TATAR#3: Someone Like You

by Adele Adkins and Dan Wilson (2000)

What's interesting to me about this song is that it could have come from a musical. I mean, stylistically, it could so easily be a theatre song. 

I appreciate that we shouldn't be too precious about musical styles and, under the right circumstances, many different styles can be made to work in the theatre. However, given that most musicals involve singing words, I'd say that musicals generally require a style that allows for melody and clearly-sung lyrics (which is maybe why neither rock nor opera became the dominant style of musicals).

So that's all I'm saying with this song. It's melodic and I can make out the words.

So what's so good about the song? Well, it's simple. Really, really simple. Simple-as-a-Russian-meerkat simples. That's not a criticism. 

Simple harmonies arranged into broken chords. Simple melody, mostly step by step, no big leaps. Simple move from lower pitched verse to higher-pitched chorus. 

The setup is a woman who is still trying to get over her ex. 

I heard that you settled down

That you found a girl and you're married now

This, I think, is where the song really shines. The best of the lyrics are these casual-sounding remarks, as if she's just taking part in a cheery, if awkward, catch-up between old friends.

I hate to turn up out of the blue, uninvited

OK, she's at his door. She's still talking casual but we now know it's not a casual meeting. Then the octave leap for the chorus rings up the intensity. But the lyric is still trying to keep it casual.

Never mind, I'll find someone like you

I hope nothing but the best for you, too

That quick mind/find is beautifully flippant, like a 'ho-hum, all the best'. But the music is pushing against the words. The melody is basically three falling notes that give a feeling of resignation. She knows they won't be getting back together but she can't help herself.

Eventually the facade crumbles and all she can do is beg not to be forgotten.

Don't forget me, I beg

I remember you'd say

Sometimes it works and sometimes it hurts instead

The voice literally crumbles on 'I beg'. The melody moves up in pitch and is obviously right at the top of her range.

There's something comic-tragic about the whole situation. This woman rocking up, all forced smiles and 'How are you? Me? Yes, I'm fine, just fine', and then breaking down, pleading for the only thing left for her, to become someone else's memory.

On second thoughts, it's not just the style of song that would suit a musical. Something like this would actually make a great musical theatre moment.

A hit song from a musical? Imagine that.