took a while for me to latch onto. Who, I ask myself, is the repeated “she” of the first verse, and is she the same “she” of the other verses, and the “me” of the choruses? The bio notes give me hints, but I like to be able to form an impression solely on listening, at least at first. The music is more floating in this section, which I suppose gives me space to ruminate.
Once the chorus gets going, my mild confusion gives way to the movement of the music and imagery, and I’m along for the ride. I like the way the chord movements align with the meaning of the lyrics. Bonus points for using the Round 2 prompt both musically and lyrically. The chorus imagery is gorgeous and rich with meaning.
I like all the instrumentation, especially the piano. The lush synth pads and ethereal backing vocals really set a mood too.
Favorite lyrical moment: “Plant me in the ink black soil”
Favorite musical moment: The deliciously dissonant chord cluster in the piano intro.
SEE/MAN/SKI - Melton Mowbray
A charming, bouncy performance and an unforgettable hook.
I’m really enjoying all the different rhythmic iterations of the chorus. Listening to this recorded performance, I can only imagine this would be a crowd-pleaser live -- even for people like me who hadn’t known of the existence of Melton Mowbray prior to this. Great showmanship, playing with tempo, dynamics and energy.,
I’m interested in what happens with the secondary dominant in this song. In the verses the V/V gets repeated so much we’re used to it, but then in the chorus when it’s followed by the IV instead of the V it feels exciting and bluesy. Cool trick!
The slice-of-life lyrics reflect somewhat scattered but vivid sketches of growing up there. Once we have the chorus we know where the focus is, so it all works. There is one line I would change: “where you’re never met with a frown” sticks out as stilted.
Favorite lyrical moment: “But now the fleapit is a much nicer place”
Favorite musical moment: The little pause before repeating the chorus with gusto, and then the vocal delivery of “Mowwwwwwwwwwbray - (yuh!)”
Good Guy Sôjàbé - Whatever, I’m Not Precious
A heavy ballad enlivened by a cool motif and melodic interest.
This has a nice vocal and some interesting chord surprises. I like the switch from minor to major-key sections. The major-key section still manages to get across the defeated feeling in the lyrics, thanks to some smart harmonic choices and an apt vocal performance. I especially like the waythe chorus ends on a weak, unresolved iii chord that transitions seamlessly back into the minor-key verses.
I don’t think the vocal needed any detectable doubling. The sentiment of the lyric seems so solitary; I think it should feel like it’s alone.
I like the subtle melodica in the background.
Favorite lyrical moment: “Is this what you dreamed of when you were younger?”
Favorite musical moment: The dial tone coming at the end of the chorus.
The Pannacotta Army - Jean-Paul
This whimsical, witty French waltz makes me laugh at Sartre and myself.
Of all the songs I listened to the first time through, this caught my ear in a special way. The combination of subject, point of view, and the light, deft composition touch just made me happy. On repeated listens I’ve been able to dissect it and find at least one flaw in it, but it’s still amusing me.
Upon inspection, things I like, in no particular order: The fast-moving verse chord progression with its descending top line, the overall concision, the French instrumental interlude, the understated way of wrapping a witty lyric in a pretty package.
Digging deep, things I don’t like: Emphases on the wrong syllables, as in “too ea-SY”, “you know all that there is A-bout the mind”, and “can’t you let YOUR guard slip”
Favorite lyrical moment: “Existentialists can still have fun.”
Favorite musical moment: When the I7 chord comes in.
Huge Shark - Wanting a Letter
Sensitive vocals and piano are the highlights of this sad, poetic ballad.
The lyrics have some nice consonances and assonances. I like the parallel imagery. The story is a bit mysterious, but I definitely get the flavor. The stanza that begins with “the boat’s standing by the shore” was particularly effective to me.
The piano has a compelling rhythm, and the vocals are once again gorgeous. I wish the sax sounded mellower. I do like the call and answer lines between the vocal and sax, compositionally.
Favorite lyrical moment: “Whispers of history’s grip”
Favorite musical moment: When the piano switches from arpeggios to block chords in the first verse.
Boo Lee Crosser - As often as I’d like
Secondary-dominant chains are a natural fit for this intimate, 1920s-style blues.
I like this performance. It feels relaxed and lived-in. I’m sure this artist has played this progression, or something very much like it, before, and that’s fair -- some genres just lend themselves to that. Anyway, I really like the authenticity of it, along with the personal lyrics, the casual off-rhymes, and the conversational phrasing. The content of the lyrics is something I can relate to as an older person myself, and I hope it resonates with younger listeners as well.
Favorite lyrical moment: “And every so often/I might dance like a little kid/With my hair everywhere/And my glasses gone crooked”
Favorite musical moment: The flowing phrasing of the first vocal line.
Governing Dynamics - Demolisher
A super-catchy, well-crafted rock song needing a couple performance tweaks.
The has one of the strongest earworms this round. It helps that the band sounds like it’s having a lot of fun singing that hook, too. I love the bridge, which puts this round’s challenge to great use while adding an interesting changeup in rhythmic texture.
The internal rhymes and energetic rhythm make this David-and-Goliath song pretty easy to listen to -- except that there’s some vocal pitchiness getting in the way. Also, I’m not sure if there are two singers or one playing two different characters. It seems like this is meant to be a dialogue, and I wish I could hear a strong difference between the parts.
Favorite lyrical moment: “Well, that’s a pretty mean swing, that’s a pretty mean --”
Favorite musical moment: The pulsing intro.
This Big Old Endless Sky - Sunshine / Abyss
A punk, chromatic response to the prompt, with a punchy title line and lots of attitude.
Fully in keeping with genre conventions, the response to the secondary-dominants prompt is basically a key change. It boosts the energy without losing the sense of an unpretentious three-chord song.
I can hear the tunefulness and expression under all the distortion. It’s a bit more work for me to make out the words. There’s some nice craft in there, including the casual and fitting rhymes for “abyss”.
“Hell is other people,” -- what are the chances there’d be two songs this round mentioning this phrase?
But following it up with “hell is all my mirror sees” takes it someplace entirely different.
Favorite lyrical moment: The title hook.
Favorite musical moment: The descending chromatic freakout.
chewmeupspitmeout - the house i built wouldn't hold
Solid pop/rock use of secondary dominants, with some great extended-metaphor imagery and catchy repetitions.
I like the timbre and phrasing of the vocal here, and even though I like the organ, I’m glad when it drops out because it kind of overpowers the vocal sound and words. It sits nicely with the rock instruments.
The verses in particular make effective use of the borrowed chords -- it’s a pleasant cycle, and with the melody it serves to emphasize emotional points. The bridge feels like more of a work in progress, like maybe the melody is still being worked out over those chords.
Lyrically, the extended metaphor works. At first I thought it was going to be a more global commentary, but it works more conventionally as a personal relationship. The imagery is great, as is the sound and repetition.
Favorite lyrical moment: “Imagined Xanadu was just / a proposed edifice for you”
Favorite musical moment: The rhythmic buildup on “The brittle rafters all fell down”.
Jealous Brother - Under the Waves
I don’t know what any of it means, but it sure sounds good.
I really like the composition, with its Beatlesque nuances and sweet use of secondary dominants. I like the V/vi use in particular. There’s a nice band sound to this, with a conscious build to the arrangement and some tasteful layers that weave in and out to keep the interest. I like the structure, and that first guitar solo is really nice, but I probably would have left out the second one at the end.
Lyrically, it’s a mystery to me. I get a general emotional feel from the words with the music, but it’s still hard for me to connect with it fully without a more grounded story.
Favorite lyrical moment: “Pages glued onto the skin”
Favorite musical moment: The vocal harmonies on “you can run away from anyone”
The Alleviators - A Start
Lovely use of secondary dominants and duo vocals to create an emotional arc.
I love the clarity of the vocals here, and the vocals are really the stars here. I’m a sucker for the duet and especially the harmonies! There’s something special about hearing you two interact; it’s music and theater too.
The secondary dominant chords are well placed at pivotal moments. The melody is lovely too.
Some nice unexpected rhymes (minute/fidget). I love the choreographed awkward collision.
By now, you’ll recognize my pet peeve is oddly-stressed syllables, and there are a few of them here, like “scared OF my own skin”.
Favorite lyrical moment: Blink and you’ll miss / a spark and a glimpse
Favorite musical moment: The voices coming together in harmony.
☀️bucket - Shoot Me
A punk screed that is simultaneously outraged, provoking, hostile and joking.
This is jarring -- by design, I would think. The vocal approach and especially the chorus achieve this effect for me. The borrowed-chord usage is simple and straightforward, but oddly friendly-sounding juxtaposed with the words and the aggressive sound of the performance. “Dumb / scum / justification” is a good rhyme. Other rhymes are not as strong (“wrong, wrong, along”). The lyric is unified as to subject but self-contradictory as to voice and message, as to whether it wants to provoke or condemn.
Favorite lyrical moment: Murder is wrong.
Favorite musical moment: The ascending chords.
Bob Voyg - The Navigator
A tuneful, slow-burn, poetic and mysterious space drama.
The effected vocals are kind of fun. They certainly evoke life in space. “I got a hard deadline” sounds more ominous with them, somehow.
The words are intriguing, and make a poetic kind of sense, without needing to know the narrative, exactly.
I really like the instrumentation on this. It feels reflective and helps to ground the floaty vocal.
Favorite lyrical moment: “Patterns taking flight”
Favorite musical moment: The entrance one by one of bass, drums and piano.
Möbius Strip Club - It Feels So Good
A sweet, shambolic 1950s love-song pastiche.
From the moment the handclaps start, I think I know where this is going. I’m with Frankie and Annette in a movie set on a beach. With this much reference to a particular era, I’m kind of inclined to want either a super-faithful reproduction or an interesting twist. I think the writing -- and the type of secondary dominant used -- are faithful to the genre. The girl-group-style backing vocals and even the strumming seem like they could fit what the band is going for.
Where this needs work is the performance. There are moments of out-of-sync timing and some uncertain phrasing, and it’s not always the same instrument missing the beat. The lead vocalist has a great sound, but it sounds like everyone ran out of time to rehearse together.
Favorite lyrical moment: The repeated hook.
Favorite musical moment: The sound of the autoharp takes me back decades!
Sober - I Didn’t Leave Texas
An effortlessly clever country waltz with a few choice zingers.
I like a song with a clear central message, and this one speaks it plainly. The title twist is classic, as is the chord progression with nothing fancier than a V of V. The performance and arrangement are apt and enjoyable. This sounds like an artist steeped in the country waltz idiom, who can play confidently with meter and line lengths.
Lyrically, I like the way it sets a scene (old Texas plates in a woodshop), shows an attitude (throughout), and illustrates the phoniness of the rich who’ve taken over. Overall, it’s a pretty tight lyric, though I do think the phrasing of “don’t tell me I or my lady’s to blame” sounds awkward.
Favorite lyrical moment: It’s a tie between the pithy imagery of “Big cast iron stars on McMansion facades” and the deeper feeling of “It’s worth all the pain of breaking the chain to leave it behind”.
Favorite musical moment: The rhythm of “trade the devil I know for someplace I’d never been”.
Flintsteel - Last of Your Name
Very well-played and produced prog/metal song with interesting harmonic surprises and somewhat abstract lyrics delivered with emotion.
The piano intro grabs me right away, and I enjoy how the same theme is picked up by the full band.
I always want to hear the lyrics better, but I get the gist and the emotion without reading along. When I do read, I have a hard time relating to the protagonist, but I can tell that the story and historical language re appropriate. The attitude fits well with the heavy music. This genre can be somewhat impenetrable to me; however this song offers a few ways in. The lead guitar parts, in particular, I can understand. I particularly like when the two leads play in harmony or unison. There are also chordal turns that catch my ear, particularly the secondary dominant used before the heavy section.
Favorite lyrical moment: Rhyming “service” and “purpose”
Favorite musical moment: The elegant piano intro.
Micah Sommersmith - Three Cheers for the Judges [SHADOW]
A sweet, playful and unwittingly poignant polka parade.
The lyrics sparkle with short words and sharp syllables. The earnestly bombastic vocal, the over-the-top praise, the marching-band drums and polka beat all add to the tongue-in-cheek nerdy delightfulness.
Secondary dominants are second nature to accordion players, and it’s no surprise this song employs them fluently for lift and variety, adding to the storytelling grammar and genre conventions. The circle-of-fifths ending is a perfect flourish for this round’s prompt.
Favorite lyrical moment: The Nancy/can’t see rhyme, of course, but also thoughtful/gospel.
Favorite musical moment: The accordion finish.
Piss Enema - Maggot Cleanse [SHADOW]
Does what it says on the tin.
Some music is not for everyone; some is defiantly so. I think this is well-made for what it is, but is far enough outside my comfort zone that it is hard for me to listen to and evaluate. That said, here’s what I get: heavy metal noise punk droning cathartic angry howl. I don’t hear anything borrowed, but it is certainly bold!!!
Favorite lyrical moment: The umlauts.
Favorite musical moment: When the guitar peeks out after the drums have ended.
West of Vine - Let It [SHADOW]
A slow-burn acoustic rocker with a relatable theme, mixed symbolism, and a nice lift in the chorus.
This starts with a promising metaphor, which it starts to develop in the first four lines -- and continues musically, reinforcing the “empty space” -- but then abandons for a different metaphor/aphorism. Also mismatched are the “don’t let it” chorus and the later “let it” chorus; these might have worked if the rest of the lyric were more unified.
I like the chorus coming out of a fairly static verse melody. This works especially well when the chorus changes to an uplifting message. The use of secondary dominants adds some juice as well. When the vocal melody goes high it adds energy,
I was surprised in the end to discover that the song was coming from the perspective of a romantic prospect. I guess the “baby” address should have tipped me off earlier!
Favorite lyrical moment: When the ABAB rhyme scheme sinks in.
Favorite musical moment: The simple but effective chorus vocal hook.
The Moon Bureau - Susie, Sunday [SHADOW]
A pleasant diatonic pop song that needs editing
The melodies are sweet and catchy, and there’s a nice rhythmic energy behind them. This has a band feel to it, with all players finding places to add interest to this basic structure. I don’t notice any borrowed chords; I’d be curious to know how the prompt shaped your composition choices.
The interestingly quirky lyrics are short and sparse within the song. It feels like this is a fragment that was padded with instrumental interludes. While I can accept the premise that it describes a very short-lived romance, I’m still left wanting something more -- a bridge with some contrasting chords, maybe, or more words, perhaps from a different perspective. Alternatively, it could be tightened up. I feel like this song has potential and is still in the stage of development that it could go a lot of different ways.
Favorite lyrical moment: “Heart emoji, see you soon” (and the jaundice/iodine/yellow verse was really interesting)
Favorite musical moment: The melodic bass guitar part
Nathan Joe Long - What I Never Had [SHADOW]
A well-crafted folk song that makes effective use of secondary dominants.
The lyric develops beautifully. It’s tight, it’s unified, and it lands its poetic leaps from verse to verse.
I’m not sure about the bridge. It’s very contrasting, and interesting, but I’m not sure if I’d miss the song without it. I’m curious to see where other judges land on this point.
Favorite lyrical moment: The Pacific only looks peaceful / When you’re looking from afar
Favorite musical moment: The chords on “lighthouse and harbor”.
Siebass - The Butterfly Garden in the Zoo [SHADOW]
Vivid, well-constructed and touching story lyrics with a promising sketch of a piano part
I like the way the lyrics set the scene, gradually showing us the place, the furtive activity, letting it dawn on us what’s happening, and staying in the specifics of the moment in all its clumsy, comic pathos. I love how the external “crime” segues seamlessly into the internal reflections on guilt. It’s clearly a personal, emotional story, but the choices of what and how to tell it is done with skilled artistry. The title refrain is a good frame, too.
Composition-wise, I think the Satie-like piano figure works well, as does the borrowed chord. The piano part with the title line on some occasions sounds like it was being used as a guide for the vocal; I think it works better the times when it’s sung a cappella. Keep up the good work learning piano; I can hear the potential in what you’re sketching out already.
Favorite lyrical moment: After dumping two mountains of dust / I’m sure he’d think it hilarious
Favorite musical moment: The main piano part.
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