Little Man Song
Celena Holtzberg
The energy, hope and positive energy in the poem is reinforced by the layered rhythms and syncopations in both the piano and voice parts. The poem is divided into three parts. The first part is an expression of the feeling of the joy of the natural world. The middle section explores in simple terms the cyclical nature of natural systems. When the musical material returns, it is both recognizable and developed a little more each time. The third section introduces the last lines of the poems as a mantra, repeated back and forth between two parts while a descant group soars above them.
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The Pop Song Professor project is all about helping music lovers like you to better understand the deeper meanings of popular song lyrics so that you know what your artist is saying and can enjoy your music more.
Chris Brown's out with his new album Royalty, and one of the songs on that album--my favorite so far--is "Little More (Royalty)." The song's smooth and strong and an enjoyable listen. I'll be honest though: I have rarely ever listened to Chris Brown, and what I have heard of him has been largely negative. Not that being explicit is always bad, but the fact that so many of his songs on this album are explicit concerns me. I've listened to a few others besides "Little More (Royalty)," and there doesn't seem to be a lot of variety on Royalty. His song "Back to Sleep," in a paraphrase of his words, is about "sexing" his girlfriend back to sleep after he comes home from playing a concert.
Combining the vulgar language with (seemingly) not having anything to say, Royalty doesn't excite me. That's why the song "Little More (Royalty)" (hereafter referred to as "Little More") was a nice surprise, if still a little underwhelming.
He continues the verse: "Oh, baby girl, you inspire me, give the reason to keep on / My baby, my Royalty, girl you're the lyrics to my song." If a listener thinks this song is about a women, it sounds like Brown is calling her "royalty," but if the listener is "in the know," it makes even more sense.
Brown continues to sing about how powerful a hold Royalty has on him: "Girl, you got this heart lock on me, I don't think I can control it / I hold on with all my might while you look at me in my eye." And not only does he have to struggle to come to grips with how much he loves her, but his daughter gives him the power to love her better: "Like a vitamin you put back my energy, you're making me stronger and bring out the best of me."
From my perspective, "Little More" is purposefully vague so that it can cater to a wider range of audiences. If you look through the lyrics, you'll find no language that specifically makes it about either a woman or Brown's child. There's not a single word or phrase that would exclude one or the other, and there are many that directly support each.
Thus, for you, "Little More" truly is about whichever you want it to be about. If you like the thought of a rapper singing to his toddler, then it's about Royalty. If you like the thought of a strong, gentle, and beautiful woman, then "Little More" is about spending a "little more" time with her.
Based on the lyrics, it really doesn't seem to matter who it's about, so long as Brown and his record company get the profits. I don't want to be too accusatory, and--who knows?--there may be an explanation, but look at what's happening here. Brown has created a purposefully vague song that appeals to two very different market demographics: those who want a sweet and sentimental song, and those who want the hot passion and romance of a one night stand.
Hi! I'm a university writing center director who teaches literature classes and loves helping others to understand the deeper meanings of their favorite songs. I'm married to my beautiful wife April and love Twenty One Pilots, Mumford & Sons, Kishi Bashi, and so many others!
"Little by Little" is a song by the Rolling Stones recorded on 4 February 1964.[1] Decca Records released it as the B-side to their version of "Not Fade Away" on 21 February 1964. The title stems from an identically titled track by Junior Wells and Earl Hooker, with the rhythmic similarity to "Shame, Shame, Shame" by Jimmy Reed, a song which was released the previous year.[1] Reed was not credited for the song, however, Phil Spector was given co-credit with "Nanker Phelge" (a pseudonym for songs credited to the whole group). The song is also included on their April 1964 debut album The Rolling Stones.
Since being able to speak in full sentences, Dolly learned to take inspiration from the simplest things. She could easily match a rhyming lyric to a simple melody and turn it into a song. At the age of five, Dolly composed a song called "Little Tiny Tasseltop." The song was a tribute to her precious doll made of a corncob with corn silk hair. Since Dolly couldn't yet read or write, her mother, Avie Lee, wrote down the words as the little songbird sang into her tin can microphone atop a tobacco stick wedged into the boards of their front porch.
Carly Pearce's debut single, "Every Little Thing" -- which is also the title track of her freshman album -- might be the most personal song the 27-year-old has penned so far. Written with Emily Shackleton and busbee, the tune became part of the healing process for Pearce after a particularly painful, and drawn out, breakup with a man she loved.
Emily Shackleton: It was my fourth or fifth co-write with busbee and Carly, and when I arrived they told me, "We want to write a haunting ballad" -- pretty much exactly opposite of what any publisher, A&R or pitch sheet will tell you to write -- especially for an unsigned artist! But there was magic in the room for it, and it fell out quickly once Carly started talking about an ex and the memories not letting her go. The melody also fell out seamlessly, and felt strangely simple but just right.
If All Rochester Wrote The Same Song is an annual songwriting challenge that was started in 2015 by Rochester musician and writer Sarah Long Hendershot. Each year a song title is released and local songwriters submit songs based on the prompt. Songs of all genres, moods and themes are encouraged with the only requirement being that the song is inspired by the title.
WXXI Public Broadcasting and the Little Theatre are engaged in a formal, long-term affiliation. This combined organization promises to enhance the cultural life of the community and strengthens both institutions by pooling resources and experience in key mission areas. WXXI is the essential, life-long educational public media resource for the Greater Rochester area.
The Little Theatre is the premier cultural center for the presentation of American independent and foreign films, visual arts and music for the greater Rochester community. Through educational events, the Little Theatre provides local artists a place to share and discuss their visions with a diverse audience.
That's essentially what happened with Little Big Town's "Pontoon." Co-writers Natalie Hemby, Luke Laird and Barry Dean told the story behind the 2012 country hit to Bart Herbison of Nashville Songwriters Association International.
I get up this morning, and Little Big Town is on "Good Morning America." Of course they're doing that song. That song just keeps materializing; I hear it everywhere. It's already in some commercials, right?
Luke Laird: Natalie and I had written a song that Miranda (Lambert) recorded called "Fine Tune." It was on her last album, and it's still one of my favorite songs the two of us have written. Somebody had overheard "Fine Tune" playing in an office at the publishing company or something, and another person came and asked Natalie, "What was that song of yours? 'Pontoon' or something?"
NH: It was kind of like that. It wasn't me. It was somebody else that they said it to. They called me and (said), "They thought that you were saying 'Pontoon.' " So I called Luke and said, "We should write this really obnoxious song called 'Pontoon,' to be funny.
Barry Dean: For Natalie that probably is lyrically not the most meaty song, but she takes a special angle on the lyric, and we shaped it that way. And Luke had that groove, and the production of the record (by) Jay Joyce. It's hipper than you think it would be. It's kind of built like an old country song, and then produced like something a little fresher.
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