• Amazing Grace (written by John Newton, sung by everybody)


• I Can't Make You Love Me (written by Mike Reid/Allen Shamblin, sung by Bonnie Raitt)


• She Is His Only Need (Written by Dave Loggins, sung by Wynonna)


• Fire and Rain (James Taylor)


• I Can Only Imagine (written & sung by MercyMe)


• God Bless The Broken Road (sritten by Marcus Hummon, Jeff Hannah and someone else, I think, sung by Rascal Flatts)


• I Will Always Love You (written and sung by Dolly Parton)


• Hurt (written by Linda Perry, sung by Christina Aguilera)


• Hurt (written by Trent Renzor, sung by 9 Inch Nails and Johnny Cash)


• Chiseled In Stone (sung by Vern Gosdin, written by Max T. Barnes/Vern Gosdin)


• Memorial Stones (written and sung by Mat Kearney)


• You Can't Always Get What You Want (But You Get What You Need) (The Stones)


• Undeniable (written and sung by Mat Kearney)


• Respect (written by Otis Redding, sung by Aretha Franklin)


• Fields of Gold (written and sung by Sting)


• I'm Not Supposed to Love You Anymore (written by Skip Ewing and Eddie Keys, sung by Bryan White)


• On A Bus To Cloud 9 (written, as Leigh Ann noted, by Gretchen Peters, sung by Trisha Yearwood)


• Your Cheating Heart (written and sung by the great Hank Williams, Sr.)

And yes, I like Simon & Garfunkle (master songwriters), Amy Grant too... much of her songwriting is great, but she cuts those mindless pop ditties probably because somebody tells her she needs to have some commercial songs for the radio. It's unfortunately the business of being a megastar.

Some of my favorite songwriters happen to be all the writers I listed who wrote the above songs. I am also a big fan of Nancy Griffith. Bob Dylan, it goes w/o saying. And Bruce Springstein.

Billy, you had some great points... here are my thoughts:

Yes, I agree that its best to get a "hook line" that is memorable. It is important that this line be unique, and powerful enough to catch the attention of the mind. A songwriter does indeed do well to look for "hooks" and central song ideas in the lives of those around him or her. Many hit songs have been inspired by the offhand comment of a stranger.

But it's also important to be keenly observant, so as not to write a superficial lyric. I, for instance, find it hard to write a male lyric. I have done it, but usually need a male co-writer. My mind thinks like a girl. Some writers are better at "getting into other peoples' skin". Dave Loggins comes to mind. I think he could write like a Martian if he had ever met one!

Though it can be a jumping-off point to write, I don't think it's important to have the final title of the song until it's written, because I've frequently had the song I was writing take a different direction than I thought, and a better title made itself known. Sometimes what I thought was going to be the title just ended up being an important line (sometimes the first line).

Come to think of it, I may do a post listing some jumping off triggers for songwriting. Whatdya think? I am always grateful for your comments!

Labels: Songwriting

The Lyric-

• should be written with intellegence and cleverness, avoiding trite phrases and cliches.


• should try to say something unique about the subject. Drawing from true personal experience helps find the most unique perspective.


• even if written third person, should be written from the vantage point of a participant instead of a spectator to the story. Writing from a personal vantage point makes is much stronger and more real than writing what you think someone else knows or wants to hear.


• should be consistant in its language (if it's earthy, say it with "down-to-earth" language all the way through the song... if poetic, keep that voice going... if easily understandable with clear images, or if more obscure and symbolic as in many great pop songs, be sure it sounds like the same person talking in the whole song.


• needs to say that which will make the listener connect with the singer on an emotional level, even if that level is just a happy or freed feeling.


• should make the listener identify and actually like the singer (duh); the listener frequently will take on the singer's persona while listening.


• should make the listener feel loved. Yes. Loved. ie... what would every woman want her man to say to her (and it could be "I'm sorry, I was wrong"!) What would every man want his woman to say to him? (and yes, it also could be "I'm sorry, I was wrong")


• should bring the listener wisdom, anger at things done wrong, fun, story, drama, and/or empathy with hard places that actually point to solutions (I lost you and I learned how to be a better person, I lost you and learned how to love myself, I lost you and you're gonna miss me, I lost you and I will miss you but I can love again, I lost you but I love you enough to let you go and I'll be fine... etc.)


• should not be "preachy". Instead... just tell the story and let your audience draw conclusions. They don't trust you when you condescend or preach, like you are smarter/better/wiser than them.


• should not lead to hopelessness, unresolved hatred or violence towards others.


• should if at all possible have an unexpected twist or two.


• should have some kind of structured pattern of lines.

I'll give my songwriting suggestions for writing MUSIC on my next post. On my third post, I intend to suggest HOW you learn to do the things I mentioned, books you should study to develop your skills, what you need to know about co-writing, how to prime the pump of your inner muse, etc.

To make my next posts more interesting, I have questions for you:

• what have I've forgotten?


• what more would you like to know?


• what are your favorite songwriting books?


• who are your favorite songwriters?


• what suggestions for successful songwriting do you have to pass along?
  

Please join the conversation by clicking the "comment" link below this post. Thanks!

Labels: Songwriting