I know we've discussed to death the best shows of the last ten years, but what about individual songs? I'm talking about 2003 forward. I'd say:
Underwater - Caroline, or Change Lot's Wife - Caroline, or Change When I Grow Up - Matilda Around the World - Grey Gardens Go Back Home - The Scottsboro Boys I'm Alive - Next to Normal At the Glen - Dessa Rose The Bitch of Living - Spring Awakening
If I had to give it to one above all the others I'd probably go with Lot's Wife. Additions/subtractions?
There were obviously no better lyrics written in this decade than "blah blah blah blah, blah blah blah"
EDIT: Apparently I'm mixing up my Spring Awakening songs. In all seriousness, I would have to say that "The Beauty Is" from Light in the Piazza would be at the top of my list. Actually, just about every song from that score would be.
Updated On: 9/3/13 at 01:52 AM
Solidarity from Billy Elliot. That song and number was one of, if not THE, most powerful things I have seen onstage. The integration and ultimate culmination of Billy learning to dance and the elevating tension of the impending miners' strike was truly breathtaking.
"There’s nothing quite like the power and the passion of Broadway music. "
"Solidarity from Billy Elliot. That song and number was one of, if not THE, most powerful things I have seen onstage."
I would argue that these choices have to be based on the song alone and must transcend its impact or "power" when staged. It must standalone on its own merits and to me this song doesn't. Perhaps on stage is does but you must remove it from that context, if I'm interpreting the somewhat vague OP.
I still contend that BILLY ELLIOTT is the best new musical of the last ten years and very little of it was due to the greatness of its songs (with the possible exception of Grandma's Song).
Here's another vote for ANOTHER WINTER IN A SUMMER TOWN, followed closely by a song from a less heralded score on this site, I'M NOT THAT GIRL.
Anyone who's followed me on here will not be surprised to hear me go to bat for "Quiet" from MATILDA or "Work the Wound" from PASSING STRANGE, but those are two of the most outstanding compositions of this decade for me. I'd also add the title song from THE LIGHT IN THE PIAZZA.
There's a lot of songs from scores I love as a whole (THE BOOK OF MORMON, AVENUE Q, IN THE HEIGHTS, etc) that don't stand out as individual compositions, and that's ok as not every song needs to, but those three I mentioned above stand head and shoulders above the fray for me.
Words don't deserve that kind of malarkey. They're innocent, neutral, precise, standing for this, describing that, meaning the other, so if you look after them you can build bridges across incomprehension and chaos. But when they get their corners knocked off, they're no good anymore…I don't think writers are sacred, but words are. They deserve respect. If you get the right ones in the right order, you can nudge the world a little.
If I had to pick the best song in In the Heights it'd be Paciencia y Fe, but I don't think it stands up to the other songs I mentioned. I would however include Invisible from Women on the Verge. The score itself is messy but it's a gem of a song.
If we're talking Grey Gardens, I would choose Will You.
I'm Alive is a good choice from Next to Normal.
A Fine, Fine Line from Avenue Q is good (I have a soft spot for Special, too).
I Believe from Book of Mormon?
Keys or Come Down Now from Passing Strange?
Run Freedom Run from Urinetown (was that in the past decade?).
I'm sure there are many more... although this list would in no way compare with a list from the Golden Age. They just don't write songs like that anymore.
Coach Bob knew it all along: you've got to get obsessed and stay obsessed. You have to keep passing the open windows. (John Irving, The Hotel New Hampshire)
I would definitely go with Another Winter In a Summer Town, too.
One song I would add to the list, not because I think it's a perfect song but because I think it's beautiful and fits into its place in the show wonderfully is I Miss the Music from Curtains.
When I see the phrase "the ____ estate", I imagine a vast mansion in the country full of monocled men and high-collared women receiving letters about productions across the country and doing spit-takes at whatever they contain.
-Kad
Much of the rest of the score from SPRING AWAKENING, fwiw.
"For Now" from AVENUE Q.
Much of the score from NATASHA PIERRE AND THE GREAT COMET OF 1812.
"Hello" and "I Believe" and "Salt Lake City" from BOOK OF MORMON.
"If they can get you asking the wrong questions, they don't have to worry about the answers." Thomas Pynchon, GRAVITY'S RAINBOW
"Reality is that which, when you stop believing in it, doesn't go away." Philip K. Dick
My blog: http://www.roscoewrites.blogspot.com/
I'm pretty partial to Come Down Now from Passing Strange, myself, but I think almost all of these are pretty spectacular choices.
I am a firm believer in serendipity- all the random pieces coming together in one wonderful moment, when suddenly you see what their purpose was all along.
~ "Underwater", for me, is one of the best songs ever written in the history of history and if this were an actual award being given out for best song in a decade, I'd put money on that winning.
~ I also think "Around the World" belongs in that same category. With the line "Around the world with stones and shells, the nicest one I lost", that makes me cry every time I hear it...it's perfect.
~ "The I Love You Song", "Those You've Known", "Song Of Purple Summer", "Go Back Home", "Stronger", "I Was Here" also deserve mention.
Jordan, do you mean I Was Here from The Glorious Ones? Not to split hairs, since the musical premiered in this decade, but the song was written more than ten years ago. (I think)
When I see the phrase "the ____ estate", I imagine a vast mansion in the country full of monocled men and high-collared women receiving letters about productions across the country and doing spit-takes at whatever they contain.
-Kad