Measuring a Hit: 'Lucky Man'

** Each week I measure the #1 song of the week in “Measuring a Hit” for you to readily see common threads in the songwriting of today's biggest hits. A post titled “A Closer Look” follows in a few days which brings a few songwriting craft issues of the song to your attention.

          Lucky Man
          David Cory Lee/Dave Turnbull

          time signature:                         4/4
          intro length:                              :14
          time to chorus:                         :43
          time to title:                              :44
          # title appearances:                 6
          general subject:                       thankfulness
          viewpoint:                                 1st
          form:                                           V-C-V-C-inst-1/2C
          style written:                             list
          rhyme (predominant):          near
          length:                                         3:17
          tempo:                                         slow

Friday Fun: What Will Your Verse Be?

As a writer of songs you'll relate to this scene about passion. As one person commented after seeing this, "we can all become the people who Live our dreams, NOT just dreaming our life!"

Photo Sharing - Video Sharing - Share Photos - Free Video Hosting

Progressions: “Substitution” in Songwriting

A current hit useful in showing the use of chord substitution
is ”A Different World” written by Jennifer Hanson, Mark Nesler,
and Tony Martin.

Let’s focus on the chorus of the song. Notice it begins with an
ascending progression, 4-5-6m. It then holds the 6m chord before
we hear the 4-5 again, but this time we’re given a 1 chord rather
than the 6m.

This provides variation while maintaining the basic sound of the
previous progression.

read the rest of this article:
"Substitution" in songwriting

A Closer Look: 'Ticks'

** Each week I measure the #1 song of the week in “Measuring a Hit” for you to readily see common threads in today's biggest hits. A post titled “A Closer Look” follows in a few days that brings a few craft issues of the song to your attention.

Let’s look closer at the #1 country song from last week.

Here's my markup.

Measuring a Hit: 'Ticks'

** Each week I measure the #1 song of the week in “Measuring a Hit” for you to readily see common threads in the songwriting of today's biggest hits. A post titled “A Closer Look” follows in a few days which brings a few songwriting craft issues of the song to your attention.

Remember, the goal over time, is to find common threads in #1 songs (hint: we'll find many!). Here's this weeks 'measurement'.

          Ticks
          Tim Owens/Kelley Lovelace/Brad Paisley

          time signature:                         4/4
          intro length:                              :19
          time to chorus:                         1:09
          time to title:                              1:27
          # title appearances:                 4
          general subject:                       love sought
          viewpoint:                                 1st/2nd
          form:                                           V-climb-C-V-climb-C-B-inst-C
          style written:                            moment
          rhyme (predominant):         single- perfect
          length:                                         3:59
          tempo:                                         mid


* We'll continue looking at this song in the next 'A Closer Look'.

A Closer Look: 'Find Out Who Your Friends Are'

** Each week I measure the #1 song of the week in “Measuring a Hit” for you to readily see common threads in today's biggest hits. A post titled “A Closer Look” follows in a few days that brings a few craft issues of the song to your attention.

Among the vast stream of demos publishers delivered to Tracy Lawrence when he put word out that he would be recording again, the Casey Beathard/Ed Hill creation, “Find Out Who Your Friends Are”, quickly caught the attention of Lawrence when he heard it.

“I loved the lyric”, Lawrence says. “I thought it had such a great message to it – a universal message about how when you’re down on your luck, you really find out who your true friends are. I’ve learned to appreciate that message a lot more as I’ve gotten older.”

Look at my mark up of this lyric for a few notes.

Friday Fun: Rodney Crowell, Steve Earle, Guy Clark

Recognize some younger faces here? Rodney Crowell, Steve Earle, Guy Clark and others have a little late night fun pickin' 'round the table.

The Story Behind the Song: 'When I Get Where I'm Going'

In March of 2006, George Teren and Rivers Rutherford were at the top of the country chart with “When I Get Where I’m Going”, recorded by Brad Paisley and featuring Dolly Parton.

When I get where I'm going on the far side off the sky
The first thing that I'm gonna do is spread my wings and fly
I'm gonna land beside a lion and run my fingers through his mane
Or I might find out what it's like to ride a drop of rain

An interview with George Teren:

Rivers Rutherford and I write every other Wednesday. His grandfather had passed away recently, so on this particular Wednesday, I ran an idea I had actually been carrying around for some time by Rivers called “When I Get Where I’m Going." I played him what I had, and then we discussed what the song might be about. I could tell the song affected him strongly because of his recent loss, so it wasn’t the easiest song in the world to write. I know we struggled a little bit with the chorus. We knew what we wanted it to be about, but we didn't know exactly what we wanted the point to be. I think when we came up with the line "don't cry for me down here" we knew we had something.

Read the rest of this interview:
StoryBehindTheSong.com

Measuring a Hit: 'Find Out Who Your Friends Are'

At 41 weeks, this song has set a record for the longest time to travel to #1. Also of note, an independent rec. co. (Tracy Lawrence released this album on his own label) replaced another independent in the #1 position.

          Find Out Who Your Friends Are
          Casey Beathard / Ed Hill

          time signature:                         4/4
          intro length:                              :13
          time to chorus:                         :47
          time to title:                              :47
          # title appearances:                 7
          general subject:                       friendship
          viewpoint:                                 2nd (the general "you")
          form:                                            V-climb-C-V-climb-C-B-C-V
          style written:                             list / moment
          rhyme (predominant):          near
          length:                                          3:45
          tempo:                                          mid


* We'll continue looking at this song in the next 'A Closer Look'.

A Closer Look: 'Moments'

** Each week I measure the #1 song of the week in “Measuring a Hit” for you to readily see common threads in today's biggest hits. A post titled “A Closer Look” follows in a few days that brings a few craft issues of the song to your attention.

*(Congrats again to my old friends Sam and Annie Tate who co-wrote this #1)

Last week’s #1 is unusual in its chord progression. The 4 chord leads each verse and although the root chord makes a couple of appearances in the verse, we don’t really feel the root chord until the chorus kicks in.

The verse is colorful with the ninth moving in and out on the 4 chord and we’re also given a 2m7. Then notice the suspended root chord (with a ninth) that creates a nice tension before the release into the 1 chord of the chorus.

If this all sounds like a foreign language to you don’t fret (pun intended) over it.

In any event, be sure to look at my markup of this song for some lyrical points.

Friday Fun: Billy Joe Shaver

Many, many years ago my buddies and I were sliding into clubs around Nashville to hear Billy Joe Shaver every chance we had. Here he is performing one of his best known songs. Enjoy.

It’s a New World (Part 3 of 3) Quick Robin, to the Starbuck-mobile!

(read this 3-part series)

That’s right, Starbucks to the rescue. Well, at least that’s what a Beatle is thinking as he looks to the Starbuck super-hero to save the day. Paul McCartney released his new album last week (June 5) through an arrangement with Starbucks. Yes, the coffeehouse Starbucks.

Releasing projects through non-traditional retail outlets is growing in popularity among artists experiencing difficulty gaining the exposure they desire. Last month Merle Haggard released his new CD exclusively through Cracker Barrel. Exclusive Cracker Barrel releases have also come from Charlie Daniels, Alison Krauss, and others.

Starbucks, in partnership with Concord Records, is marketing McCartney’s album “Memory Almost Full” through music retail shops and, importantly, through the many thousands of Starbucks playing cuts from the album in its coffee shops. On the day of release the plan was to play the album repeatedly. (I presume they did but then I don’t patronize Starbucks. I have no issue with them, just don’t like the coffee.)

McCartney also released his first video from the album… on YouTube.

So what’s this alteration of the music distribution model have to do with illegal downloading, the subject I began this series with? Nothing, unless you consider impulse CD purchases at Starbucks to be a serious contender to the problem. No, McCartney and others have a taller beast to slay than illegal downloading of their new projects. It’s the closed door of radio, which of course is the best way to make the public aware that a new album is even available in the first place, illegal or otherwise. Yet, McCartney has found a way to be heard by thousands upon thousands with the CD available for purchase within a few steps of the listener sipping his favorite cup of joe.

As Sir Paul put it when announcing his Starbucks deal, “it’s a new world.”

(read this 3-part series)

Lawmaker says songs will be protected

A group of about 50 local songwriters gathered Saturday with U.S. Rep. Marsha Blackburn (R-Brentwood,TN) to discuss how to wrest back control of their work from those who illegally download music. "The Constitution protects against piracy," Blackburn said.

"It was piracy of the high seas," which is addressed in the Constitution. "Now it's piracy of the high waves," Blackburn said to the crowd assembled at the Music Row headquarters of SESAC, one of three organizations in the U.S. that collect royalty payments on behalf of songwriters and composers.
(read full story)

Measuring a Hit: 'Moments'

** Each week I measure the #1 song of the week in “Measuring a Hit” for you to readily see common threads in today's biggest hits. A post titled “A Closer Look” follows in a few days that brings a few craft issues of the song to your attention.

Congratulations to two dear old friends of mine, Sam and Annie Tate. Co-writing "Moments" with Dave Berg, they had another song reach #1 last week.

Let's lay that measuring stick of ours next to it.


          Moments
          Annie Tate/Sam Tate/Dave Berg

          time signature:                         4/4
          intro length:                              :18
          time to chorus:                         :58
          time to title:                              :59
          # title appearances:                14
          general subject:                       each person's worth
          viewpoint:                                  1st
          form:                                            V-climb-C-V-climb-C-B-C
          style written:                            story
          rhyme (predominant):         near
          length:                                         4:58
          tempo:                                         slow/mid


* Note the songs length comes in rubbing against the 5-minute mark! Also note the unusual chord progression when you listen. More about these points in the next 'A Closer Look'.


Til then… write on!

A Closer Look: 'Good Directions'

** Each week I measure the #1 song of the week in “Measuring a Hit” for you to readily see common threads in today's biggest hits. A post titled “A Closer Look” follows in a few days that brings a few craft issues of the song to your attention.

Let’s look closer at the #1 country song from a couple of weeks ago. The first thing that strikes me about this song is its frequent use of images. We’re given turnips, a flatbed truck, a pork rind, and a Hollywood license plate all in the first verse alone! Those images paint a picture in our minds eye, and by involving our mind an important connection is made with us as we listen.

There’s also a lot of symmetry in this song (the first four lines of the verses to be exact).

Look at my markup of this lyric and you’ll see the symmetry goes as far as pairing action words in the same spot of the second line in each verse.


Tomorrow we'll measure this past weeks #1, co-written by a couple of old friends of mine.

Dolly Parton Receives Johnny Mercer Award

This past Thursday evening Dolly Parton received the Johnny Mercer Award from the Songwriter’s Hall of Fame, to which she was inducted in 2001. She says songwriting is the most important part of her career.

"I would always give up everything before I give up the writing, because it's really my way of expressing myself, and it's just a natural thing and the song just took me everywhere I've been so far," she told the AP.

"So it's very important. ... To be honored for it and recognized for it is a great, great compliment."

She estimates she has written over 3,000 songs and says she writes something every day.

It’s a New World (Part 2 of 3) Free Music… and everyone gets paid

In part one of this series (see May 31 post) we looked at how record companies are solving (actually not) their problem of cliff-diving record sales and the further diversification into the music publishing arena being the “answer” for many.

But there are some creative minds working on a new music distribution model.

In one model that’s soon to be launched, the source of royalties will be derived from new pockets. Royalties, traditionally coming from the consumer’s pocket, will now come from the pockets of advertisers when music is obtained at We7. That’s the plan behind the company which boasts Peter Gabriel as one of its founders.

Rather than fight the losing battle of illegal free downloading, the idea is to give everyone what they want and let target-advertising pick up the tab.

With We7 users tell a little about themselves so advertisements will be relevant to them. A 10-second advertisement, tailored to the downloader’s profile, precedes the song. After a month tracks are available without ads. Because downloads are funded through advertisers We7 will “deliver free, legal and safe music, video and other digital entertainment to everyone who wants to download it”.

Users get free entertainment, advertisers pay for targeted potential customers, and songwriters, artists, record labels, etc. get paid.

The We7 site explains its concept this way. “What people dislike most about advertising is receiving badly targeted messages that bear no relevance to them and disrupt their listening pleasure.

And that's where We7 is revolutionary. Because the way artists are paid is funded by downloaders who have agreed to receive advertising messages that they know will appeal to their declared interests and lifestyle.

It's this unique way of advertising that enables our downloads to be free, ensures artists are paid and provides downloaders with messages about the products and services they really want.”

In the next of this 3 part series we’ll look at another creative solution being used by some folks I think you’ve heard of.


Till then, keep writing!

Measuring a Hit: 'Good Directions'

** Each week I measure the #1 song of the week in “Measuring a Hit” for you to readily see common threads in today's biggest hits. A post titled “A Closer Look” follows in a few days that brings a few craft issues of the song to your attention.

Time to lay my measuring stick, which we talked about last time, by this past weeks #1 song.

The goal is, over time, to find common threads in #1 songs (hint: we’ll find many!). Here’s this week’s ‘measurement’.


          Good Directions
          Rachel Thibodeau and Luke Bryan

          time signature:                         4/4
          intro length:                              :15
          time to chorus:                         :47
          time to title:                              3:10
          # title appearances:                  1
          general subject:                        love found
          viewpoint:                                  1st
          form:                                            V C V C B (inst) C
          style written:                            story
          rhyme (predominant):         near / single perfect
          length:                                         3:35
          tempo:                                         mid


* Note that only 1 title appearance and the time to title (not until last line of song) are VERY unusual.


Til next time… keep writing!

Measuring a Hit: The ‘Marks’ on Your Stick

It’s impossible to analyze a hit then use that template to churn out your own. Why? Obviously it’s that intangible, emotional connection with the listener that’s made in some unique way, which we can’t “measure”. But not to worry. There’s plenty to learn from ‘measuring’ a hit.

Measuring current hits empowers you by finding common threads that work consistently. I’m not suggesting you should never venture to the ‘artsy’ side of the songwriting globe. When I was on the Row I encouraged writers to develop that artsy side. I truly believe it makes a writer stronger. But… it rarely pays the bills. Country is far less forgiving than rock in stretching boundaries.

‘Art’ can mean various things such as unusual song form, ‘poetic’ language (NOT poetry), odd chord progressions, etc.

Just as all physical exercise brings more power and agility, I’ve found that writers who exercise their ‘artsy’ side keep that creative muscle in the right-side of their head strong, ready, and more capable of developing a unique way of saying something (lyrically and melodically) when working within those often perceived confining commercial boundaries I’ve heard many complain about. But don’t spend too much time in that realm. Maybe 90/10 ‘commercial’ to ‘art’.

If you really want to write hits you must know what works with the mass general public and then write predominantly within those boundaries. Don’t like it? Then prepare to move the boundaries of your Music Row songwriter dreams inward… significantly.

Don’t already own a measuring stick? Let’s begin carving one for you. Here are a few good marks to place on it:

             Time signature
             General Subject
             Viewpoint
             Form
             Time to Title
             Length
             Tempo (general)

There are other marks you can place on your stick, but these are a good start.

Next time in ‘Measuring a Hit’ we’ll lay my measuring stick beside the #1 country song of the week.


Till then, keep writing!