Brian,

This is perhaps one of the most sophisticated works of pop that I've ever heard and I would like to provide an analysis.

Those two chords that you used when in juxtaposition with one another and the particular contrapuntal overtones that are singular to the song give it an almost postmodern Picasso type flavor if you can imagine Picasso's blue period being translated into music.

When you said I need you to love me, I wondered, how perfect is that? It comes at exactly the right time with an almost Mozart like precision. Sure I'm a huge fan and you know that, but still you have to know man, that no one and I mean no one could craft a song that is both pop and magisterial at the same time but make it seem also easy with vocals and instrumentation that are so out of this world good it really defies imagination.

But the part that stunned me the most was the very end.

When you came in at the end with la la la la, I quite frankly was stunned and I didn't know what to say.

Who would do that? Who could think of that? How can you top genius with genius? It seems impossible but you did it.

Man I'm putting down my axe. I give up. I feel like Ed Sheeran in the Yesterday movie when he did that songwriting contest with the main character. And the main character played the Long and Winding Road and pretended it was him who wrote it. I'm not going to play Salieri to your Mozart anymore. I'm just going to leave. No one can compete. I'm not even going to try.

Thanks for crushing me and everyone else here on this form.

You have finally done it. I hope you're proud of yourself.

David Snyder
Songwriter/Renaissance Man
Studio + Fingers

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