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Down the page are Songs, Lyrics, and Essays: Latest entry at end. The only place you can hear Gary E. Andrews is at Gary E. Andrews. Or at www.garyeandrews.com (Site doesn't work with an iPhone.)
TABLE OF CONTENTS: (Page numbering only shows up when I'm logged in. Logged out it shows two page, Page 1 ending at the end of my Page 5.) All Songs are Lyric Only, unless an audio link is evident. (Page order, When not logged in JPF displays it on two pages. Page 1 ends with "Of Love" Page 5 in Table of Contents.) PAGE 1: April 8, 2020: "Leave Me". April 8, 2020: "Getaway". April 8, 2020: Links to other Songs posted here on JPF, some that can be heard at garyeandrews.com. April 15, 2020: "Love Lives (Inside A Bubble)". April 25, 2020: "Quit Me (Say Goodbye)". April 25, 2020: "Madeline", an old Song of mine. May 9, 2020: "She Ain't No Angel (She's The Next Best Thing)" May 9, 2020: The female Point-Of-View: "He Ain't No Angel". May 14, 2020: Essay: What stimulates your creative juices? (Someone asked.)
PAGE 2: May 19, 2020: Essay: Song Analysis, dissecting Songs you like, or don't like, to see if you can determine why you do or don't. It's an exercise to learn about it, not something you have to formally do the rest of your life. I think it helped me comprehend Songwriting Structure, lessons about the Human attention span, and the 'Hook Factor' in components of Songs.
May 24, 2020: "One Kind O' Blues". Based on a quote from Son House, it's a blues working through a typical I7, IV7, V7 progression. I tried various 1-4-5-7's, E7 - A7 - B7, G7 - C7 - D7, and each one has its nuances of how it works with the Lyric.
May 31, 2020: "Your Very Thin Line" which I just stumbled across while cleaning (LOL) I mean...moving s--t around. I wrote it in 2009. It crossed my mind a few days ago. I remembered the Singer-Character standing outside that door in the Chelsea Hotel. I couldn't remember it, long, poetic as much as Lyrical. Damned fool that I am I forgot to write down the chord progression I sang it to.
June 11, 2020: Essay: A Song Is A 'Communication'. July 6, 2020: "In A Funny Way". It's a Song 'fabrication', a 'crafting' more than an inspiration. But I thought the first two Lines had 'merit' so I tried to write it. July 11, 2020: "All The Way To Texas". August 2, 2020: Essay: "Enough", "Not Enough", "Too Much." August 14, 2020: "Shouldn't You Be Gone". October 7, 2020: "I Can't Tell Any More". Two Lyrics with the same title. I stumbled into a site called K. C. Turner Songwriting Club, which offered the title and a challenge to write a Lyric using it. I wrote one with a negative angle, and a couple days later wrote one with a more positive vibe. I didn't imagine a Melody, didn't play guitar to compose the Lyrics, just fabricated them. November 3, 2020: "She Was Marked".
PAGE 3: November 10, 2020: "The Crimson Slayer". November 22, 2020: "You Went The Other Way". November 26, 2020: On American Thanksgiving, "Give Thanks, Give Thanks". December 8, 2020: "Seeds Of Doubt". December 10, 2020: "Get The Honky Tonk Blues". December 24, 2020: "Come Back Radio Man!" (Creative Commons issue.) January 1, 2021: "The Crazy You". and December 31, 2020: "Somewhere". January 5, 2021: "Some New Blues". January 12, 2021: "Respect Yourself". February 27, 2021: "Moon Over San Francisco".
PAGE 4: March 16, 2021: "After The Taste Of Love". April 17, 2021: "She's A Hanger On". April 24, 2021: "Love Better Next Time". May 20, 2021: "Julie Gets The Blues". May 29, 2021: "Bad Influence (Only Seventeen)". July 5, 2021: Essay: "Manufacturing Songs".
PAGE 5: July 15, 2021: Essay: "Critical Listening". July 25, 2021: "I've Fallen". July 30, 2021: Boneyfiddle Final Friday, Portsmouth, Ohio. Live play. (Lost down the scroll!) August 1, 2021: "I Never Knew That". September 4, 2021: "When You Come Between (Me And The Moon)". With Essay: "First Listener". July 19, 2022: "Six A.M. In Nashville". August 17, 2022: "Of Love"
PAGE 6: Essay: Editing during the creative process, Regarding "Of Love" (Last Song on P5) August 24, 2022: "Bad Juju Man". September 8, 2022: "Never (Is A Long, Long Time)". October 1, 2022: "A Hole (One Time)". November 4, 2022: "Electric Shock". January 5, 2023: "Get To Me". December 13, 2023: "Come On, Baby!" January 20, 2023: "The Stars In Sedona. October 31, 2022: "You're Talking To".
PAGE 7: March 4, 2023: "Domino Days". March 11, 2023: "Gramma Was A Bitchin' Babe" April 6, 2023: "Stranger To Yourself" (Re-write: "Stranger To Myself"). April 6, 2023: "Girls Get The Blues". July 18, 2023: "Chance, On Losing You". February 21, 2023: "Come And Touch Me" November 27, 2018: "I've Gotta Stop (Loving You)".
PAGE 8: August 28, 2024: "Mabel Maybe" August 24, 2024: "Angel! Angel!" November 14, 2024: "Sunday, September 29, 2024: A Silver Thread Vibrating Through The Universe." Marijohn Wilkin, Kris Kristofferson. January 12, 2025: "By An Act Of Will." February 5, 2025: "No, Slowly." Copyright Gary E. Andrews May 9, 2025 "The Party Had To End". "Call Northside 7117" Copyright 1974. "The Motorcycle Queen" Copyright 1996. Essay: The Songwriter; The First Listener. "Yasgur's Farm" Copyright August 11, 2025 by Gary E. Andrews
Watching old video tapes of the old early 1900's blues men. Heard "Leave me" and thought it was a unique angle, as opposed to the usual, 'DON'T leave me' theme.
"Leave Me" Copyright April 2, 2020 by Gary E. Andrews (Chorus) Leave Me! You don't have to sta-a-ay! Leave Me! Get out of my wa-a-ay! Go on and Leave Me! You never loved me, anyway!
(Verse I) You spent all my money! You wasted all my time! You just think it's funny! I think it's a crime!
Leave Me! You don't have to sta-a-ay! Leave Me! Get out of my wa-a-ay! Go on and Leave Me! You never loved me, anyway!
(Verse II) You ran off with my best friend! You drove off with my car! You've been gone thirty days! Who knows where you are?
Leave Me! You don't have to sta-a-ay! Leave Me! Get out of my wa-a-ay! Go on and Leave Me! You never loved me, anyway!
(Verse III) They fount my car in Memphis, jacked up on the street, caught yo' pretty ass walkin', in yo' stocking feet! Ha! Ha!
Leave Me! You don't have to sta-a-ay! Leave Me! Get out of my wa-a-ay! Go on and Leave Me! You never loved me, anyway!
(Verse IV) Who's that scratchin' at my door? You kids get off my porch! Ooo! It's you baby, Lookin' hot enough to scorch!
(Coda) Leave Me! Stop it! Stop it! You don't have to sta-a-ay! Leave Me! Quit! Quit ya fool! Get out of my wa-a-ay! Go on and Leave Me! You never loved me, anyway!
(This is the kind of Song you could write a lot of Verses to and then pick the ones you think are best.)
Last edited by Gary E. Andrews; 10/17/2202:07 PM.
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
I remembered this one a while back and tried to play it but couldn't remember all the details of the storyline.
Forty years ago I hit on some interesting chords, got some interesting Lyrical images, and let the players take the stage. I think the guy left the girl the same day the girl left the guy, without actually telling each other, and he found her on the road. This one must run very long, Singer/Songwriter stuff. An Eagles vibe. It's a Refrain-Type Chorus, as opposed to a Stanza-Type, which necessitates a Bridge to break the Repetition with Change, to keep me interested. It has two Bridges. A Double-Bridge? lol One to get over and one to get back I guess. And it Repeats the Bridge. Strange Structure, but works for me. No recording. But I thought you might enjoy the Lyric. I do.
"Getaway" Out Of The Woodwork Copyright 1979 by Gary E. Andrews All Rights Reserved for the Globe
Chords: D XXO232 F#7 242252 G 355433 barre Em O22OOO Em7 O22O3O Gm7 XX3333 ? I think. A XO222O Bm XX4432 F# X44322
Verse I The mornin' broke, And the first rays of dawn, Took the night away, And painted the blue, Such a mystical hue, Of red. The D. J. spoke, On the radio, And took me back a ways, Before the dawn, When a realization laid its hand, Upon my head. Today's the day,
Chorus Refrain I just gotta' make, my Getaway.
Verse II The night had been warm, The wind blowin' in, And across my face, Carried the scent, The familiar mint, Of the desert rose. I saw the sign, Of the county line. It was back a ways, Before the night had changed, yeah, Into a day, When I just to make, My Getaway.
(Bridge) She said, "It would be so easy to be lovers." I told her it had been hard, To find a friend. She said, "We could be so good, For each other." Who'd have ever thought, Such a love could begin, And then end, In a day when I'd just have to make my Getaway?
Verse III The white lines went by. The wind made a move, In the distant pines, Goin' up the slope, A whisper of hope, Crossed my mind. A blue-jeaned girl, From the desert world. She was hitchin' a ride. I picked her up and it started to rain, yeah!
(Bridge) She told me a story, Sad, and full of pain, About a man that she once loved, But she could not speak his name.
He said, "It would be so easy to be lovers." She told him it had been hard, To find a friend. She said, "We could be so good, For each other." Who'd have ever thought, Such a love could begin, And then end, In a day when I'd just have to make my Getaway?
Verse IV I told her my story. She said, "I feel sorry for you." She poured me a double, And rolled up a couple from her bag. She said, "Pull on over. Turn off the motor. I'll show you a thing or two, yeah!
She said, "It would be so easy to be lovers." I told her it had been hard, To find a friend. She said, "We could be so good, For each other." Who'd have ever thought, Such a love could begin, It'll never end, In a day when we'll just have to make our Getaway. In a day...
Last edited by Gary E. Andrews; 10/17/2202:06 PM.
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
"Quit Me! (Say Goodbye)" Copyright April 4, 2020 by Gary E. Andrews. Dm Am G G7 A7 #Blues.
(Verse I) Is it that e-e-asy, for you to Quit Me? I'd like to think, it would be harder. The gift you gave me, you didn't get me. You traded love, more like barter.
(Chorus) : Is it that e-e-asy, for you to go? Is it that e-e-asy, for you to fly? If it's that e-e-asy, for you to Quit Me, go on and Quit Me! Do it quickly! Say Goodbye.
(Verse II) Was it that har-r-ard, for you to love me? I'd like to think, I made it easy. The bus came by. That's when you shoved me! You make me feel, a little queasy! :
Is it that e-e-asy, for you to laugh? Is it that e-e-asy, for you to cry? If it's that e-e-asy, for you to Quit Me, go on and Quit Me! Do it quickly! Say Goodbye.
(Instrumental Bridge)
(Repeat Verse I) Is it that e-e-asy, for you to Quit Me? I'd like to think, it would be harder. The gift you gave me, you didn't get me. You traded love, more like barter. (Pre-Chorus 'lift') : Is it that e-e-asy, for you to go? Is it that e-e-asy, for you to fly? If it's that e-e-asy, for you to Quit Me, go on and Quit Me! Do it quickly! Say Goodbye. (Coda) If it's that e-e-asy, for you to Quit Me, go on and Quit Me! Do it quickly! Say Goodbye. Say Goodbye. Say Goodbye.
Last edited by Gary E. Andrews; 10/17/2202:08 PM.
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
Madeline Out Of The Woodwork II Copyright 1978 by Gary E. Andrews All Rights Reserved for the Globe
Chords: Amaj7 ? X7765O E O221OO Bm XX4432
(Verse I) Madeline, Won't ya' give us a smile? Madeline, Won't ya' wait for a while, And see what the postman brings? He may bring you a diamond ring, In a letter from a lover who aint' so far away. O.K.
(V II) Madeline, Won't ya' sing us a song? Madeline, No it won't take long, To see what the morrow brings. It may bring you a song to sing, In a meadow where the wind in the green grass sings along. Sing this song.
(Bridge) Sing :Really! Really I'm trying. Really! Really Lord I'm dying to know. Is it something that I lack? Is it gone and not comin' back? Did it only come to leave its track on my soul? Oh no-oo-wo-o-ah. La-da-duh-da-da-duh-da.
(V III) Madeline, Have I said something wrong? Madeline, Are the good times gone, To see where the sadness is? Did he take your love and make it his? And did he slip away with a stolen kiss At the crack of dawn? Well stop me if I'm wrong.
(Coda) Is it something that I said, That came out wrong and hurt your head? Did I take away your hope And leave a great big hole? Well sing for your soul.
Sing :Really! Really I'm trying. Really! Really Lord I'm dying to know. Is it something that I lack? Is it gone and not comin' back? Did it only come to leave its track on my soul? Oh no-oo--o. Is it something that I lack? Is it gone and not comin' back? Did it only come to leave its track on my soul? Oh no-o. Oh no-o.
More Info... "Madeline" Copyright 1978 by Gary E. Andrews All Rights Reserved For The Globe
Different guitar treatment, inspired a different kind of lyric.
Last edited by Gary E. Andrews; 10/17/2202:09 PM.
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
"She Ain't No Angel (She's The Next Best Thing)" (Alternative title: "She May Not Be An Angel") Copyright May 9, 2020 by Gary E. Andrews. Chords: C/G 332O1O C7 X323O1O F X33211 G7 32OOO1
She's got an edge about her, if you rub her the wrong way. (Alternative Line: If I rub her the wrong way) You should never doubt her, (I don't ever doubt her) when she says what she'll say. Leave her when she's quiet! (I leave her...) Give her time to think! (I give her...) She Ain't No Angel, (She May Not Be An Angel) but She's The Next Best Thing.
Wake her in the mornin', (I wake...) with a gentle nudge. Leave her if she mumbles. (I leave...) She ain't gonna budge! Go fix her a breakfast. (I go...) Give her her first drink. (and something good/warm to drink) She Ain't No Angel! She's The Next Best Thing.
She gave you days of sunshine, (She gave me...) long nights with the Moon. She helped you write the best lines, (She helped me...) in your favorite tunes. (In my...) She says more with a smile, and her funny wink. She Ain't No Angel, (She May Not Be An Angel) She Ain't No Angel, She Ain't No Angel. She's The Next Best Thing.
#CountryTwang #OldeCountry #LoveSong
Last edited by Gary E. Andrews; 10/17/2202:09 PM.
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
This was a post praising nurses, as the next best thing to an angel. I'm tinkering with the Lyric this morning. Here's a rewrite from the female Point-Of-View. And I wondered if the Singer-Character should be less philosophical, telling others what 'you' should and shouldn't do, and 'own' it, First-Person with 'I' and 'me'. I'm just exploring some options to see if something is more effective in hooking listener interest. The "May Not" alternative Line seems to work except at the Coda, where the 'He Ain't No Angel" seems to work for simplicity's sake. I'm just exploring possibilities. I'm wondering if others do this sort of rewrite, Female POV, edits, tweaks.
"He May Not Be An Angel (He's The Next Best Thing)" Copyright May 9, 2020 by Gary E. Andrews. Chords: C/G 332O1O C7 X323O1O F X33211 G7 32OOO1
He's got an edge about him, if you rub him the wrong way. (If I...) I don't ever doubt him, when he says what he'll say. I leave him when he's quiet! I give him time to think! He May Not Be An Angel, but he's The Next Best Thing.
I wake him in the mornin', with a gentle nudge. I leave him if he mumbles. He ain't gonna budge! Go fix him a breakfast. (I go..) Give him his first drink. (and somethin' good/warm to drink) He May Not Be An Angel! He's The Next Best Thing.
He gave me days of sunshine, (More immediate, happening now, "He gives me...") long nights with the Moon. He helped me write the best lines, (He 'helps') in my favorite tunes. He says more with a smile, and his funny wink. He May Not Be An Angel, He May Not Be An Angel, He May Not Be An Angel. He's The Next Best Thing.
This is 'Fabrication Songwriting', finding Lines with deliberation, as opposed to stream-of-consciousness 'inspiration' of Lines that tumble out and I make judgments afterward. Much of my editing and rewrite takes place in real time, redoing Lines to find the right way to say what I've stumbled on, and the Melodic prosody, with guitar in hand. Now I'm stuck working through those chords, trying to do the 'fit', the 'marriage' of Lyric with Melody to fit the guitar work.
Last edited by Gary E. Andrews; 10/17/2202:10 PM.
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
Someone asked what stimulates my 'creative juices'.
Inspiration is probably a manifestation of boredom, seeking to find pleasure in the fantasy of Songwriting. I'm mainly focused on Lyric-writing. My guitar playing simply accommodates the poet who sings his poetry instead of simply writing it or even reciting it. I enjoy my Lyrics. I think I get something satisfying done. Some rise to the point of being literary, literally well-constructed stories with their beginning, middle and end. Some simply have satisfying Rhythm and Rhyme, Lines that I feel build a coherent theme. Satisfaction is in the mind of the seeker thereafter, of course.
I had the epiphany that you, as a Songwriter, are the first listener. You should be 'hooked' by the Hook Factor in what you hear, just as you hope any other 'consumer' will be. Your critical ear should be 'satisfied' with that Introductory Movement. Its Hook Factor 'hooked' your interest, serving that function, only going on long enough to do that, unless it is extraordinary. (People always cite, "Stairway To Heaven" and "Hotel California", with long Intros, and being long Songs.)I reply, "Yeah! Write a Song like that. You can go on as long as they do if you write a Song like that!"
Hey! That Introductory Movement is probably where my creative juices...I call it Creative Flow...start. I get a couple chords going on guitar, the Rhythm hooks me, the first listener, the infinite Melodic possibilities traversing between two or three chords come into play, and soon a Line of Lyric comes out of my mouth. The Line of Lyric hooks me. I want to know what the Singer-Character is on about. What he's said in the Verse I Line 1 had some nugget of Hook Factor, the word meaning, the implication of a story I might like to 'hear', to 'know', and...strategically, I think, a sense of the Singer-Character. It's not me. It's a fiction. But he could be interesting. I know me. He's not going to be nasty and have to call Janet Miss Jackson. He's not going to bore me with mundane details and take me nowhere. I've met 147 of him and they almost all took me somewhere I liked going, and got to be more consistently satisfying...there's that word again...as the years went by.
The Singer-Character may not come fully realized. Sometimes I write a few Lines and don't have a full sense of him yet. It's his story but I don't know him well enough to tell it. He incubates. Rhyme often takes me a little deeper into his psyche. To get to that Rhyme I had to have a coherent Line of thought, of conversation. He can't just...doesn't just grab a Rhyme...Grab-A-Rhyme... "insane", "realize", "What can I say?", he said something in Verse I Line 2 that advanced the story...his story...made sense in the context of the idea in Line 1 that hooked my interest to start with.
"Put on a hat! Take off your coat! Babe, let's you and I rent a boat! I'll row us, to the Kentucky si-hi-a-hide!" ("Over The River Tonight, copyright 1979 by Gary E. Andrews.)
I'm hooked. He's talking to someone, thereby introducing a Love-Interest Character. Suddenly it's interesting! Love makes the world go 'round! And suddenly, suddenly there's a world where there are a hat, a coat, a Babe, and a boat, going 'round! I...the first listener...want to know more. I want to hear his story. And as the first listener, the Songwriter, it's up to me to find it, to tell it, to let the Singer-Character tell it, to get on his vibe, to get to know him so I can let him tell it. I don't want to force it. I can force it. I can fabricate and Rhyme and make stuff up. But it's always better if I give him time to materialize, to let him incubate and become more fully formed as a Character, a reality I can imagine. And, imagining, I can 'suspend disbelief'. Someone said it that way. You begin to believe in the story in the Song, the story in the book, the story in the movie, suspending the disbelief that it is real, and believing in it as real. The dinosaurs aren't hoaky. They're real. Or realistic. The love isn't fake. These people really mean what they're saying. (Demi Moore and Rob Lowe in "About Last Night".)
That's where the creative juices begin to flow, where I attune to the Creative Flow, in that suspension of disbelief, because that's what I'm looking for when that first Line comes out of my mouth. I'm looking for a story I...the first listener...want to hear. I've learned to look for it. I've been here before. I heard good stories here before and I expect to hear another good one.
Last edited by Gary E. Andrews; 05/19/2010:36 PM.
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
Studying Songs you like, and Songs you don't like, can help you develop your sense of 'right' and 'wrong' in your own Songwriting. I suggest picking a Song and doing some analysis. This is just an exercise. You could complete it in a sitting or two or three. If you like what you learn with one Song, pick another one. You may learn as much or more from a Song you don't like as one you do like. I'm rattling off some things to analyze here. I may refine it over time. You may not have to be so formal, so in depth. Be as meticulous or as casual as you like. But be analytical enough to see if you can determine what it is they did right to make you like the Song, or wrong to make you not like it.
I suggest analysis of 'Timing': How long is the Introductory Movement? How long is the Verse (or Chorus if the Song opens with the Chorus)? How long does it take to get the Chorus (or Verse, whatever Stanza comes second)? How long is that second Stanza? By the end of that second Stanza is THE Hook, the title, clearly obvious? How many times have they sung that title Line? What is the overall length of the Song?
I suggest analysis of Lyrical content: Does the Lyrical content of the first and second Stanzas make sense? Are the Lines coherent thoughts? Are the Lines delivered in conversational style? Are the Lines communicated, 'sent' clearly enunciated so you can 'receive' them, ideally on first listening? Does THE Hook/title seem to sum up what all the rest of the Lyric seems to be getting at? Can you spot any Lines that simply seem to Rhyme, without adding much to the storyline? Are there any 'tangled' Lines, twisted syntax in a way not natural to the way you would say them, perhaps designed to land on a Rhyme-Word? Mostly analysis can be confined to how you 'hear' the delivery. If looking at a written Lyric do you see any spelling errors, misconstrued words, which might interrupt the flow of 'consumption' as a reader stops to re-read those errors to see what the Lyricist meant to say instead of what they did say? Does their Rhyme-Scheme seem consistent, Verse to Verse, Rhyming the same Lines in each Verse, Lines one and two, three and four, or one and three, two and four? Is there Internal Rhyme? Is there Nursery-Rhyme style, where two Lines might Rhyme and a third Line be left Un-Rhymed, then two more Lines Rhymed, and the Un-Rhymed third Line picked up with Rhyme in Line six? Are there Hard-Rhymes, Imperfect- or Soft-Rhymes? Is there no Rhyme? Did the Lyric 'move' you in some way, emotionally, intellectually?
I suggest analyzing Structure, the components of the composition: Can you clearly hear where each Stanza begins and ends? Can you lay out the Structure, Verse I, Chorus, Verse II, Chorus, Verse III, Chorus, Coda? Or Verse, Chorus, Verse, Chorus, Bridge, Chorus, Coda? Did they have a Verse III, or resort to a an Instrumental Bridge, or Lyrical Bridge, and go to a final giving of the Chorus? Any Structure that works, works.
I suggest analysis of Arrangement, the musical accompaniment to the vocal: Do instruments fill some or all the gaps between Lyrical Lines? Do instruments 'step on' the vocalizations, obscuring the word delivery, playing while the singer is singing? Is the vocal buried in the mix, the music overwhelming the 'featured' vocal? Do the Lyrical ideas and musical style seem to match, sad ideas with melancholy music, happy ideas with upbeat music? Is the vocalist's voice unique in some way, raspy, urgent sounding, emotional, angry, humorous?
This 'analytical' practice isn't the way we usually listen to music, as fans. It is a 'study' exercise, to educate yourself to make your own judgment calls, as the First Listener to your own Songs. What the Songs you study do right, or wrong, in your opinion, can help you do things right in your own Songs, and avoid doing things wrong.
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
"One Kind 'O Blues" Copyright May 19, 2020 by Gary E. Andrews. G7 320001 C7 032310 D7 xx0212
(Verse I)
They ain't but One Kind O' Blues, and baby I got 'em! They ain't but One Kind O' Blues, and baby I got 'em!'
I cain't get over you! Ain't nothin' I can do! I got 'em! They ain't but One Kind O' Blues, and baby I got 'em!
(Verse II)
Ain't but one thing to do, and that's to get out! Ain't but one thing to do, and that's to get out! This is a one-way road, runnin' high down to low! I gotta get out! They ain't but One Kind O' Blues, and baby I got 'em!
(Bridge)
I'm out on the street, lookin' down at my feet! I'm walkin'! Ain't no one here but me, so there ain't no need, for talkin'! They ain't but One Kind O' Blues, One Kind O' Blues, and baby I got 'em!
(Verse III)
It's a terrible pain, Ooo! Oh! Baby I'm hurtin'! It's a terrible pain! Ooo! Oh! Baby I'm hurtin'! Ain't nothin' but rain clouds! No need to look out! I close the curtain! They ain't but One Kind O' Blues, One Kind O' Blues, and baby I got 'em! (Coda) They ain't but One Kind O' Blues, One Kind O' Blues, and baby I got 'em! They ain't but One Kind O' Blues, One Kind O' Blues, and baby I got 'em!
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
"Your Very Thin Line" Copyright 2009 by Gary E. Andrews, All Rights Reserved.
(Verse I) I stare at your door in the Chelsea Hotel. It's seen more than its share. I study the floor, as I ring your doorbell, wondering who else has been there. I'm aware your business, is now none of mine. I'm a visitor to another place and time. Will I cross your threshold, or hang in your hall, with writing on the wall, no evidence at all? I wonder! I ponder! I try to divine, what is on your mind. Where to be...Where to be, as I wait by Your Very Thin Line.
(Verse II) You open on up. You usher me on in. You give me a half-hearted hug. I stand hat in hand, for your papers to sign, admire my old Persian rug. I'm a wayfaring stranger, in your stranger land, trying to get back to, the home I left again. You've got what I came for. Now I'm back out your door, in the streets of New York. I'm no longer sore. I wonder! I ponder! I try to divine, the nature of my crime, as I sign on Your Very Thin Line.
(Bridge) There's a thin line between, what you say and what you mean, and what you say you meant, "Last time!". The disdain in your eyes, wipes away your smile, leaves your mouth a Very Thin Line.
(Verse III) Later that night at the Hollywood Bar, I'm waiting for a young friend of mine, I hear your laugh, look and there you are, having a hell of a time. I slip out the back door, up the alley to the street, just in time to intercept my friend. I kiss her puzzled face. She says, "What a place to meet!" I wonder! I ponder! I try to divine, what pleasures we find, on our side of Your Very Thin Line. Our side of Your Very Thin Line.
(It's ragged. Rhyme goes all to hell. I may tinker, tailor, 'craft' my inspiration; or, I may leave well enough alone.) (I tinkered. Still having trouble letting 'Where to be...Where to be...' go now that I've envisioned the video where he's at the door to ring the bell, then across the hall, away from the door, back to the wall, then a third shot in the middle of the hall. I thought to put 'What to do...What to do' in VII. Now thinking Rubato, that irregularity can work. It's a Singer-Songwriter style, which enables more Poetic License. Besides, by Repeating the pattern in VII it might call for a third Repeat in VIII, and that seems excessive. Ah well, such is tinkering.)
"Your Very Thin Line" Copyright 2009 by Gary E. Andrews, All Rights Reserved.
(Verse I) I stare at your door in the Chelsea Hotel. It's seen more than its share. I study the floor, as I ring your doorbell, wondering who else has walked there. I'm aware your business, is now none of mine. I'm a visitor to another place and time. Will I cross your threshold, or hang here in your hall, writing on the wall, no evidence at all? I wonder! I ponder! I try to divine, as I wait by Your Very Thin Line.
(Verse II) You open on up. You usher me on in. You give me a half-hearted hug. I stand hat in hand, for your papers to sign, admire my old Persian rug. I'm a wayfaring stranger, in your stranger land, trying to get back to, the home I left again. You get what I came for. Now I'm back out your door, in the streets of New York. I'm no longer sore. I wonder! I ponder! I try to divine, as I sign on Your Very Thin Line.
(Bridge) There's a thin line between, what you say and what you mean, and what you say you meant, "Last time!". The disdain in your eyes, quite belies your smile, leaves your mouth a Very Thin Line.
(Verse III) Later that night at the Hollywood Bar, I'm waiting for a young friend of mine, I hear your laugh, look and there you are, having a hell of a time. I slip out the back door, up the alley to the street, just in time to intercept my friend. I kiss her puzzled face. She says, "What a place to meet! I guess there's been a change of plans!" I wonder! I ponder! I try to divine, on our side of Your Very Thin Line. Our side of Your Very Thin Line.
(Whittling down to get a more singable Song, with a shorter timespan.)
"Your Very Thin Line" Copyright 2009 by Gary E. Andrews, All Rights Reserved.
(Verse I) I stare at your door in the Chelsea Hotel. It's seen more than its share. I study the floor, as I ring your doorbell, wondering who else has walked there. I'm aware your business, is now none of mine. I'm a visitor to another place and time. I wonder! I ponder! I try to divine, as I wait by Your Very Thin Line.
(Verse II) You open on up. You usher me on in. You give me a half-hearted hug. I stand hat in hand, for your papers to sign, admire my old Persian rug. I'm a wayfaring stranger, in your stranger land, trying to get back to, the home I left again. I wonder! I ponder! I try to divine, as I sign on Your Very Thin Line.
(Bridge) There's a thin line between, what you say and what you mean, and what you say you meant, "Last time!". The disdain in your eyes, quite belies your smile, leaves your mouth a Very Thin Line.
(Verse III) Later that night at the Hollywood Bar, I'm waiting for a young friend of mine, I hear your laugh, look and there you are, having a hell of a time. I slip out the back door, up the alley to the street, just in time to intercept my friend. I kiss her puzzled face. She says, "What a place to meet!" I say, "There's been a change of plans!" I wonder! I ponder! I try to divine, on our side of Your Very Thin Line. Our side of Your Very Thin Line.
Last edited by Gary E. Andrews; 10/17/2202:11 PM.
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
A Song Is A 'Communication'. Even an instrumental composition attempts to 'communicate' the 'feel' or 'emotion' implied in the music. A Lyric is comprised of words with meanings, so the Singer 'sends' those words. To fully qualify as a 'communication' the words have to be 'received'.
That Latin prefix, 'com', means 'with', implying the 'sender' and the 'receiver'. We communicate 'with' one another.
If the words are 'sent' but not 'received' the 'sender' didn't 'communicate with' the intended 'receiver'.
The Lyric has to be intelligible, not too obscure, although obscurity can work to some degree. Obscurity in poetry differs in that the reader can re-read. A Lyric has to communicate the first time, as heard.
The Lyric has to be enunciated, so the word meaning is not sacrificed to the Note execution. A voice has to take on the characteristics you would find in an instrument executing Notes but retaining the characteristics of a Human voice 'communicating' word meanings.
If the Singer fails to 'send' to effectively communicate a single word the 'receiver' may assume what the word is by the context, and by the Rhyme if it is a Rhyme-Word. If not, missing that word, or a couple words, may keep the Line from communicating. Failure of a Line to communicate may keep the Stanza (Verse or Chorus, e.g.) from communicating. Soon the whole Song may fail to communicate because of the 'values' of those missed words.
Listeners can focus their attention, study a little harder, 'listen up', pay attention, replay, but ideally, you want to 'send' so they have no option but to 'receive', and receive the first time they hear it. Your product has Hook Factor, something that hooked you, The First Listener, and should hook other listeners, and keep them hooked as you 'communicate' your Lyric. If you lose them at any point, especially early in the Song, you may not get them back.
I suspect Bob Dylan's enunciation, a subject of like/dislike discussion for many years, is a product of his listening to the playback and realizing some words weren't being received, and so he re-cut the recordings and sent those words more deliberately.
It may be difficult for a singer to evaluate the 'sending' qualities. They KNOW the words.
I suspect sometimes it is a matter of a singer sustaining a note until it 'slides' into the next note, something an instrument might do, and even spoken might have that effect. But each word must be given its space, and not 'sounded' in a manner too different from how it would be spoken.
Note Dolly Parton's classic, "I Will Always Love You". That title Line is sung pretty much the same way as it would be spoken. The word "I" gets a multi-note delivery, and "you" is sustained a bit. But basically, the Line is 'sent' as it would be spoken, and is easily 'received' the first time you hear it. It communicates.
Strother Martin, a character actor, in the movie "Cool Hand Luke", delivers a 'catch-phrase', "What we have here is a failure to communicate." Don't have a failure to communicate.
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
The first Line came to me, then the second, and it sounded like the Singer-Character and Love-Interest Character had something to explain, to each other, so I tried to let them. I don't 'like' the Song, but I thought it was worth 'fabricating', or 'crafting' it to see if I could tell their story, or let them tell it. C/G F G7 G Am
"In A Funny Way" Copyright June 24, 2020 by Gary E. Andrews.
(Verse I) I've been hiding Long Beach. You've been hiding L. A. You've been out of my reach. I've been out of your way. You woke me up today, just to say, "I love you," (Chorus Refrain) In A Funny Way.
(Verse II) I was dancing with Long Beach. I saw you kissing L. A. You know when you both cheat, there's not much more to say. You called me up today, just to say, "I love you," In A Funny Way.
(Bridge) In A Funny Way, things are working out. At the end of the day, isn't that what it's all about? In a tragic comedy, somebody has to say, "I love you", In A Funny Way.
(Verse III) I've been living with Long Beach. You've been loving L. A. Life has lessons to teach. Love has prices to pay. When my phone rang today, I heard you say, "I still love you," In A Funny Way. "I still love you," In A Funny Way. "I still love you," In A Funny Way.
Last edited by Gary E. Andrews; 10/17/2202:12 PM.
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
"All The Way To Texas" Copyright April 30, 2020 by Gary E. Andrews. All Rights Reserved. F D7 G7 C7 A7 D
I came All The Way To Texas, (Chorus Refrain) to help you find your way back home. I thought we were so in love, I wondered what went wrong. Now I know, you won't go, back to Oh-hi-o-o-oh! I came All The Way To Texas, to find out what I should have known.
I spent way too much money, I was savin' up to buy a guitar, thinkin' I could play it and make some more, to fix up this old car. Now it's plain, Texas Jane's been ridin' in the ro-de-o-o! I came All The Way To Texas, to learn what I already know!
(Bridge) You're not the girl you used to be! You used to be my world! Now you're a flirty floozy! A Texas party girl!
I came All The Way To Texas. I drove all night alone. (You know how I hate that!) You could have told me all of this, yesterday on the phone! Now I see, I might be, better off a-lo-o-one. I came All The Way To Texas, to find out what I should have known!
(Coda) I came All The Way To Texas, to learn, what I al---ready know!
Last edited by Gary E. Andrews; 10/17/2202:12 PM.
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
@mediaresearch advises that: The average length of a Song in 2020 is 3 minutes and 42 seconds, down from 4 minutes and 22 seconds. Introductory Movements have decreased from 13.1 seconds to 7.4 seconds. Hip Hop accounts for 6 of the top ten on Billboard. The average number of Songwriters per Song is four. "The times they are a'changin'."
"Enough", "Not Enough", "Too Much".
An Introductory Movement only needs to be long enough to serve that function. Its function is to 'hook' listener interest long enough for the main body of the Composition to begin, a Verse or Chorus, if it is a vocalized Lyric, or just the 'new' sounds of whatever you give them next. A short Introductory Movement leaves more time for everything that follows. I call that 'hook' element 'Hook Factor'. All parts of the Composition have, or should have, Hook Factor. This principle of a short Intro is part of the 'rule' "Don't bore us! Get to the Chorus!" Whatever follows the Intro, the Chorus, if your Compositions opens with the Chorus, or Verse I, if that's the next component, should have Hook Factor. That first Line of Lyric, or that first instrumental sound, individual Notes in a Melody, or other 'sounds', should capitalize on the Hook Factor of the Intro, and sustain Hook Factor, keeping them interested. How long can you do that? If you keep the Composition moving, instrumentally or with the Lyrical Storyline, you can keep them all the way through the 3 minute 42 second time span. The Human attention span can be longer than that if you have a longer Composition, but for 'pop', meaning 'popular' music, in any genre, staying short can be a virtue. Start, entertain, and end. A Composition must have 'Enough' Repetition and 'Enough' Change. Enough Repetition supplies Structure the listener can relate to. They recognize the Verse Movement, the Change to the Chorus, a more emotional intensity, usually a higher pitch, and then the Repetition of the Melody they 'learned' in hearing Verse I when you employ it again in Verse II. I contend that even in instrumental or Rap/Hip Hop or Jazz genres that adherence to Repetitional/Change Structure can be more successful at hooking and sustaining Hook Factor than a Composition that does not employ those elements. The 'Enough' concept is the Songwriter's judgment call. How much Introductory Movement is 'Enough'? How much is 'Too Much'? How much is 'Not Enough'? With experience a Songwriter should begin to sense the timing of components, sensing when Enough Intro has been given and it is 'time' to begin the main body of the work. You should sense when Enough Verse has been exposed to set the scene and it is 'time' for the Chorus. Try your Songs with the Chorus to start and see if that works, in your judgment call. Examine the Verse Lyric and see if there's 'Enough' exposition, or 'Too Much', or 'Not Enough'. Remember, "Don't bore us! Get to the Chorus!" How much Repetition is Enough? How much Change is Enough? Too much? Not Enough? A Song that is continually Changing lacks Structure. A Song that is continually Repeating gets monotonous; mono-tone-ous. Either can allow the listener to become 'unhooked'. They drift off to other thoughts, stop paying attention, and only realize it when the Song ends and they realize they haven't been listening, and may not be interested in listening again. Terrestrial radio play used to earn Royalties, making money for the Songwriter(s) and Publisher. The reason they played music was not to promote the art; it was to keep listeners 'hooked' until they could play the commercial ads that pay the bills. Short Songs left more time for commercial ads. Songs used to be two minutes long. It is surprising to listen to those Songs now and realize they do not seem 'short'. They get done everything a Song needs to get done, in their two minutes and a few seconds. They are 'Enough'. Who is 'buying' music now, and how? How are 'consumers' 'consuming'? Where is the market for your product? If you can supply their desires and demands you can sell in that marketplace.
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
I got a Lyric and settled at about 1:45 as a complete Song. I thought about the four Notes I chose for the first Line and how any number of other musicians might choose an infinite variety of Notes. The Prosody was a study too, how the words/Notes 'hit' on the beat, between beats, making it work the way I want it to work. Every Song is a learning experience.
"Shouldn't You Be Gone" Copyright August 14, 2020 by Gary E. Andrews. All Rights Reserved.
G 32OOO3 Em O22000 C/G 332O1O
(Verse I)
I sold my soul, to a love-ly devil! She let me come in out of the cold. She let me play the rebel. I had a fee-ling, somethin' was wrong. A little voice inside my head said, (Chorus Refrain) "Hey! Shouldn't You Be Gone?"
(Verse II) Don't sell your soul, to a love-ly devil! She'll ask, "Are you out of control, or are you on the level?" If you get a fee-ling, something is wrong, a little voice inside your head says, "Hey! Shouldn't You Be Gone?"
(Coda) I sold my soul, to a love-ly devil. She let me come in out of the cold. She let me play the rebel.
I had a fee-ling. I had a fee-ling. I had a fee-ling. Shouldn't You Be Gone?
August 23, 2020: I've been singing the Lyric like this lately. "Shouldn't You Be Gone" Copyright August 14, 2020 by Gary E. Andrews. All Rights Reserved.
G 32OOO3 Em O22000 C/G 332O1O
(Verse I)
I sold my soul, to a love-ly devil! She let me come in out of the cold. She let me play the rebel. I had a fee-ling, somethin' was wrong. A little voice inside my head said, (Chorus Refrain) "Hey! Shouldn't You Be Gone?"
(Verse II) I sold my soul, to a love-ly devil! She said, "Are you out of control, or are you on the level?" I had a fee-ling, something was wrong, a little voice inside my head said, "Hey! Shouldn't You Be Gone?"
(Coda) I sold my soul, to a love-ly devil. She let me come in out of the cold. She let me play the rebel.
I had a fee-ling. I had a fee-ling. I had a fee-ling. Shouldn't You Be Gone?
Last edited by Gary E. Andrews; 10/17/2202:13 PM.
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
"I Can't Tell Any More", the first Lyric in response to a K. C. Turner Songwriting Club website I stumbled into. The site offered that title and challenged its members to write a Lyric for it. I'm not a member but I did conceive a Lyric. It had a negative angle. A couple days later I wrote another one with a positive angle. It was just an exercise in trying to tell a coherent story. This one employs a Refrain-Type Chorus, a single Line ending each Verse. It employs a Bridge to break the Repetition, enabling a Third Verse to complete the Storyline, and a Coda to end.
"I Can't Tell Any More", Copyright March 25, 2020, by Gary E. Andrews. (Verse I) Everything I do is wrong, to hear you tell it. The rose you gave me once is dead. I cain't smell it! I keep tryin' to please you. I don't know what for. Do you still love me? I Can't Tell Any More.
(Verse II) Every time I hear that song we used to dance to, It reminds me of the things that now I can't do. I let you win the fights. I'm tired of keeping score. Do I still love you? I Can't Tell Any More.
(Bridge) I can't tell right from wrong. I fight temptation. Was it ever love, of just infatuation?
(Verse III) Well tonight you're in the mood. You snuggle to me. I'd like to tell you that I'm not. You'd see through me. So we go through the motions. You leave me wanting more. Is this still love? I Can't Tell Any More.
(Coda) Do you still love me? I Can't Tell Any More. Do I still love you? I Can't Tell Any More. Is this still love? I Can't Tell Any More.
And here's the other Lyric. It employs the same Refrain-Type Chorus, Bridge, a Third Verse and Coda. Many Songs don't find a Third Verse and employ a Bridge to break the Repetition of Verse/Chorus, Verse/Chorus, and enable a final giving of a Stanza-Type Chorus to end. It's important not to go too long.
"I Can't Tell Any More" Copyright March 27, 2020 by Gary E. Andrews. (Verse I) I can tell you 'bout her eyes, When she gets that 'come on' look. I can tell you how she lies, 'bout what goes wrong when she cooks. I can tell you 'bout the stories, she reads about in books, But when we close that bedroom door, I Can't Tell Any More.
(Verse II) I can show you 'round her garden, where she had me dig it up. I can tell you 'bout the bargain, she got me on this truck. I can tell you how I'm grateful, but it never is enough. When we close that bedroom door, I Can't Tell Any More.
(Bridge) It's private! It's personal! It's just for her and me. It's something that we do, for only us to see. It's a pact we don't ignore. I Can't Tell Any More.
(Verse III) Let me tell you 'bout our vows, we read on our wedding day. Let me tell you 'bout her house, where I stay out o' her way. I won't tell you about her kiss, or the games she likes to play. When we close that bedroom door, I Can't Tell Any More. (Coda) When we close that bedroom door, I Can't Tell Any More. I Can't Tell Any More.
Last edited by Gary E. Andrews; 10/17/2202:14 PM.
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
"She Was Marked" Out Of The Woodwork Copyright 1980 by Gary E. Andrews All Right Reserved for the Globe Chords: D XXO232 Gadd5 32OO33 A XO222O G 32OOO3 A7 XO2O2O Em O22OOO C/G bass 332O1O
(Chorus) She Was Marked, Marked by her kindness, Stark, naked, blindness, True faith, Faith that this time, It was for real.
(Verse I) On a lark, I asked her for the time, Miss. She parked, And planted a wet, Kiss on me, I knew this time, It was for real.
(Bridge) So I laid aside all my preconceived notions. I played everything by ear. Ah, but too much time passed. I knew I couldn't last, So I called her up, said, "Come over here." As I started to talk, She started to walk. I knew she'd know just what I'd mean. I started to kiss her. She started to whisper, Then, We broke clean. As she walked out the door, I knew I'd never see her no more, That's, Just the way it's been.
She Was Marked, Marked by her kindness, Stark, naked, blindness, True faith, Faith that this time, It was for real.
You can't hear this one on my website, but there are some others there. www.garyeandrews.com
Last edited by Gary E. Andrews; 10/17/2202:15 PM.
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
"The Crimson Slayer" (No audio link.) Out Of The Woodwork II Copyright 1973 by Gary E. Andrews All Rights Reserved for the Globe Chords: Am C/G D G (Verse I: Movement I) I'm gonna' be a back door singer. You can be my back door strings 'a. I'm gonna' be a concert artist, Doin' that back door thing 'a. I'm gonna' be a star of sorts, With ladies screamin' at my vocal cords, Living in New York penthouse forts, Driving all kinds of brand new Fords.
(Verse I: Movement II) In the evening, I'll get kinda' lonely and say, "Let a lovely in." She'll come wide-eyed and halfway homely. I'll say, "Honey, where've you been?" She'll say, "Oh Andy, gimme' some candy! Sing your latest song for me! I'll play a couple, Since I'm so supple. In the morning I'll have V. D. Oh, In the morning I'll have V. D.
(Chorus) Oh, I don't wanna' be a rock 'n roll star. I don't wanna' be no king. I'm just a man who plays guitar, Not a god with a magical thing. I don't wanna' be a rock 'n roll star. I don't wanna be no king. I'm just a man who plays guitar. I wanna' keep it, A simple thing. Alright.
(Verse II: Movement I) I'm gonna' be a back door player. You can be my back door queen. I'm gonna' be the Crimson Slayer, Doin' that graveyard scene. I'm gonna' be a star of sorts, With the people listenin' To my soft reports, Livin' in the back of a '49 Ford, Painted with the sign of the Crimson Sword.
(Verse II: Movement II) In the evening, I'll get kinda' lonely, And wonder where it will end. You'll come wide-eyed and say, "It's only A space in time my friend." You'll say, "Oh Andy, Gimme' some candy. Sit up and talk to me." You'll smile your dimples and I'm so simple, I'll be sleepin' while you're leavin' me. Yeah, I'll be sleepin' while you're leavin' me.
(Repeat Chorus) Oh, I don't wanna' be a rock 'n roll star. I don't wanna' be no king. I'm just a man who plays guitar, Not a god with a magical thing. I don't wanna' be a rock 'n roll star. I don't wanna be no king. I'm just a man who plays guitar. I wanna' keep it, A simple thing. Alright.
Last edited by Gary E. Andrews; 10/17/2202:15 PM.
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
You Went The Other Way Out Of The Woodwork IV Copyright 1994 by Gary E. Andrews All Rights Reserved for the Globe
Chords: G 32OOO3 C/G bass 332O1O D XXO232
I saw your hat, On the street, Today, And I wondered, Would you go for me Or go the other way?
I heard your voice, In the street, Today, And I wondered, Would you talk of work, Or would you talk of play?
I waited at the bus stop, For you to catch up to me, But You Went The Other Way.
I saw your picture, In the paper, Today, And I wondered, What the caption Beneath it might say.
I saw your fingers, Throw the ring away, And I wondered, What your momma would say.
'Cause she's one for a, Platitude. She, Likes to keep a good, Attitude. She, leaves a lot of, Latitude for play. She's good with a, Quick cliche'. Her Smilin' face is a sweet bouquet. I wonder if she knows, You Went The Other Way.
I bought a pistol, At the pawn shop today. I wonder if I'll use it, Or just put the damned thing away. If I'm going to be lonely, I'll be lonely alone. And I wonder, Will I have to pay?
It's not just a matter, Of melting hearts of stone, And I wonder, Can I rock and roll it, Can I rock and roll it away? I waited at the bus stop, For you to catch up with me, But You Went The Other Way.
I saw your sister, On the street, Today, And I wondered, Would she go for me, Or go the other way? She called me 'Mister,' And asked me to play, And I wondered, What her mother would say.
'Cause she's one for a, Platitude. She Likes to keep a good Attitude. She Leaves a lot of Latitude for play. She's good in her cliques and cliches. Her smilin' face is a Sweet bouquet. I wonder if she knows, You Went The Other Way.
I bought a pistol, At the pawn shop today. I wonder if I'll use it, I threw the damned thing away. If I'm going to be lonely, I'll be lonely alone, And I wonder, Will I have to pay?
It's not just a matter, Of melting hearts of stone, And I wonder, Can I rock and roll it, Can I rock and roll it away? I waited at the bus stop, For you to catch up with me, But You Went The Other Way.
Last edited by Gary E. Andrews; 10/17/2202:16 PM.
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
"Give Thanks, Give Thanks" Out Of The Woodwork V Copyright September 27, 2005 by Gary E. Andrews All Rights Reserved for the Globe Chords: G 32OOO3 C/G bass 332O1O D XXO232
(Verse I) There are workers in the fields. They bring the harvest in, Send it out all over the land. Look in your potato bin. Do you see the hands of those Who made it all begin? (Chorus Refrain) When you Give Thanks, Give Thanks for them.
(V II) They work a long, hard day, The sun upon their backs. Overnight the rain, Washes out their tracks. They try to get some rest So they can do it all over again. When you Give Thanks, Give Thanks for them.
(Bridge) For every bite you take, Someone had to make, The ground receive the seed, And hope for the seed to take. Until they leave this Earthly world They'll make the earth serve them. When you Give Thanks, Give Thanks for them. When you Give Thanks, Give Thanks for them. When you Give Thanks, Give Thanks for them.
(V III) My folks all were farmers. They farmed Kentucky hills. Came out here from Prestonsburg, Seeking fairer fields, Left behind the coal mines, And dust that sickened them. When I Give Thanks, I Give Thanks for them.
(Bridge) For every breath I take, I've got Grandpa to thank, For comin' up out o' the mines, And movin' on down the line. Until he left this Earthly world He made the earth serve him. When I Give Thanks, I Give Thanks for him. (Coda) When you Give Thanks, Give Thanks for them. When you Give Thanks, Give Thanks for them.
Last edited by Gary E. Andrews; 10/17/2202:17 PM.
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
"Seeds Of Doubt" Out Of The Woodwork V Copyright September 11, 2002 by Gary E. Andrews All Rights Reserved for the Globe Chords: D/A bass ? XOO232 G 32OOO3 A XO222O Bm XX4432
The girl who just walked in, And the girl who just walked out, Used to be the best of friends, 'Til 'this' came about. Now they stand on opposite Corners of the room. Me, I'm stuck in the middle, Knowing that I'm doomed Since the Devil sowed the Seeds Of Doubt.
The brunette with the brown eyes, The blonde with the blue, Used to sit and fantasize On things they'd like to do. They used to take my arms and walk me down the avenue. Now they'd like to pull them off And beat me black and blue, Since the Devil sowed the Seeds Of Doubt.
I saw the Devil comin', With a bottle in her hand. I could tell by the way she smiled She had some evil planned. She elbowed me in the ribs. Her liquor got me talkin'. She said, "I know all about ya' kid. You wanna' do much more than walkin'. Her liquor loosened up my tongue. I's near to passing out. That's how the Devil sows the Seeds Of Doubt.
The lies that I told her, The truth that she left out, Conspired to make a story, Which she then spread about. It got back to the ladies. They came and called me out. One accused. The other excused me. Both began to shout, How the Devil sows the Seeds Of Doubt.
I saw the Devil comin', That bottle in her hand. I could tell by the way she grinned She was out to get me again. She winked at me, Implied that we Were partners in her plan. Fool me once, shame on me. You won't fool me again. I designed to bite my tongue. I tried to stare her down But the Devil sows the Seeds Of Doubt.
Well, the girls just walked in, And now we're walkin' out, Strollin' down the avenue, With things to laugh about. The Devil's always waitin'. She'd like to get me down. She finds it so frustratin', Me warning you about, How the Devil sows the Seeds Of Doubt.
So watch out. The Devil sows the Seeds Of Doubt. The Devil sows the Seeds Of Doubt.
More Info... "Seeds Of Doubt" Copyright September 11, 2002 by Gary E. Andrews All Rights Reserved For The Globe Listening to Bob Dylan's "Thin, Wild, Mercury Music" while doing dishes, I got the first Lines, "The girl who just walked in, And the girl who just walked out, Used to be the best of friends 'til 'this' came about." Characters were in motion in a physical setting, some event, a conflict, ('this') that divided them as friends had "come about," and now the story had to be told. The dishes could wait. They'd been waitin'. And of course, I had to stick myself right "in the middle," and deal with the devil, just like always. I like the constancy of the bottle, alcohol being one of the most corrupting drugs on planet Earth, making people feel like the devil is real, because it brings out evil character aspects we would associate with such a mythical being. I personally don't believe in the devil, preferring to believe in the Great Spirit, call it what you will. I sing it with the Devil as female, just to tweak the ladies and let 'em vent a little steam. I rewrote it for the female singer's point of view, restoring the devil to his rightful maleness.
Last edited by Gary E. Andrews; 10/17/2202:18 PM.
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"Get The Honky Tonk Blues" Copyright November 27, 2020 by Gary E. Andrews. All Rights Reserved. Chords. G 32OOO3 C/Gbass 332O1O D XXO232
(Verse I) Who gets the honky tonk blues? Folks in honky tonks do. They lay out late at night. They get into fights! They do (Chorus Refrain) Get The Honky Tonk Blues.
(Verse II) Who gets the honky tonk blues? Folks in honky tonks do. They feel it ain't goin' right. Their dreams are out of sight. They do Get The Honky Tonk Blues.
(Bridge) They wake up in the mornin', with the same pain they had last night. It echoes like a warning: Don't do the same thing tonight!
(Verse III) Who gets the honky tonk blues? Folks in honky tonks do. They lay out late at night. They get into fights! They do Get The Honky Tonk Blues. (Coda) Get The Honky Tonk Blues. Get The Honky Tonk Blues.
(I think it takes about one minute fifteen seconds to play. I wonder if short Songs like that could find a place on terrestrial radio. Back when the world was young Songs often came in at two minutes or a little less or more I sang ad lib, "Who gets the honky tonk blues?" and asking that question was inspired to see where the Lyric/Melody might go. Rather than the usual "I've got the..." blues Line, the question seemed to have a different appeal, different approach.)
Last edited by Gary E. Andrews; 10/17/2202:18 PM.
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"Come Back Radio Man" (Creative Commons issue, by Gary E. Andrews, December 24, 2020. Lyric only. No audio link.)
"Come Back Radio Man!"
Back when the world was young, we had magic radio. Every song that was sung, wasn't great. We loved it though. The Beach Boys took us to the beach. James Brown stirred our Soul. The Beatles gave us the beat! Chuck Berry's Rock and Roll! DJ's had lessons to teach. Decorating life was their goal!
(CHORUS) Come Back Radio Man! Come back and show us how! Come Back Radio Man! We need you and we need you now! Come Back Radio Man!
Back when the world was new, we had magic radio! B. B. taught us the Blues. Wolfman Jack made a show. Motown swung the pendulum. The East Coast came to play. Then the British Invasion, taught us a whole new way. DJ's put us in reach, of a dream of a brand new day!
Come Back Radio Man! Come back and show us how! Come Back Radio Man! We need you and we need you now! Come Back Radio Man! (Brief Instrumental Bridge) (Jam longer in live play) (Repeat Chorus) (Coda) Come Back Radio Man! Come Back Radio Man! Come Back Radio Man!
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"The Crazy You" copyright January 1, 2021 by Gary E. Andrews. All Rights Reserved. C/G: 332O1O F: X33211 G: X55433
Don't be a crazy baby! I need ya' sane! Don' be the crazy lady! Don't jump off the train! Jump off your horse and ride, Like ya' used to do! Show me your ounce of pride! Don't show me, The Cra-zy You!
Don't talk about politics! Religion too! Don't take me out in the sticks! Think, "Right here will do!" Stand here off to the side! Let the crazy through! Show me your peace of mind! Don't show me, The Cra-zy You!
Don't be the one in the street, everybody's pointing to, because of what's on your feet! Where the hell'd you get those shoes? Don't show me, The Cra-zy You. Don't show me, The Cra-zy You. Don't show me, The Cra-zy You.
"Somewhere" copyright December 31, 2020 by Gary E. Andrews. All Rights Reserved. C/G: 332O1O Cmaj7: 332OOO Fmaj7: X3321O Am: XO221O F: X33211 G: 32OOO3 G7: 32OOO1
Somewhere, someone is calling, but there's no--body there. Somewhere, a star is falling, but no--body cares.
Somehow, something that's missing, finds, its way there. Somehow, something I'm wishing, knows, I don't dare.
Somewhere, someone who's calling, has begun, to get scared. Somewhere, someone who's stalling, finds courage to spare!
Somewhere, someone is calling. Somewhere. Somewhere. Somewhere. Somewhere.
Last edited by Gary E. Andrews; 10/17/2204:12 AM.
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"Some New Blues", Copyright January 5, 2021 by Gary E. Andrews.
I got Some New Blues now baby, Since I found out about you! I got Some New Blues now baby, Since I found out about you! I need to see more of ya! I don't know what to do!
I've lost my old Blues now baby! Me and my old Blues are through! I've lost my old Blues now baby! Me and my old Blues are through! I'm a woman who needs to love ya! I'm walkin' high in my shoes!
(BRIDGE) Don't bring that other woman. She can't love ya like I do! I got my guitar in my hands! I'm playin' just for you! Me and my old Blues are over! Now I've got Some New Blues!
"I got Some New Blues now baby, Since I found out about you! I got Some New Blues now baby, Since I found out about you! I need to see more of ya! I don't know what to do!
Last edited by Gary E. Andrews; 10/17/2202:19 PM.
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"Moon Over San Francisco" Copyright February 27, 2021 by Gary E. Andrews.
It's been too long. It's never too late, for the sing-ing of our song. It's been too much, wanting your touch. I know it ca--n't be wrong.
When I get back, if I get back, when I come in, off the road, girl you know I'll, wanna see you, and the Moon-- Over San Francisco. You and the Moon, Over San Francisco.
In the moonlight, late at midnight, when the Moon has, gone solo, you wait for me, you watch for me, from there by, your window.
When I get back, if I get back, when I come in, off the road, girl you know I'll, wanna see you, and the Moon-- Over San Francisco. You and the Moon, Over San Francisco.
It's been too long. It's never too late, for the sing-ing of our song. It's been too much, wanting your touch. I know it ca--n't be wrong.
When I get back, if I get back, when I come in, off the road, girl you know I'll, wanna see you, and the Moon-- Over San Francisco. You and the Moon, Over San Francisco. You and the Moon, Over San Francisco.
Last edited by Gary E. Andrews; 10/17/2202:20 PM.
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"After The Taste Of Love" Copyright March 16, 2021. By Gary E. Andrews. All Rights Reserved For The Globe. E7 O2213O A7 XO2O2O XO2O23 B7 O212O2
Nobody warned me, about your kiss. Nobody told me, how much I would miss, the look in your eye, the feel of your lips, After The Taste Of Love! My buddy told me you could set me on fire. Nobody warned me love could be a liar. Nobody knows the depths of desire, After The Taste Of Love!
Taste! I want a taste of your love! Taste! I want a taste of your love! Taste! I want a taste of your love! More of the same's all I can think of, After The Taste Of Love!
I know you tol' me not to get this started. You said we could both end up broken-hearted! I felt the pain in the moment we parted, After The Taste Of Love! We got entangled in your twenty questions! I fell like a fool who never learns his lesson. Kicked out of school, I came back messin', After The Taste Of Love!
Taste! I want a taste of your love! Taste! I want a taste of your love! Taste! I want a taste of your love! More of the same's all I can think of, After The Taste Of Love!
I kissed the Gypsy twice before I paid her! She said, "You come on like a pirate raider! I said, "Baby can't we talk about this later, After The Taste Of Love? After The Taste Of Love! After The Taste Of Love!
I had a dream. I'm walking into a long room, carrying my guitar in a case.. A drummer is set up in the back, beyond a circle of couches and armchairs. A guitar player is laid back on one of the couches, on the left, guitar in hand. He seems lethargic. The drummer is sayin', "Well play somethin'!" I sit down, my back to the drummer, take out my guitar, start playin' E7 and A7, singing, "Taste! I want a taste of love! Taste! I want a taste of love!" I woke up, and played the Chorus and wrote the rest to go with it.
EDITING: "After The Taste Of Love" Copyright March 16, 2021. By Gary E. Andrews. All Rights Reserved For The Globe.
Nobody warned me, about your kiss. Nobody told me, how much I would miss, the look in your eye, the feel of your lips, After The Taste Of Love! The Gypsy told me, you could set me on fire. I didn't believe her! I called her a liar! How could I know, the depths of desire, After The Taste Of Love?
Taste! I want a taste of your love! Taste! I want a taste of your love! Taste! I want a taste of your love! More of the same's all I can think of, After The Taste Of Love!
I know you tol' me, not to get this started. You said we could both, end up broken-hearted! I felt the pain, in the moment we parted, After The Taste Of Love! We got entangled, in your twenty questions! I fell like a fool, who never learns his lesson. Kicked out of school, I came back messin', After The Taste Of Love!
Taste! I want a taste of your love! Taste! I want a taste of your love! Taste! I want a taste of your love! More of the same's all I can think of, After The Taste Of Love!
I kissed the Gypsy, twice before I paid her! She said, "You come on, like a pirate raider! I said, "Baby, can't we talk about this later, After The Taste Of Love? After The Taste Of Love! After The Taste Of Love!
And a Re-Write, to simplify. March 19, 2021. A Re-Write, to simplify.
"After The Taste Of Love" Copyright March 16, 2021. By Gary E. Andrews. All Rights Reserved For The Globe. E7 O2213O A7 XO2O2O XO2O23 B7 O212O2
Nobody warned me, about your kiss. Nobody told me, how much I would miss, the look in your eye, the feel of your lips, After The Taste Of Love! The Gypsy told me, you could set me on fire! I wouldn't believe her! I called her a liar! How could I know the depths of desire, After The Taste Of Love?
Taste! A taste of love! Taste! I want a taste of your love! Taste! A taste of love! More of the same is all, I can think of, After The Taste Of Love!
The Gypsy told me not to get this started. She said we could both end up broken-hearted! I felt a pain, in the moment we parted, After The Taste Of Love!
Taste! A taste of love! Taste! I want a taste of your love! Taste! A taste of love! More of the same is all, I can think of, After The Taste Of Love!
I kissed the Gypsy, twice before I paid her! She said, "You come on like a pirate raider!" I said, "Baby, can't we talk about this later, After The Taste Of Love? After The Taste Of Love! After The Taste Of Love!
Another re-write, to make it all about the Gypsy.
"After The Taste Of Love" Copyright March 16, 2021. By Gary E. Andrews. All Rights Reserved For The Globe. E7 O2213O A7 XO2O2O XO2O23 B7 O212O2
Nobody warned me, 'bout the Gypsy kiss. Nobody told me, how much I would miss, the look in her eye, the feel of her lips, After The Taste Of Love! The Gypsy told me, she could set me on fire! I wouldn't believe her! I called her a liar! How could I know the depths of desire, After The Taste Of Love?
Taste! A taste of love! Taste! I want a taste of your love! Taste! A taste of love! More of the same is all, I can think of, After The Taste Of Love!
The Gypsy told me not to get this started. She said we could both end up broken-hearted! I felt a pain, in the moment we parted, After The Taste Of Love!
Taste! A taste of love! Taste! I want a taste of your love! Taste! A taste of love! More of the same is all, I can think of, After The Taste Of Love!
I kissed the Gypsy, twice before I paid her! She said, "You come on like a pirate raider!" I said, "Baby, can't we talk about this later, After The Taste Of Love? After The Taste Of Love! After The Taste Of Love!
Another edit. I simply got confused while singing the last Verse about who did what, and switched it to give the Gypsy Character the 'aggressor' role. And I liked it. It's as if the Singer-Character has worn down her resistance and now she desires him as he does her.
"After The Taste Of Love" Copyright March 16, 2021. By Gary E. Andrews. All Rights Reserved For The Globe. E7 O2213O A7 XO2O2O XO2O23 XO2223 B7 O212O2 E O221OO (Verse I) Nobody warned me, 'bout the Gypsy's kiss. Nobody told me, how much I would miss, the look in her eye, the feel of her lips, (Chorus Refrain) After The Taste Of Love! (Verse II) The Gypsy told me, she could set me on fire! I wouldn't believe her! I called her a liar! How could I know the depths of desire, After The Taste Of Love? (Bridge) Taste! A taste of love! Taste! I want a taste of your love! Taste! The taste of love! More of the same is all, I can think of, After The Taste Of Love! (Verse III) The Gypsy told me, not to get this started. She said we could both end up broken-hearted! I felt a pain, in the moment we parted, After The Taste Of Love!
Taste! A taste of love! Taste! I want a taste of your love! Taste! A taste of love! More of the same is all, I can think of, After The Taste Of Love! (Coda) The Gypsy kissed me, twice before I paid her! I said, "You come on like a pirate raider!" She said, "Uh, Baby, can't we talk about this later, After The Taste Of Love?" After The Taste Of Love! After The Taste Of Love!
Last edited by Gary E. Andrews; 06/14/2102:18 AM.
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"She's A Hanger On" Copyright April 12, 2021 by Gary E. Andrews.
E7 O2213O A7 XO2221 B7 O212O2
She's A Hanger On. I let her hang around. She's as good as gone. I know she's never let me down. She's a Hanger On. I like having her around.
She's a white gold girl. She got silver everywhere. She's a righteous girl. It's not as good when she's not there. She's A Hanger On. She's a little worse for wear.
She's that kind of girl, like you hear about in songs, from a different world. Somehow tonight she got it wrong. She's A Hanger On. She's right where she belongs.
She's A Hanger On. I let her hang around. She's as good as gone. I know she's never let me down. She's a Hanger On. I like having her around.
She's A Hanger On. I let her hang around.
(You can't hear this one, but you can hear others at www.garyeandrews.com ) Site doesn't work with an iPhone.
Last edited by Gary E. Andrews; 10/17/2202:20 PM.
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"Love Better Next Time" Out Of The Woodwork IV Copyright 1997 by Gary E. Andrews All Rights Reserved for the Globe Chords: C/G bass 332O1O F X33211 G7 32OOO1 Am XO221O
You've never had a heartbreak before. That's why this one hurts so bad. But you're gonna' get through this, And you're gonna' be so glad, That you can love so deeply. That's why it hurts this time. That you can love so deeply, Means you're gonna' Love Better Next Time.
You never had your heart broken before. Yeah, But broken hearts do mend. It's just gonna' take some time, You'll see in the end, That you can love so deeply, Even though you're hurtin' inside. That you can love so deeply, Means you're gonna Love Better Next Time.
If you were so shallow, That it meant nothing, To touch, To kiss, You could walk away from this laughing, But then you, Might miss That you can love somebody, And that love can be so fine. That you can love somebody, Means you're gonna Love Better Next Time.
You never had a heartache before, Felt pain so sublime. You're gonna' get over this, You're gonna' be just fine. You're gonna' love somebody, Even though you got hurt this time. That you can love so deeply, Means you're gonna Love Better Next Time. That you can love so deeply, Means you're gonna Love Better Next Time. That you can love so deeply, Means you're gonna Love Better Next Time.
Last edited by Gary E. Andrews; 10/17/2202:21 PM.
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"Julie Gets The Blues" Copyright May 20, 2021 by Gary E. Andrews. All Rights Reserved.
(Verse I) Julie wakes up any morning with trouble on her mind. Her dreams are no relief. She worries through the night. She wakes up and she gets up. She pulls on her shoes. Julie Gets The Blues.
(Verse II) Julie gets out on the road. Gotta be there by nine. At the County Courthouse, they're makin' up their minds. He's her man. They got their man. They said so on the news. Julie Gets The Blues.
(Instrumental Bridge)
(Verse III) Her Momma tried to warn her off that silly stupid boy! "He'll only break your heart!" To Julie it was just noise. The heart wants what the heart wants. You play to win or lose. Julie Gets The Blues.
(Lyrical Bridge) Somewhere in Ohio, Julie moved away! She took her young man with her, to love another day! (Coda) Julie Gets The Blues. Julie Gets The Blues.
Last edited by Gary E. Andrews; 10/17/2202:21 PM.
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Just listening to "Cajun Lady". Think we found the second coming of Dylan, who turns 80 this coming Monday. This song does remind me of Dylan in his early days.
Dylan's forte is 'reporting back' to THE Hook, the title. I noticed recently that "Tangled Up In Blue" isn't a very clear title, a clearly meaningful summation of what the Song's storyline is about. Yet, by simply 'reporting back' to it at the end of long, poetic Verses, it works to tie the whole together, perhaps Melodically overcoming its Lyrical obscurity. It is a 'Refrain-Type' Chorus, a single Line of Lyric/Melody, as opposed to a Stanza-Type comprised of several Lines with THE Hook among them. "Cajun Lady" 'reports back' to THE Hook in a similar manner, a Stanza-Type Chorus, ending with THE Hook, the strategic last Line position, left ringing in the ear as the Chorus ends. It's all about her, so she gets the emphasis.
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"Bad Influence (Only Seventeen)" Copyright May 28, 2021 by Gary E. Andrews. All Rights Reserved. E A7 B7 (No audio link.)
(Verse I) I sent her to the Preacher. The Preacher couldn't reach 'er. The Preacher sent her back to me. I tried to teach 'er. Underneath the bleachers, she started teachin' me.
(Chorus) She's a Bad Influence on me! She comes to me when she's lonely! Somebody said, "She's Only Seventeen!"
(Verse II) She lives in a trailer. She cusses like a sailor. She likes to whisper things obscene. She tells me, "You're too gloomy!" She says she wouldn't do me, if I wasn't so damned mean!
(Chorus II) I'm a Bad Influence on 'er'. She asks why I never phone 'er, says she wants to be a loner, just like me!
(Bridge) Honey, we can't do this! I'm trying' to work through this! Aren't you too young to be doin' this with me?
(Verse III) She scatters out my money. She likes to talk funny, when she's tryin' to get a laugh out of me. Calls me 'Guitar Picker'. Wants to taste my liquor. What if she's Only Seventeen?
(Fading Coda) I sent her to the Preacher. The Preacher couldn't reach 'er. The Preacher sent her back to me. I tried to teach 'er. Underneath the bleachers, she started teachin' me.
Last edited by Gary E. Andrews; 10/17/2202:21 PM.
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"Manufacturing Songs". The 'revolution' in the music market has varied permutations in the various genres. The 'changes' in pop are a little different than those in country, or jazz, or every other genre. Something they may have in common is 'manufacturing' music to put out to the public. Less inspired than 'generated', the music generally falls short of aesthetic qualities people are looking for, but adequate in what they'll settle for. We used to think those bands with a million-selling album must be getting rich. But record companies back then were taking all the album sales, telling 'artists' to go tour and make their money in concert tickets. Some learned to 'merchandise' too, selling hats, t-shirts, sew-on patches, stickers, bumper stickers, pictures; whatever their fans would buy. A bassist told me he made more merchandising than he did playing with the band. There was a story the record labels, no longer able to sell hard-copy devices, came back to the artists, asking for a cut of their ticket sales, merchandising. The range of creativity was greater, combined with personal appeal of personnel, and bands could make a living. There was a story artists, or their management, would ask a Song-Writer for permission to change some words, or one word, as a way of cutting the artist in as a Song-Writer, with a share of the Song-Writing Royalties. Colonel Parker was infamous in getting that agreement on every Song Elvis Pressley sang, or he wouldn't let him sing it. Publishers who might have negotiated a hefty 'share' of Publishing Royalties began to ask for 100%. If the Song was a hit and they wanted another one, and the Song-Writer had the gumption to negotiate, they might get them down to a lower but still hefty percentage, retaining a share of Publishing Royalties for themselves, the 'creative' entity without whom there was no product. A hit Song, getting millions of plays on terrestrial radio, could earn a Song-Writer and Publisher substantial Royalties. People in the industry, at the can't-sell-them record labels, Publishers, artist Management, began to focus on Songs they owned, that their artists wrote, that they themselves Published, to keep the money coming to them and not a third-party Song-Writer and Publisher. It didn't work very well. Not every 'artist' is a 'creative artist'. They look good in a cowboy hat or a low-cut dress, and have one hit, maybe that they wrote or found, and, as soon as that hit hit, they started needing another one. They found they couldn't find or manufacture Songs that 'hit'. The public might buy them on some scale, because it was the latest thing from the artist, but not enough people wanted to 'own' the Song in any form to listen to again and again. Then the technology made it possible to 'own' a Song without paying for it. But, 'manufacturing' became a modus operandi that worked often enough to keep the shrunken industry operating. Problem was, the manufactured Songs started to all sound alike, in 'popular' (pop) music, and especially in country, a 'laundry-list' of 'things country', farming, trucks. Sweet tea was everywhere. Whisky/whiskey brand names. Skoal rings too for a while, in blue jeans. Tailgates and tank tops. It was boring as hell to anyone with a literary sense of a Song, like the old Songs that told stories in coherent fashion, not just 'painted a picture' or 'put props on stage'. You could spot the Songs that every Line was either just a Rhyme, or led weakly up to THE Hook, the title Line, that probably should have been the first Line of the Song and told the story suggested in that Line, finding THE Hook, whatever it may be, as the story unfolded. I even heard a batch of Songs in which three or more had a segment toward the end where each note was the same in pitch and duration, obviously without any idea of what to do Melodically, literally 'beep-beep-beeping' their way through it to get to the Chorus again to end. It may have been an attempt at a Bridge. After hearing it in the first one I noticed. The second one got my attention. The third one was obvious to me as a 'manufactured' product that should not be out to my ears yet, unfinished, weakening the rest of the Song. Manufacturing works, in dollars and cents, adequate to keep some companies alive. Many Leadership Decision-Makers in labels, Publishing companies, other, simply could not conceive of a way to stay alive at that level of income and went out of business. Someone said there were only five 'Labels' left, at one time, where there had been dozens, if not hundreds. 'Personal', artist-owned Labels are common now. Co-writing, with band members, friends, strangers, became a routine modus operandi; manufacturing. But the 'manufacturing' creativity generally falls short, limited in originality, anything 'new', any new way of telling the story. Songs have been written for thousands of years and we still have not exhausted the possibilities. But it isn't easy to 'manufacture' a Song that truly offers something new. Again, people will 'buy' it, on some scale, enough to keep the 'business' going for those in it, but on a smaller scale than was the norm before. The world's really waiting, dollars in pocket, for something new. The 'manufacturers' are on the lookout for something new, if it falls out of the sky at their feet, but they're limited in their own creativity and not searchers any more, searching the clubs, searching the net even. There's too much, too much time in bad bars listening to amateur writers/performers who turn out to only have one or two Songs, or 200 Songs that aren't 'hit' material. Too much time listening to mediocre product on the internet. 'Management' finds it 'unmanageable'. But they have to 'sign' something, or they're out of business, so they do. They find 'artists' who can't create good art, can't manage their money, can't hold their liquor, are dumb enough to drink liquor, use dope, get fat, get in fights, go to jail...everything but entertain and 'sell' music. It's easy to settle into those ruts of 'manufacturing', and stay there. But every so often, something breaks out, originates, creates, innovates. And can change the modus operandi. The possibilities of another Great Flowering of musical creativity are there. It's happened at times before. It can happen again.
Last edited by Gary E. Andrews; 07/05/2101:40 PM.
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
When I write the first Line is of strategic importance. It's the Line that suggests a story I want to hear more about.
"On a dark desert highway, cool wind in my hair, warm smell of colitas, rising up through the air." That's an incomplete sentence, but The Eagles had this southwest, desert 'persona' going with their other Songs, and "Hotel" fit right in. I was hooked, and wanted to hear the rest of the story.
"There's a lady who's sure, all that glitters is (pure?), and she's buying a Stairway To Heaven." Complete sentence. And the poetry of it, Rhythm and Rhyme, and the idea of someone buying a stairway to heaven, hooked my interest.
I hear too many recordings where the Lyric is not audible, buried in the mix, enunciated poorly, and the first Line doesn't get through my ear in a recognizable form. If I get a word or two they're ineffectual in 'Hook Factor'. For want of the words the Line fails. For want of the Line the Stanza fails. For want of the Stanza the Song fails. The Chorus can't make sense of the Verse, if I can understand the Chorus at all, because I didn't 'get' the Verse.
Folks try to crowd words into a space in time, smearing them over the beat, the Rhythm, and don't 'hit' the beat with Rhyme. It doesn't work. Failing to 'Hook' my interest I drift off to other thoughts, stop paying attention, and notice when the Song ends that I don't know anything about the Song that just played in my ears, or very little. THE Hook, the title Line, might be 'memorable', and retained, but the overall appeal isn't there. I'm generally not interested in hearing the Song again, and certainly not willing to put my money in the jukebox, or to buy a hard copy to own and listen to, or download to enable listening any time I 'want'. I don't 'want'.
"Hotel California", July 14, 2021, was still a pleasure to listen to. Listen to the Lyric, and observe the guitar work, the percussion. This is a hell of a composition. When people cite the length of these two particular Songs as justification for the length of their own compositions, I say, "Yeah! Write a Song like that and you can probably get it played." Just a long Song that goes on without good poetry, or a good storyline, isn't likely to work. The Leadership Decision-Makers in radio and other industry offices, Gatekeepers, aren't likely to be Hooked and think it can make them money. If it doesn't Hook them they will probably doubt it will Hook an audience.
As a Song-Writer YOU are the first listener. You should be Hooked the same way you hope others will be. But we're often Hooked by the feel of the 'emoting' as we sing a Lyric, entertaining for us, but without our critical evaluation of whether the Lyric and Melody have 'Hook Factor' for other listeners. Again, that first Line; does it suggest a story I want to hear more of? Or is it bland, obscure, uninteresting in Lyrical content, Rhythmic appeal, and supported with continuity of Lyrical coherence, Rhyme, and arrangement (instrumental accompaniment)? If I can't understand the words, I'm drifting away to think about the girl with the twinkle in her...whatever she's got twinkling. I'll notice when the Song ends, but they lost me, either from the get-go, or somewhere along the way. I came 'Un-Hooked'.
I don't have to know what the writer intended in a Lyric. If I can conceive something it works. "Hotel California" comes across as some nightmare, like an arrival in a 'hell' of his own making. The Singer-Character becomes obvious, a pronoun, 'I', appearing in Lines, so we get a sense of this First-Person story-teller, telling what's happening, somewhat in real time, as it happens. Very engaging of the imagination.
Yeah. Write a Song like that.
The Song, the Lyrical story, sung, communicated, can give you a Structure upon which you can build the Melody to which it is sung, and the instrumentation, the Production to support it, any way you want. Tempo, key, nuances, fills, percussion, harmony vocals, can all work from that basic Structure of the Lyric.
Even an instrumental composition can benefit from Structure. Lyrical Verses are Musical Movements. They begin, move through, 'passage', and end. They Repeat, Repetition supplying Structure. A listener can relate to Structure, or be lost without it, listening to a meandering composition that doesn't Repeat.
They Change, change supplying renewal of 'Hook-Factor', a refreshing of listener interest, avoiding monotony of 'Too Much' Repetition. It's an elusive concept of 'Enough', versus 'Not Enough' and 'Too Much'. Change is accomplished by the Chorus, or Chorus Refrain, or by a Bridge. If you analyze Songs you think 'do it right' you'll probably be able to perceive Structure, Repetition, Change, and the timing of them. Had they Repeated, perhaps a third time, without Change after the second Repeat, you might have drifted off to other thoughts, and only noticed when the Song ended that you weren't 'listening', weren't entertained. It was just background noise. If, after a second Repeat, they Changed, with a Chorus or Bridge, renewing your interest, you might have been attentive when they found a third Lyrical Verse, third Repeat of a Musical Movement, and welcomed hearing it again, because you 'learned' it and liked it the first two times. You can also analyze Songs you think 'don't do it right'. Why don't you like that Song?
The things you learn analyzing Songs you don't like and do like should manifest in your own compositions, being aware of 'Enough' Repetition, or 'Not Enough', or 'Enough' Change, or 'Not Enough', or 'Too Much'. Not Enough Repetition, no Structure to relate to, Too Much Change. Too Much Repetition, monotonous, lets me come Un-Hooked.
Enough coherence of ideas to tell an interesting Lyrical story, or Not Enough, or Too Much. You decide. The 'Enough' concept can apply to volume, percussion, every element of the sound, every element of the composition.
If you're not a critical listener of your own Songs you're probably not a critical listener of other peoples' either. Tastes vary. A person's reasons for liking or disliking a piece of music may have criteria far different from your own. They 'buy' some new music and want to share it with you. They 'like' it. You don't. It was worth their money to them. Your money stays in your pocket. Your own compositions and recordings have the same potential to earn money, for all the reasons people buy music. Or, they may not please 'Enough' people to get shared and promoted and sell.
Keep exploring. The possibilities are endless. Despite thousands of years of Song-Writing we have not exhausted the possibilities. Someone will write a new Song and masses of people will agree that it is a good Song. It might become a classic. If you're studious, and an explorer, you could be that Song-Writer.
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
Just writing and Rhyming, trying for a coherent theme. No guitar. Only the natural Rhythm of the words to imply Melody.
"I've Fallen" Copyright July 25, 2021 by Gary E. Andrews.
In a city like this it was bound to happen, you falling for me. How could a guy resist a woman laughing, with such joy de vivre? I don't want this night to end. I don't want to let you go. We may never be the same again. I want you to know,
(Chorus) I've Fallen! It's a done deal! I've Fallen. I know this is real! I've Fallen! I hope you don't mind. I've Fallen and can't help what I feel.
(Verse II) On a night like this it was more than likely, this would come to be. Where else could a couple of people so rightly, make love completely? I want to stay 'til the sunrise. I want to spend the night with you. We may never have this chance again. I want you to know,
I've Fallen! It's a done deal! I've Fallen. I know this is real! I've Fallen! I hope you don't mind. I've Fallen and can't help what I feel.
(Bridge) Love is a mystery! I didn't have this planned! Love has done this to me! I want to do it again!
I've Fallen! It's a done deal! I've Fallen. I know this is real! I've Fallen! I hope you don't mind. I've Fallen and can't help what I feel.
Last edited by Gary E. Andrews; 10/17/2202:22 PM.
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
Three acts dropped out at the last minute for a variety of reasons, a more important opportunity in Los Angeles, health, and probably a woman. So anyway, they asked me if I could play a few tunes. I'm the guy in the green shirt and white hat, playing acoustic guitar. Someone captured this, flaws and all, so bear with me. Here are some Songs I wrote and tried to play on someone else's guitar, with someone else's pick, and with microphones and amplification, foreign territory for me, an acoustic Song-Writer who does most of his playing these days lying flat on my back in bed. LOL Perfection is overrated.
Last edited by Gary E. Andrews; 10/17/2204:23 AM.
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
Disclaimer: Any resemblance to persons in situations, living or dead, is simply coincidental because fictions are based on possible realities. Poetic license enables me to title this even though the phrase is only used once in the Song. "I Never Knew That" Copyright August 1, 2021 by Gary E. Andrews. G 32OOO3 C/G 332O1O D XXO232 (Verse I) I knew you, were sweet on him. I caught you kissin', his brother Jim. (Chorus Refrain) I know now, what I never knew then.
(Verse II) I knew who, was kissin' who. I knew then, but I couldn't tell you. I know now, what I never knew then.
(Bridge) Who's gettin' skinny? Who's gettin' fat? I knew this, but I Never Knew That. I know now, what I never knew then.
(Verse III) Jim got drafted. He never came home. Joe never married. He lived alone. I know now, what I never knew then.
(Verse IV) In a working lifetime, I wore many hats. I still live here, in the old Brick Flats. I know now, what I never knew then.
Who's got skinny? Who got fat? I knew this, but I Never Knew That. I know now, what I never knew then.
(Second Bridge) I told you secrets! Keep 'em under your hat! You knew this! You never knew that! You know now, what you never knew then. (Coda) You know now, what you never knew then.
Last edited by Gary E. Andrews; 08/03/2107:54 PM.
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
Short Lines, sustained notes. A strange, esoteric Melody. I write whatever kind of Song comes to me, if I feel the bits I begin with have merit. I often see long Lines of Lyric, and the singer sustaining long Notes at the end. The sustain often obscures the word meaning, enunciating it in an unnatural way, obscuring that all-important Rhyme-Word meaning. I'm having to study this one to learn the Prosody. Just what beat in the bar do I begin on to land on the right beats following it? How long should I sustain Notes, and which ones; Notes in the middle of the Line? At the end? I think this is what keeps Song-Writing an unparalleled entertainment for me.
F X33211 Am XO221O G 32OOO3
"When You Come Between (Me And The Moon)" Copyright September 4, 2021 by Gary E. Andrews. All Rights Reserved Worldwide.
(Verse I) When You Come Between, Me And The Moon, your sil-hou-ette, darkens the room. I never felt this way! I don't know what to say! I've never been in love before.
(Verse II) When you whis-per near, I hear the tune, play in my ear. I smell your perfume! How have we come this far? I don't know where we are! I've never been in love before.
(Bridge) How has our his-to-ry, become a mys-te-ry? You never did this to me before.
(Verse III) When You Come Between, Me And The Moon, your sil-hou-ette, darkens the room. Have I become bewitched? Have poison cups been switched? I've never been in love before.
How has our his-to-ry, become a mys-te-ry? You never did this to me before.
(Coda) When You Come Between, Me And The Moon,
As the Song-Writer YOU are the first listener. The first bits should 'hook' your interest. The 'Hook Factor' in the Introductory Movement serves that function, getting your attention at least long enough to get to the first Musical Movement of a Verse. Or it may get you to a Chorus. Some Songs open with a Chorus, to good effect. In this one the Lyric hooked me, the first listener. In Verse I Line 1 I create a 'you' Character. I don't know who she is yet. She may be a Love-Interest Character. The Singer-Character, the 'me' Character, is in that first Line too. "When you come between, me and the moon, your silhouette, darkens the room." I've created two Characters, and set them in a 'reality' where there is a Moon for her to be silhouetted by, in the doorway of a room. The doorway isn't specified, just implied. She could be silhouetted by a window. The listener's imagination will perhaps decide. The Singer-Character then expresses a bit of bewilderment at what he's experiencing. "I never felt this way. I don't know what to say. I've never been in love before." The Melody ends on a mysterious Note, not a downward resolving Note, but a lingering, higher pitch, as if this 'being in love' is perhaps a bit scary for him. Simply playing on those patterns of Melody, Repeating Verse I Melody for Verse II, with more non-specificity in the Lyric, I went on to compose the rest of the Song. The Bridge was originally the second component of Verse II, but I found other Lines and moved things around in a quick edit during the writing. I've only re-written Verse II; (Verse II) When you whis-per near, I hear the tune, play in my ear. to read, (Verse II) When you whis-per near, I hear the tune. It plays in my ear. Playing it today, the next day after having written it fairly quickly, I'm a little forgetful of the Melody, the chord progression to accommodate it. I'm entertained enough to keep it, perhaps to study it more.
Last edited by Gary E. Andrews; 10/17/2202:23 PM.
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
"Six A.M. In Nashville". Copyright July 19, 2022 by Gary E. Andrews.
(Verse I) (Chorus Refrain; opening Line.) "It's six a.m. in Nashville! We haven't been to bed. The darkness is all fading. The morning's turning red. I hope I haven't kept you up! For some reason I feel fine. I just can't quit loving you. I love you all the time.
(Verse II) It's six a.m. in Nashville. I just crawled into bed. I went home at two-thirty. She called me up and said, "I hope I didn't wake you up. It's just that I can't sleep. I just can't quit loving you. Do you still love me?"
(Bridge) Well I do and I don't! It's too early for me to tell. I do and I don't. I'm at the wishing well! I'm tossing in my flipping coin! In a moment now you'll know. It's six a.m. in Nashville. I'm back on the road!
(Verse III) It's six a.m. in Nashville. I'm knocking on your door. The daylight on your face is everything I'm looking for. Come on! Let's go and get some sleep! We can talk if you're inclined. I just can't quit loving you! I love you all the time!
(Bridge/Coda, fading) Well I do and I don't! It's too early for me to tell. I do and I don't. I'm at the wishing well! I'm tossing in my flipping coin! In a moment now you'll know. It's six a.m. in Nashville. I'm back on the road!
Last edited by Gary E. Andrews; 07/20/2207:24 AM.
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
"Of Love" Copyright August 11, 2022 by Gary E. Andrews
Verse I You come in with the wind! You close the door behind you! You're trying to find a place, where the world won't find you! You want to forget! I want to remind you, Of Love!
Verse II The snow begins to fall! It keeps falling all winter! You've been looking for the exit, every since you entered! You try to step aside! I make you the center, Of Love!
Bridge You've come unwound. You're trying to rewind it! Your Mother taught you, 'Love is where you find it!' It used to bother you! Now you don't mind it, at all!
Instrumental Bridge
Verse III You come out in the sun, unafraid of burning! Suddenly it's fun, to feel the world is turning! You don't know it all! You like what you're learning, Of Love!
You've come unwound. You're trying to rewind it! Your Mother taught you, 'Love is where you find it!' It used to bother you! Now you don't mind it, at all!
You've come unwound. You're trying to rewind it! Your Mother taught you, 'Love is where you find it!' It used to bother you! Now you don't mind it, at all!
Last edited by Gary E. Andrews; 08/19/2202:26 AM.
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
I do lots of 'editing' in the writing process. I was thinking of word options in the Lines that I either, rejected or thought of later "Of Love" Copyright August 11, 2022 by Gary E. Andrews
Verse I You come in with the wind! You close the door behind you! This Line was originally ad lib as; You come in with the wind AND close the door behind you! I think at one point it was 'shut' the door behind you! I decided the pronoun 'you' and 'close' were better. Just a judgment call for me, the first listener.
You're trying to find a place, where the world won't find you! I remember singing, You're looking for a place. But the Love-Interest Character trying to 'find' a place where SHE won't BE found was more interesting to me.
The contrasts in the opening phrases, versus the ones that follow within Lines began to naturally occur. I wasn't thinking hard to find them. The opening phrase came out, ad lib, and the second phrase had to Rhyme AND be coherent to the theme. I've felt before that if you just tell the story in a Song, the Rhyme is there, coherent, meaningful, not 'just' a Rhyme. You want to forget! I want to remind you, Of Love!
Verse II (The poetry of Verse II Line 1 Hooked me.) The snow begins to fall! It keeps falling all winter! You've been looking for the exit, every since you entered! (Another opening phrase, and natural following Line concept.) You try to step aside! I make you the center, Of Love! (Having to land on a Rhyme may have made me tinker with the opening Line. I said 'stand' aside at one point, and 'and find out you're the center' was the original ad lib.
Bridge You've come unwound. You're trying to rewind it! (Opening phrase 'unwound', suggested second phrase 'rewind'.) Your Mother taught you, love is where you find it! (Your Mama 'warned' you, 'told' you, originally. Mama's advice came spontaneously, with a Rhyme. I'm repeating the Rhyme-Scheme of Verse I, the 'ind' sound. The Bridge is playing the same chords, making the Melody dangerously similar to the Verse Melody. But this is just a little 'Rhymer' Song for my own pleasure so...) It used to bother you! Now you don't mind it, at all! (And, magically, the ad lib opening phrase enables me to land on a Rhyme in a coherent thought.)
Instrumental Bridge
Verse III (A recent experience with a girl made me realize how young she is, yet seeming to develop her philosophy of life now, as a young adult.) You come out in the sun, unafraid of burning! Suddenly it's fun, to feel the world is turning! (Rhymes, 'sun/fun' and 'burning/turning') You don't know it all! You like what you're learning, Of Love! (Opening phase, totally ad lib, inspiring second phrase, with coherent meaning.)
You've come unwound. You're trying to rewind it! Your Mother taught you, 'Love is where you find it!' It used to bother you! Now you don't mind it, at all!
You've come unwound. You're trying to rewind it! Your Mother taught you, 'Love is where you find it!' It used to bother you! Now you don't mind it, at all! (I Repeat the Bridge twice to end and it's still under two minutes.)
("Of Love" is the Refrain-Type Chorus, a single Line of Lyric and Melody ending each Verse." It is the desired or demanded Repetition supplying Structure that the listener can relate to. I conceive it as 'reporting back'; Songs 'report back' to that summary concept, the title Line, THE Hook, and that ties the rest together coherently, or...not. Every Song is a learning experience for the next one, an 'education' for how a Song 'can' work. And Songs can work in myriad ways. That's why, despite thousands of years of Song-Writing, the possibilities have not been exhausted. As long as you keep reaching for your instruments, pen and paper, searching in your mind, there are new 'realities' to be inspired.)
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
"Bad Juju Man" Copyright August 24, 2022 by Gary E. Andrews
(Verse I) There's a storm on the horizon! bad Juju moving in! You and I are goin', somewhere we've never been! I don't wanna go there! I'll run if I can. (Chorus Refrain) They say you can't get away, from the Bad Juju Man!
(Verse II) There's a fire down in the furnace, bad Juju on the wind! You and I are fightin'! One of us has to win! I don't know the answer! Ask me once again! They say you can't get away, from the Bad Juju Man!
(Bridge) He comes up close behind you! He whispers of your sins! He taps you on the shoulder! Then he's gone again!
(Verse III) There's lightning! I hear the thunder! bad Juju 'bout to strike! The spell we are under, 'bout to break the dike! A rush of muddy water, sweeps across the land! They say you can't get away, from the Bad Juju Man!
(Coda) They say you can't get away, from the Bad Juju Man!
Last edited by Gary E. Andrews; 10/17/2202:23 PM.
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
Never (Is A Long, Long Time) Copyright August 27, 2022 by Gary E. Andrews
Once I... had a woman. She was light... as a feather. She used to come to my house, when she wanted to get together. Then one night, she turned out the light! She said 'Never!' Never!
(Chorus) Never-------- Is A Long, Long Time, forever------- and a day, this time. Never. Oh baby, Never, Is A Long, Long Time.
(Verse II) Once I... had to ask her, 'Baby why---?' She said, 'Well, whatever!' She quit comin' to my house. She never wants to get together, since that night, when she turned out the light! She said, 'Never'. Never.
(Verse III) Once I... caught her laughing; such a pretty look... on her face. She made me wonder, what has happened, how I... might get back in the race! No more nights! No more lights! No more never!
Never--------- Is A Long, Long Time, forever-------- and a day, this time! Never. Oh baby, Never? Is a Long, Long Time.
(Coda) Once I... had a woman. Once I... had a woman. Once I...
Last edited by Gary E. Andrews; 09/12/2201:39 PM.
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"A Hole (One Time)" Copyright October 1, 2022 by Gary E. Andrews C/G 332O1O Am XO221O F X33211 G 32OOO3
(Chorus) Once upon a time, I fell into A Hole. I fell into A Hole, One Time.
(Verse I) It wasn't in the woods! It was broad daylight! That's when Momma said, she knew, I was, no good. Once upon a time, I fell into A Hole.
(Verse II) Once upon a time, life became sublime! Everything I'd try, succeeded! I'd win! It wasn't any good! It felt like a fight! That was many lone-ly, years ago, tonight!
(Bridge) Like a fairy tale, a mad prince meets a queen, to play an epic fail, if you know what I mean---!
Once upon a time, I fell into A Hole. I fell into A Hole, One Time.
(Verse III) I do what I should; straighten up! Fly right! That was many lone-ly, years ago, tonight! Once upon a time, I fell into A Hole.
(Coda) Once upon a time, I fell into A Hole. I fell into A Hole, One Time. Once upon a time, I fell into A Hole. I fell into A Hole, One Time, One Time, One Time.
I've been finding irregular Song Structures lately. This is one. I think it works. An odd Lyric, odd Singer-Character's tale. Singing it, thinking about it, I imagined that parents should warn their children, when they go out the door, alone, on their own, no guidance but their own, "Beware! The world is full of holes." Some holes are small. You trip over them, maybe learn to pay closer attention, and not trip over little holes again. Some are larger. You fall down, get up, dust yourself off, go on down the street. But down the street are bigger holes, deeper holes, holes you might fall into, and never get out of again. There's a man down the street, selling tobacco. Tobacco's a hole. You may fall into the tobacco hole and give that man your money the rest of your life, which may be shorter. He's got a Government License to sell you that tobacco. He's got a Government License, to make his living killing; killing you. He kills 435,000 American Citizens a year, with a Government License to make his living...killing. There's another man...or maybe the same man, selling alcohol, with a Government License. Alcohol is dope, like any other dope. I don't know about you, but alcohol will make me just as stupid as any other dope. I'll say and do stupid things. It will take an intelligent man, or woman, and make them stupid. It will take kind people and make them mean. Responsible people will be irresponsible. Alcohol is a hole you can fall into. Not all holes are drug-related, but those are some big ones. Some holes you fall into, and never get out again. Some holes lead to other holes. Sometimes there are people down in the holes who 'escort' you deeper into the hole, or to other holes. Half of the people in prison, a hole, committed their crimes under the influence of alcohol, tobacco, other drugs. They fell into one hole, one time, and it made them fall into other holes. Once upon a time...so the story goes.
Last edited by Gary E. Andrews; 10/17/2202:24 PM.
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"Electric Shock" copyright November 3, 2022 by Gary E. Andrews
Shock me baby! Shock me baby! Hit me with Electric Shock! Shock me baby! Shock me baby! Hit me with Electric Shock!
You found me sick and told me that there was no cure! My sickness made you sad with a mad allure! You treated me with a hearty dose of hard, hard rock! You gave me what I needed with Electric Shock!
Shock me baby! Shock me baby! Hit me with Electric Shock! Shock me baby! Shock me baby! Hit me with Electric Shock!
You nursed me back to hell and helped me to endure! You gave me what I needed with your drug so pure! You had to let me dance! I felt the door unlock! You gave me what I wanted with Electric Shock!
Shock me baby! Shock me baby! Hit me with Electric Shock! Shock me baby! Shock me baby! Hit me with Electric Shock!
(Spoken) Nurse Shock? Yes? I need...I need...I need...I need...Electric Shock! I need...I need...I need...I need...Electric Shock! I need...I need...I need...I need...Electric Shock!
(Instrumental Bridge)
You found me sick and told me that there was no cure! My sickness made you sad with a mad allure! You treated me with a hearty dose of hard, hard rock! You gave me what I needed with Electric Shock!
Shock me baby! Shock me baby! Hit me with Electric Shock! I need...I need...I need...I need...Electric Shock! Shock me baby! Shock me baby! Hit me with Electric Shock! I need...I need...I need...I need...Electric Shock! Shock me baby! Shock me baby! Hit me with Electric Shock!
"Baby, Get To Me" copyright January 5, 2023 by Gary E. Andrews D XXO232 XXOO3O G 32OOO3 A XO222O XO22OO
(Verse I) Come on, baby! (Chorus Refrain) Get To Me! Don't, keep me waiting, any long-er! Come on, baby! Let it be! I'm waiting here, waiting to hear your song. Come on baby! Baby, Get To Me!
(Verse II) Come on, baby! Get To Me! I'm not, getting any, younger! Come on, baby! Can't you see? I'm wanting you, wanting you, so hurry! Come on baby! Baby, Get to Me!
(Bridge) Get me by my hand! Get me by myself! Come on, baby! Baby, Get To Me!
(Verse III) Come on, baby! Get To Me. The stars are yours! Come, give me the moon! Come on, baby! Get To Me. You're the one, who laid the spell I'm un-der. Come on, baby! Baby, Get To Me.
(Coda) Come on, baby! Get To Me. Come on, baby! Baby, Get To Me.
Last edited by Gary E. Andrews; 02/09/2307:16 AM.
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
"The Stars In Sedona" copyright January 20, 2023, by Gary E. Andrews
The Stars In Sedona, are bright as your eyes. The sky is as dark as my lies. The night's long and lonely. You were my one and only. The Stars In Sedona, tonight.
The Stars In Sedona, grant a million wishes. There are as many as the fishes, in seas of tomorrow, deep and wide as my sorrow. The Stars In Sedona, tonight.
Come away darlin'! Don't break my heart! Don't send me away without you. I'll drown in Corona, here in Sedona. The Stars In Sedona, tonight.
The Stars In Sedona, cry on the mountain. There are coins in all the fountains, If wishes were horses, beggars could take new courses, The Stars In Sedona, tonight.
The Stars In Sedona, tonight.
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
"You're Talking To" copyright October 31, 2022 by Gary E. Andrews
(Verse I) You've been singing the blues, every since you got home! I've been listening to, you talk on the phone. I've been wondering who, You're Talking To.
(Verse II) You've been walking the floor, in the middle of the night! We don't talk any more! All we do is fight. I've been fighting the urge, to slip away one night!
(Bridge)
One more bad decision, I've got to make! One more mad collision, before I break! I've been wondering who, You're Talking To! I've been wondering who, You're Talking To!
(Verse III) I've been singing the blues, the whole while you've been gone. Now there's nothing new, since you've come back home. I've been wondering who, You're Talking To.
(Coda) I've been wondering who, You're Talking To.
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Thoughts On: The Music Industry. Gary E. Andrews, February 17, 2023 Perhaps it was never what we thought it was, discovering and delivering artistic product, but...back in olden days it seemed there was an eclectic mix of songs, a delightful variety of creations, as opposed to a...perhaps... manufactured synthesis, almost an Artificial Intelligence of sameness, which seems easy to ignore. Full disclosure, I'm not listening any more. If I get a little radio it's National Public Radio for objective news reporting, occasionally a rock radio that plays 'oldies', which are mostly songs that came out after I stopped listening. I got to ask a question, or...pose a test the other day; "Sing me a..." and I named several 'famous' musical persons..."Sing me a song by..." and they couldn't. I can't. These 'famous' 'acts' whose names have gotten into my head have not put their music in my head. Pretty girls will always get my attention. I'll know their faces, be able to match up their names, but the songs they sing don't 'hook' me, don't earworm, don't entertain. Back in olden days there was a phase called 'Bubble Gum Music', implying it was 'aimed' at the 'tweens, the young music consumer between childhood and adolescence, who, by the way, control a billion dollars in disposable income. It's good 'business' to know your market, and reasonable to 'target' them with product you have reason to believe will appeal and garner their favor in the coin of the realm, dollars and cents. However, the 'industry' is capable of manufacturing the product, and the market, literally telling the people, children, adults, what they like and sticking our noses in it. That means those famous to infamous A&R People, the 'Arrangement & Repertoire' 'experts' who roamed the country 'discovering' the one-hit wonders and the talented 'artists', performers, song-writers, who labored in obscurity, playing small towns and small clubs in large metropolitan centers, and bringing them to market. We got to find music we didn't know we'd like. The industry found it in places we'd never get to go and discover it for ourselves, and brought it out of radio and tv and made us aware. And it didn't 'seem' to fit a formula or be simply an aspiring performer, trying to imitate and emulate what already existed, or supplied with 'sounds like' product to try to sustain a 'hit' with another hit. The formulaic country industry has been the most 'offensive' with manufactured product, trying to 'sound' country with laundry lists of things they think 'fit' the genre, "Old Dogs and Children, and Watermelon Wine", good poetry but... there are other 'lists', pickup trucks, snuff box rings imprinted on the back pocket of jeans, little white tank tops, tractors, slap a cowboy hat on his/her head and it's country. 'Western' disappeared from Country & Western. I remember hearing a song and being intrigued by the bland line after line of lyric and then THE Hook, the title line, which was halfway interesting. I recognized the manufactured 'writing' of lines that logically lead up to that title line. I remember thinking that one good line should probably have been the first line in the lyric, and a song written from there. But that 'method', finding an interesting phrase or line and trying...sometimes succeeding, perhaps...in manufacturing a song around it, can often fail to reach artistic merit, in my opinion, the only opinion that matters when you're trying to get money out of my pocket, into your hands...the industry. They're out there, those one-hit wonders with wonderful songs that have 'classic' potential, songs we could hear and remember fifty years from now, songs other artists could 'cover' in ten or thirty or fifty years, and have a hit with. They're out there, the truly creative artists with a larger repertoire of songs that could make them stand out in the 'industry' by appealing naturally to the 'market' with the same criteria that made them appeal to the song-writer. The industry may not be looking for them. They may be waiting at the office for the aspiring 'act' to come in the door, trying to 'penetrate' a market they don't really comprehend; they just know where those doors are. The industry may be struggling to stay in 'business', signing somebody because if they don't...they're out of business. The industry may be trying to monopolize the market, getting their own product, product they wrote, or 'own' rights to Publishing Royalties, Song-Writing Royalties, Master Recordings they 'own' and can market for Synchronization Licensing. It doesn't take a genius to realize where revenue streams continue to be profitable and where they are no longer profitable. Record Labels used to take all the profits from record sales and tell 'artists' to go tour and make their money out there. Artists did it. Some were better than others at 'commerce', selling the company's records, but having their own revenue streams through live-play pay, from simple restaurants, bars, clubs, larger venues, doing concerts in theaters, up to arenas, and the outrageous ticket prices. Some learned merchandising, selling anything they could think of, pictures, hats, t-shirts, bumper stickers, sew-on patches. What else? If you were 'out there', on the road, and setting up your 'Merch Table', what would you sell? That revenue stream could be equal to or greater than' your music revenue, the venue pay, a cut of the door, ticket sales, and any dribs and drabs the 'industry' trickled down on you. In 2023, YOU are the industry, if you're 'marketing' yourself, your music. You have to be 'the one' to make the big decisions on what you play, where you play, and what all you can sell. If you get good at it, generating numbers, units of sales of various things, creating a natural buzz in the consuming public, other 'entities' may want to be your 'industry', blowing you up larger in the global public eye and ear, promoting you, getting you on tv, if you haven't done that for yourself, getting you 'distributed', on radio, streaming, if you haven't done it yourself. Then, you have to watch your back, watch your signature go onto pieces of paper that 'give' the 'industry' rights to share in your revenue stream. Have you studied that? Have you spent as much time learning how to be a company, engaging in commerce with consumers, and engaging with other companies, management, labels, distributors, publishers, as you've spent writing your songs? If you're a babe in the woods the wolves and sharks can turn you into a big fish they can attach their suckers to and leave you drained at the end of the ride. Or...are you a song-writer, aspiring to make a living playing and 'selling' your songs, and not really cognizant of what success can mean, what success will demand of you, if you are to maintain control of your Intellectual Property, Copyright control, Master Recording control, ownership, legal, formal ownership? Your 'industrious' work, your 'studious' attention to commerce, 'business', can make you 'the industry' for all intents and purposes. Whether you are 'the industry' is up to you.
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
"Gramma Was A Bitchin' Babe" copyright March 11, 2023 by Gary E. Andrews.
(Verse I) Gramma Was A Bitchin' Babe, back when she met Grampa Gabe! He played guitar! He played rock and roll! They traveled around in an old school bus! They played it cool, never made a fuss. Back when (Chorus Refrain) Gramma Was A Bitchin' Babe.
(Verse II They settled down and got real jobs. They had you and Genni Jo and Bob. He played guitar, just here at the house. They went to work, went every day! They said, "You kids have got it made!" Back when Gramma Was A Bitchin' Babe!
(Bridge) True was true and right was right! We never went to sleep all night! Back when the world was full of possibilities! Back when Gramma Was A Bitchin' Babe!
(Verse III) You should see 'em dance at night! They laugh a lot! They never fight! They say, "I found what I was really lookin' for!" When we're gone they party on! They play the best music ever played, back when Gramma Was A Bitchin' Babe!
"Stranger To Yourself" ("Stranger To Myself") copyright April 6, 2023 by Gary E. Andrews Em O22OOO Am OO221O F 133211
A woman with the blues, can steal your heart, just by telling her tale. Her lips become, a true work of art. You stare and your senses fail. You do things you know are bad for your health. You become a Stranger To Yourself. You become a Stranger To Yourself.
A girl with her eyes, can lure you, to your ultimate doom! You seem to find, the truth in her lies. She takes you up to her room! You see things that should ring alarm bells! You become a Stranger To Yourself. You become a Stranger To Yourself.
(Instrumental Bridge)
A woman with a heart, would never have done, the things she's done to you. She's out on your street. You hide in the dark. You have your own kind of blues. You see where you stumbled, where you fell! You feel like you've fallen into hell! You become a Stranger To Yourself. You become a Stranger To Yourself. You become a Stranger To Yourself.
Ad lib vocalizing the Lines caused them to change as below, making it a more personal Singer-Character 'telling' than a philosophizing narrator.
"Stranger To Myself"
A woman with the blues, stole my heart, just by telling her tale. Her lips became, a true work of art. I stare 'til my senses fail. I do things I know are bad for my health. I become a Stranger To Myself. I become a Stranger To Myself.
A girl with her eyes, lures me, to my ultimate doom! I seem to find, the truth in her lies. She takes me up to her room! I see things that should ring alarm bells! I become a Stranger To Myself. I become a Stranger To Myself.
(Instrumental Bridge)
A woman with a heart, would never have done, the things she wants to do. She's out on my street. I hide in the dark. I have my own kind of blues. I see where I stumbled, where I fell! I feel like I've fallen into hell! I become a Stranger To Myself. I become a Stranger To Myself. I become a Stranger To Myself.
CHECKING A THIRD VERSION I WROTE INTO A STORY IN THE CREATIVE WRITING FORUM: "Broken Places". "A Woman With The Blues, can steal your heart, just by telling her tale."
A woman with the blues, is stealing my heart, just by telling her tale. Her lips become, a true work of art. I stare. My senses fail. I do things I know are bad for my health! I become a Stranger To Myself. I become a Stranger To Myself."
Verse II; A girl with her eyes, is luring me, to my ultimate doom! I find the truth, in spite of her lies. She takes me up to her room. I see things that should ring alarm bells! I become a Stranger To Myself! I become a Stranger To Myself!"
I need a Bridge here, didn't find one last night. I played some instrumental bars but...an Instrumental Bridge may not be enough.
Verse III; "No woman with a heart, could ever have done, the things you've done to me! You're out on the street! You hide in the dark! You have your own kind of need! I see where I stumbled! I see where I fell! I become a Stranger To Myself! I become a Stranger To Myself! I become a Stranger To Myself!"
Last edited by Gary E. Andrews; 07/07/2301:55 PM.
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"Girls Get The Blues; That's What Girls Do" copyright April 6, 2023 by Gary E. Andrews A7 XO2O2O D7 XXO212 E O221OO D XXO232
Girls Get The Blues; That's What Girls Do! If you don't expect it, well, brother that's on you! You know it's gonna happen! It's gonna happen on you! Girls Get The Blues; That's What Girls Do!
Girls like new shoes. Everybody knows it too! They'll spend money they ain't got, to buy, a pair, or two. If they spend your money, brother that's on you. Girls Get The Blues; That's What Girls Do!
I ran into your Momma, at the grocery store! She screamed at me, said, "Why'd you give my baby money for? She came home last night! (Well that's good!) Fell out on the porch! (Oh that's bad!) Please don't, give my baby, money any more!
Girls Get The Blues; That's What Girls Do! They wake up in the middle of the night, lookin' for somethin' to do! They'll come out here lookin', lookin' and findin' you! Girls Get The Blues; That's What Girls Do!
I ran into your Momma, Sunday after church. She screamed at me, said, "Why'd you leave my baby in the lurch?" I said, "Ma'am, what's your daughter's name? Pauline? Ma'am, I don't even know nobody named Pauline! Do you have a picture? Oh! I've never seen that girl before in my life.
Girls Get The Blues; That's What Girls Do! Your Momma's just a girl! She tends to get 'em too! She took me home for fried chicken! Said, "You can eat your fill!" We spent all afternoon kissin'! You can call me Uncle Bill!"
Girls Get The Blues; That's What Girls Do! If you don't expect it, well, brother that's on you! You know it's gonna happen! It's gonna happen on you! Girls Get The Blues; That's What Girls Do! Girls Get The Blues; That's What Girls Do!
Last edited by Gary E. Andrews; 04/30/2301:16 PM.
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
"Chance, On Losing You" copyright July 18, 2023 by Gary E. Andrews
E O221OO A XO222O B XO4442O C XO5553O D XXO232
I don't wanna write too much into your kiss, or do too much an-a-ly-y-zin'! I don't know where you and I are goin' with this! I can't see beyond the hor-ri-i-zon! I don't wanna take a Chance, On Losing You!
I don't wanna second-guess you, on this, just so I can be the wi-i-se one! I just want a chance to fol-low my bliss, have a couple choices, and try-y one! I don't wanna take a Chance, On Losing You!
I don't wanna search for hidden meaning, try to figure out which way you're leaning! I don't wanna take a Chance, On Losing You!
I don't wanna leave anything to chance! I wanna be sure o-of it! I wanna hold you closer while we dance! I wanna make sure you lo-ove it! I don't wanna take a Chance, On Losing You!
I don't wanna search for hidden meaning, try to figure out which way you're leaning! I don't wanna take a Chance, On Losing You!
Last edited by Gary E. Andrews; 08/03/2303:09 AM.
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"Come And Touch Me" Copyright February 21, 2023 by Gary E. Andrews E7 O2213O A7 XO2223 B7 X212O2
Come And Touch Me baby! Come And Touch Me with your kiss! Come And Touch Me baby! It's yo' lips I miss! If you don't Come And Touch Me I might fade away to nothingness!
Show me what 'cha brought me baby, wrapped up in ribbon so tight! Show me what 'cha brought me baby! I've been waitin' all night! If you don't deliver you won't be doin' me right!
Come on baby! Let's do the twist! Come on! Come on! Come on baby! It's yo' lips I miss! If you don't Come And Touch Me I might fade away to nothingness!
Come and tell me baby! What's been on yo' mind! Tell me all about it baby! Help me understand you one more time! If you don't Come And Touch Me I might fade away to nothingness! If you don't Come And Touch Me I might fade away to nothingness!
Come And Touch Me baby! Come And Touch Me with your kiss! Come And Touch Me baby! It's yo' lips I miss! If you don't Come And Touch Me I might fade away to nothingness!
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Good post Gary E. Its much to take in, for newbie writers and just joined JPF ers me thinks. But lots of great content!
A good read for beginner and intermediate song crafters (like me). Lots of good commentary and examples. Example:
Inspiration is probably a manifestation of boredom, seeking to find pleasure in the fantasy of Songwriting. I'm mainly focused on Lyric-writing. My guitar playing simply accommodates the poet who sings his poetry instead of simply writing it or even reciting it. I enjoy my Lyrics. I think I get something satisfying done. Some rise to the point of being literary, literally well-constructed stories with their beginning, middle and end. Some simply have satisfying Rhythm and Rhyme, Lines that I feel build a coherent theme. Satisfaction is in the mind of the seeker thereafter, of course.
Rather than posting every day, which pushes everyone else down and off the front page, I simply archive, 'Showcase'. Newbies, I suspect, get overlooked since the daily posters push them down the page before members get a chance to see them and comment. Yes, there is the entertainment of creativity as motive for writing. I too perceive the poetry as simply presented with musical accompaniment.
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"I've Gotta Stop (Loving You)" Copyright November 27, 2018 by Gary E. Andrews. All Rights Reserved n n n m n n n n m N M Am XO221O D XXO232 C/G 332O1O E O221OOO
(Chorus) I've Gotta Stop! Loving You... I've Gotta Stop! Loving You... I've Gotta Sto---p! Loving You... If it's the last thing I ever do!
(Verse I) You've got me mesmerized, with your Hollywood eyes. You keep me mystified, with your credible lies. I'm polarized! My right hand doesn't kno-o-ow, what my left hand wants to do!
I've Gotta Stop! Loving You... I've Gotta Stop! Loving You... I've Gotta Sto---p! Loving You... If it's the last thing I ever do!
(VII) It's how you captivate! It's this thing you do! I need to liberate, my aching heart from you! I've gotta extricate, my red hot crazy lo-o-ove, from your cold hearted hungry blu-u-ues!
I've Gotta Stop! Loving You... I've Gotta Stop! Loving You... I've Gotta Sto---p! Loving You... If it's the last thing I ever do!
(Long enough? Repeat VI?) (Coda) I've Gotta Stop! Loving You... I've Gotta Stop! Loving You... I've Gotta Stop! I've Gotta Stop! I've Gotta Stop! Loving You... n m n n n n m N M
Last edited by Gary E. Andrews; 04/02/2403:00 PM.
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"Mabel Maybe" copyright August 28, 2024 by Gary E. Andrews
G 35XXXX Bm X24XXX C X35XXX D XXO2XX Em XX24XX
Mabel Maybe; She'll do what you won't do! Mabel Maybe; I'll hold it over you! Mabel Maybe; She'll never be a lady! Mabel Maybe; She'll do what you won't do!
(G, Bm, C, D)
Darlene, Darling! I've got a thing for you! Darlene, Darling! Don't say it isn't true! Darlene, Darling! Don't fly away like starlings! Darlene, Darling! I've got a thing for you!
(Bridge) You won't need your money! Honey I'll cover you! While the skies are sunny, Do what she won't do!
Mabel Maybe; I'll fly away with you! Mabel Maybe; You'll do what she won't do! Mabel Maybe; Don't run away with baby! Mabel Maybe; I'll fly away with you!
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"Angel! Angel!" copyright August 24, 2024: "Angel! Angel!" D XXO232 A XO222O G 32OOO3 B Angel! Angel! You're putting me through hell! I'm dealing with the Devil, or I might just as well! I'm not getting over you! That's how I can tell! Angel! Angel! You're putting me through hell!
(D, A, G, A)
Angel! Angel! You're putting me through hell! The Devil! Keeps asking me, "Do ya still have a soul to sell?" I say, 'I gave it away!' I show him where I fell! Angel! Angel! You're putting me through hell!
I found a thousand reasons, I can't let you go! You're what's kept me breathin'. Darlin' don't you know? I fell so hard in love with you, I can't help myself! Angel! Angel! You're putting me through hell!
Angel! Angel! You're putting me through hell! I'm done with the Devil! I'm all by myself! I'm not getting over you! That's how I can tell! Angel! Angel! You're putting me through hell!
(Coda) Angel! Angel! You're putting me through hell!
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Sunday, September 29, 2024, I awaken. I reach for the guitar that's always there on the bed, unless some woman's made a mistake and made me move it. I'm not a 'cover Song' singer. I'm not a musician. I'm just a Song-Writer. But for some reason that morning I play "Long Black Veil", a Song written by Marijon Wilkin and Dan Dill. Lefty Frizzell brought it to market in 1959. Marijohn sings it from the woman's point of view, the 'Singer-Character', the Title being "My Long Black Veil." She sings "I walk these hills in My Long Black Veil." Lefty sings it from the man's point of view, again, assuming the persona of the Singer-Character telling their story, First-Person.
They sing of the 'Love-Interest' character, whose dalliance with them happens to have taken place the same night 'someone was killed 'neath the town hall light' and the person who they have dallied with is accused of being the murderer. The accused doesn't have an alibi because they were involved in the illicit affair with the spouse of a best friend. The classic 'love triangle' story is told, succinctly, and with that 'twist' of the legal jeopardy.
"Long Black Veil" by Marijohn Wilkin and Dan Dill G 32OOO3 D XXO232 D7 XXO212 C/G bass 32OO1O (Verse I) Ten years ago, on a cold, dark night, a man was killed, 'neath the town hall light. There were few at the scene. They all did agree, that the man who ran looked a lot like me.
(Chorus) She walks these hills, in a Long Black Veil----. She mourns my bones, when the night winds wai-a-ail. Nobody knows, no! Nobody sees! Nobody knows but me-e-ee. (Verse II) The Judge says, "Son, what is your, al-i-bi? If you were somewhere else, you won't have to die." I spoke not a word, though it meant my life. I had been in the arms of my best friend's wife!
She walks these hills, in a Long Black Veil----. She mourns my bones, when the night winds wai-a-ail. Nobody knows, no! Nobody sees! Nobody knows but me-e-ee.
(Verse III) The scaffold is high, eternity near. She stands in the crowd. She sheds not a tear. The judge says, "Son, what is your, al-i-bi? If you were somewhere else, you don't have to die." I speak not a word, though it means my life. I had been in the arms of my best friend's wife.
She walks these hills, in a Long Black Veil----. She mourns my bones, when the night winds wai-a-ail. Nobody knows, no! Nobody sees! Nobody knows but me-e-ee.
That's my 'arrangement' of the Components of the Composition. You can hear theirs on Youtube. But that morning, Sunday, September 29, 2024, I went out of "Long Black Veil" into two other Songs I don't play, "Help Me Make It Through The Night" and "For The Good Times". I got up out of bed, turned on my laptop, and there was the news that Kris Kristofferson, who wrote those other two Songs, had died September 28, 2024. Marijohn Wilkin... mentored... to Kris Kristofferson. There was a vibrating silver thread in the universe that morning, passing through my bedroom, when I woke up and played Songs I don't play.
"Help Me Make It Through The Night" G 32OOO3 C/G bass 332O1O D XXO232 D7 XXO212 (Verse I) Take the ribbon from your hair. Shake it loose and let it fall, layin' soft against my skin, like the shadows on the wall. Come and lay down by my side, through the early morning light. All I'm taking is your time. (Chorus Refrain) Help Me Make It Through The Night.
(Bridge) I don't care what's right or wrong! I don't try to understand. Let the devil take tomorrow. Tonight I nee-e-eed a friend.
Yesterday is dead and gone. Tomorrow's out of sight. All I'm askin' is your time. Help Me Make It Through The Night.
I don't care what's right or wrong! I don't try to understand. Let the devil take tomorrow. Tonight I nee-e-eed a friend.
Yesterday is dead and gone. Tomorrow's out of sight. All I'm askin' is your time. Help Me Make It Through The Night.
"For The Good Times" G 32OOO3 D XXO232 D7 XXO212 C/G bass 32OO1O (Verse I) Don't look so sad. I know it's over. Life goes on. This old world, will keep on turning. Let's just be glad, we had some time, to spend together. There's no need, to watch the bridges, that you're burning.
(Chorus) Lay - your - head, upon my pillow. Hold your warm, and tender body, next to mine. Hear the whisper, of, the raindrops, blowing soft, against your window. Make believe you love me, one more time, (Chorus Refrain) For The Good Times.
That's all I played. Thank you Kris, "For The Good Times". And thank you Marijohn, for sharing your gift.
Last edited by Gary E. Andrews; 11/20/2409:05 PM.
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
"By An Act Of Will" Copyright May 8, 2024 by Gary E. Andrews.
G 32OOO3 Em X22OOO C/G 332O1O D XXO232 D7 XXO212 F 133211
(Verse I) One day you'll wake up. I will be gone. You'll decide how you feel. You'll have to make up, your mind about it. Do ya miss it? Can you do without it? (Chorus Refrain) You'll get over me, By An Act Of Will. You'll get over me, By An Act Of Will.
(Verse II) One night you'll wake up, out of a dream, struck by vividity; How real it seemed. Your hands are shaking! You wanna scream! You don't know who to blame! Was it you? Was it me? You'll get over me, By An Act Of Will. You'll get over me, By An Act Of Will.
(Bridge) You'll imagine me, out here still, searchin' my pocket for the money to pay my bill! You'll get over me, By An Act Of Will. You will! You'll get over me, By An Act Of Will. You will! You-u-u'll, get over me, By An Act Of Will.
(Verse III) One morning sunshine, will wake you up. You'll put somethin', warm in your cup. You'll think there's something, you needed to do. What it was, seems to have escaped you! You'll get over me, By An Act Of Will. (Coda) You will! You'll get over me, By An Act Of Will. You will! You-u-u'll get over me, By An Act Of Will.
Last edited by Gary E. Andrews; 01/23/2501:13 PM.
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Outside of me and you I don't know nobody else. Outside of saying I do I'm not sure of myself. I took down to Boston, On the overnight from Maine. The man said I could get there faster, If I flew down in his plane. He wanted all o' my money. He cost me half my brain. I had to tell 'im 'No' Slowly, And from a moving train. Ah-ah! Ah-ah! Ah---ah. Ah-ah! La duh duh da.
Outside of me and you I don't need nobody else. Outside in the rain with you, I was beside myself. I got lost in Boston, Back in summer eighty-nine. I've won most! I've lost some. I've lost track of time. I'm saving all o' my money, Gonna' get myself a plan, tell myself 'No' Slowly. I'm a moving, shaking man. Ah-ah! Ah-ah! Ah---ah. Ah-ah! La duh duh da.
Outside of me and you I don't know nobody else. That's o.k. I don't need them. I only need your help. Let's ring the bells up in Boston, Sunday when we wake up, After no more restless tossin', Our peace of mind's enough. They say love is costly. Some say it costs too much. Let's tell each other 'No' Slowly While we're makin' love. Ah-ah! Ah-ah! Ah---ah. Ah-ah! La duh duh da.
I saw your friend Abigail. She told me what to say. Somethin' about some money owed, Or was it money paid? When I looked into her eyes, I could see that she was crazed. I had to tell 'er 'No' Slowly, And slowly back away. Ah-ah! Ah-ah! Ah---ah. Ah-ah! La duh duh da. Ah-ah!
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"The Party Had To End" Copyright Gary E. Andrews May 9, 2025
(Verse I) Too bad! The Party Had To End! I just met, a wonderful friend! She smiled, took me by the hand! She said, "Dance with me! Dance with me again!" (Instrumental repeat of the Melody of the Chorus Refrain, Line 1, twice)
(Verse II) It's late! The moon is 'round the bend! She's so great! My heart is on the mend! She sang! Now she's ten for ten! Too bad! The Party Had To End!
(Bridge) Turn back, the hands of all the clocks! Give us, time to sing! And rock! If we're dreaming, don't undo the lock! Leave the door! Leave the door! Don't knock!
(Verse III: Repeat VI) Too bad! The Party Had To End. I just met, a wonderful friend! She smiled, took me by the hand! She said, "Dance with me! Dance with me again!"
(Coda) Too bad! The Party Had To End! Too bad! The Party Had To End! (Repeat Melody, instrumentally)
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(Introduction) A long straight stretch like a little bit of heaven, Rollin' back beneath my wheels. I gotta' call Northside Seven-Eleven-Seven, Gotta' talk about a deal.
(Verse 1) A buddy come to get me. He drug me out o' bed, Said, "Here's a jug o' whiskey, And somethin' for your head." We hopped up on our Harleys, And crept out on the red, Rode to Cincinnati, And woke up back in bed.
(V 2) Rollin' down the road I looked up in the heavens. The night had a magical feel. I called Northside Seven-Eleven-Seven. The voice that answered was unreal. She said, "My brother's not here, But I'm his sister, Lear. If you wanna' do some business baby, Come on over here." She met us at the door and I nearly shed a tear. I fell in love at first sight, With Northside's sister Lear.
(Bridge) Yoo-hoo! Come on over! Yoo-hoo! Come on down! Yoo-hoo! Come on over! Call Northside, Any time that you're in town. Call Northside Seven-Eleven-Seven. Call Northside. Call Northside Seven-Eleven-Seven. Call Northside.
(V 3) Saturday night I'm goin' back to Cincinnati, To call that number again. If she tells me, "Stay here!" You know I'll do so gladly. She makes me feel so like a man. So if you see me cruisin' Up those Queen City streets, Clap your hands now! Clap your hands now! Clap and stomp your feet! I'm goin' to Cincinnati To call that number again.
There's a movie titled "Call Northside 7117." Drummer Dave Shiveley and I saw it and one of us said it would make a good song title. (Or was it "Northside 777"?)
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
Chords: Bm XX4432 D XXO232 A XO222O G barre X55433
(Verse I) Leather Red got it into her head, she could be a Motorcycle Queen. She wanted it the most, so she headed for the coast, lookin' for the motorcycle scene. She heard the hard rock, and the school of hard knocks. By the time she'd turned nineteen, Leather Red had a crown upon her head. She'd become a Motorcycle Queen.
(V II) Leather Red got it into her head, she needed a Motorcycle King. From her lofty perch, she started her search, lookin' for a manly thing. She heard a loud knock, It shook her to her socks. It might be opportunity. Leather Red met Leather Green. She'd found her Motorcycle King.
(Chorus) But the fairytale turned tragic, out on highway one-nineteen. It seems he lost his magic, dropped his bike into the sea, made a motorcycle widow, Of the Motorcycle Queen.
(V III) Leather Red got it into her head, she could undo this tragedy. She started makin' runs, into the risin' sun, Down highway one-nineteen. You can't outfox, the school of hard knocks, no matter how good you might be. Leather Red took the crown off her head, And no pleasure in being a Queen.
(V IV) Leather Red should've gone to bed. Instead she went to New Orleans. Nobody there even seemed to care, she'd once been a Motorcycle Queen. She saw a Gypsy sign, said "Read palms." "Read mine!" The Gypsy made it plain. Leather Red would meet Leather Green, somewhere in eternity.
(Verse V) Leather Red got it into her head, man was greater than machine, so she opened her up, but she didn't see the truck, somewhere near Abilene.
(Repeat variant chorus) Her fairytale turned tragic, out on highway one-nineteen. Her friends said she lost her magic. They dropped her bike into the sea, restored the Motorcycle Queen, to her Motorcycle King. No longer a widow. She's the Motorcycle Queen.
More Info... "The Motorcycle Queen" Copyright December 13, 1996 by Gary E. Andrews All Rights Reserved For The Globe
"Logan Red" was what I called a little girl I met at the Smiling Skull Saloon in Athens, Ohio about the time I wrote this. It turns into a tragic movie, a la "Easy Rider." You get to like the characters and then... www.garyeandrews.com
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
Myself? I like 'Songs', that is, music that is 'sung'. I like the personality I perceive in the voice. Maybe it's the singer, or just the Singer-Character in their story. I like the poetry of a 'Lyric'. I like the story it tells. I like the emotion of the 'Melody' to which the words are sung.
Words without Melody are a poem. With a Melody words become a Lyric. That combination of a Lyric and a Melody is the definition of a 'Song'.
The Lyric and Melody are what you Register to secure your Copyright, your 'right' to 'copy' and profit from your Intellectual Property (IP). Because Copyright Law is a Federal Law, Registration is the ONLY way to get a hearing in Federal Court if someone infringes on your 'right' to 'copy'. Songwriting can be a pleasant hobby to make your life more interesting. But a Song can be worth a fortune. Register if you think you've got a good one. ( http://www.copyright.gov ) in the former USA! USA! USA! Then start studying how to take it to market as an entrepreneur. It's a transition from avocational hobbyist to commercial endeavor, a company, engaging in commerce with other companies. Your signature on a piece of paper can secure you, or leave you hanging. Know the difference.
SONGWRITING: You, the first listener.
As a Songwriter YOU are the first listener. Your interest should be 'Hooked' and 'sustained' the same way you hope other listeners will be. If you're getting bored with the length of a Movement, the sameness of the Melody, or the blandness of the Lyrical content, so will they. You may be enjoying the emotion, the emoting of singing, your sense of the story in the Lyric, more than a listener would. So it demands some deliberate attention to make those judgment calls. There is 'inspiration'. And there is 'craft'.
You should sense how much 'duration' or Repetition is 'Enough', and when it is 'Time' for a 'Change' to the next Movement. How long should the Introductory Movement take to accomplish that 'function' of Introducing the Song? You should be aware of when the Lyric is 'Not Enough' in moving the story forward or when 'Enough' story has been told to justify going on to the next Movement. The perception of 'Enough' is the Songwriter's judgment call. Listeners will make their own 'Enough' judgment too. You, the first listener, can be sure their judgment is a good one, in your favor.
A Song must have 'Enough' Repetition to supply Structure listeners can relate to, and 'Enough' Change to keep it interesting. Your combination of Repetition and Change can keep listeners 'Hooked'.
How much is 'Not Enough'? How much is 'Too Much'? How much is 'Enough'? Your judgment call, YOU, the first listener.
STRUCTURE: Musical Movements.
The Structure of Musical Movements can keep a listener interested. Each Movement has a function in the Song. I define the Movements as: 1) the Introductory Movement, 2) the Verse I Movement*, 3) the Chorus Movement, 4) Verse II, 5) Chorus Repeat, 6) a Bridge Movement, if the Song needs one, or 7) Verse III, if you can think of one, and 8) the Coda (Final Musical Movement), * Some Songs start with the Chorus instead of Verse I.
Structure can be very flexible. If it works, it works.
INTRODUCTORY MOVEMENT: Hook Factor. Hooking and Sustaining Interest.
The Introductory Movement is whatever sounds the Song starts with to 'Hook' listeners' attention. The 'Hook Factor' may be in the percussion, the beat, the tempo, the Rhythm, given by drums or the strum of a guitar, the arpeggio of a banjo, piano or a riff of notes given vocally or by a wind instrument. It may be a 'special effect', wind, rain, breathing, heartbeat.
Whatever it is, how much is 'Enough'? How much 'Not Enough'? How much 'Too Much'?
Let your 'inspiration' range freely. Later you can assert your 'crafting', your 'judgment call'.
Study Introductory Movements of Songs you like. What Hooks you into staying with their Song? How about your own Song? You should have an expectation that others will be Hooked the same way, or get bored, the same way. What you enjoy may last longer than what they enjoy. Your focus may be on the execution of playing the instrument, or hitting your cues, distracted from Judgment Calls.
The Introductory Movement might go on a long time, IF it is very interesting. If it is NOT extraordinary it is best to limit the 'Intro' to 7 to 14 seconds, just 'Enough' to serve the 'function' of Introducing the Song. Going on too long risks losing listener interest before you get to the next Movement, instead of 'Hooking' and 'sustaining' interest. What you can do in live play is different than recording or radio. Radio likes short Songs, leaving more time to play the commercial ads that pay the bills. Live, people came to listen, and will, within reason.
A VERSE: Musically and Lyrically.
Musically, a Verse is a 'Movement' in the composition. You should be able to discern the beginning and the end of the Verse Movement. You may be able to perceive two or more segments within a Movement, sensing that they are complete within themselves, component parts that go together to make the whole Verse. Sometimes the later part of the Verse is discernible as a 'Pre-Chorus', as it ''lifts' Melodically toward the more urgent emotion of the upcoming Chorus.
The Melody of Verse I should Repeat in Verse II and Verse III. It can be Melodically identical, or nearly identical. The listener should recognize it is a Repeat of the Melody heard in Verse I. Repetition supplies Structure listeners can relate to.
The Chorus Movement should be Melodically different than the Verse Movement. Change renews interest. The Chorus may have a Change of Rhythmic dynamics and a Change of Rhyme-Scheme too. The 'emotion' of exposition, simply telling the details of the Storyline situation, and getting to the point, summing up the Singer-Character's 'complaint' or main expression of how they feel has Hook Factor.
Lyrically, Verse I is like the opening act of a play. Someone called Songs "Three-Minute Movies.' Your Lyric should serve that function, getting listeners to 'suspend disbelief', imagining the story as reality, to 'see' the movie. After 'seeing' a little bit of it they should be Hooked, want to see more, desire to know the rest of the Story.
The Verse does 'exposition', exposing the storyline, the situation the Characters are in. It may put 'props' on the stage, setting the scene with imagery. The Lyric 'exposes' the 'character' of the Singer-Character as he/she tells his/her story, First Person. It may introduce other Characters, perhaps the Love-Interest Character, the Other-Woman/Other-Man Character. Any of these may be a Conflict-Character, who complicates things, making for an interesting story.
A Third-Person narrator-singer may not be in the story, but exposes the Characters who are. He's the story-teller.
You can study your Verse to see if every word and Line bring the story logically along to get to the Chorus. No word or Line is just there to Rhyme or occupy space. Each should serve a function.
Writers often 'Grab a Rhyme', putting in Lines that don't advance the story; just Rhyme. A common Grab-a-Rhyme is 'going insane'. Unless the Character is actually going insane it is just a Rhyme, and a bad one. If you just tell the story, you can find Rhyme in ideas that are logical and relevant in that story. I promise! Or your money back!
Other Grab-a-Rhymes: 'pain' or 'feelings deep inside'. As opposed to feelings outside? Another common one, 'realize'. Also, 'what can I say?' Exactly. Say something.
Clutter: Often I see words like 'and', 'but', 'because/'cause' as cluttering up a Line, on the page, and in the mouth of the singer. They can often be eliminated and the Line reads the same. Long Lines break into two short ones, which may be more effective in Hook Factor. They are 'connector' words writers employ to connect ideas, Line to Line. But listeners 'get' the connection without the word. You can give your singer time to breathe by eliminating these common words.
A generic 'laundry list' of items that go together aren't very interesting, to me. Writers throw in the dog, rain, trains, momma, tobacco and whiskey, put on a cowboy hat and call it country. It ain't!
Time: It is a Judgment Call on the part of the Songwriter, YOU, the first 'listener', to decide when 'Enough' 'Lyrical Exposition' has been done and it is 'Time' to get to the point. The 'rule/tool' is, "Don't bore us! Get to the Chorus!", said with exclamation points because it is of strategic importance! Is one Verse Enough? Do you need two before you get to the Chorus? Are four Lines Enough? Do you need five, or six, or eight? Would three work? Your judgment call; the first reader, first listener.
Within 47 to 60 seconds your Song should be ready to go to the Chorus. Exposition in the Verse, if it goes on too long, Too Much, can get boring, and lose listeners. You, the first listener, should sense that. You, the Songwriter, have to make that Judgment Call. The Musical Movement of a Verse, if it goes on too long, without stepping up to that more urgently emotional Change of a Chorus Movement, can lose listeners. This Time factor emphasizes the logic for a short Introductory Movement. If you spend a minute in Intro and three minutes, or more, to present the rest of the Song, you risk losing listener interest. You lose radio. Short Songs; more advertising airtime.
THE CHORUS: 'THE' Hook.
The Chorus is another Musical Movement, a component in the overall composition. Writers often compose a Chorus with a Melody very similar to the Verse. That monotone of Melody and sameness of dynamics can lose listeners. The fact that it is Melodically different from the Verse renews interest. A common cause for rejection of Songs submitted to Publishers is, "Lack of contrast between Verse and Chorus."
Melodically, the function of the Chorus is to renew listener interest. Higher pitch helps accomplish that. The vocal delivery sounds more emotional, more urgent. The increased emotional intensity of the Melody may match the emotional meaning of the words. The Lyric can be obviously summing up what the Lyrical Exposition of the Verse has set up for. Listeners 'get' it.
The more percussive effect of short, summary Lines of Lyric in a Chorus can contrast with the longer, Expositional Lines of the Verse. Distinctive instrumental work may help. Guitar riffs, percussive dynamics, keyboard, other instruments. You decide.
Lyrically, the function of a Chorus is to sum up the story of all the Lyrical Exposition that has come before; to make the point of the story begun in the Verse(s). That summary 'point' is THE Hook, the main idea. Everything has 'Hook Factor'. The Title is THE Hook.
Refrain-Type Chorus: It may be a Refrain-Type Chorus, a single Line ending each Verse, a Structure common in folk music, often in blues. That Lyrical Line and its Melodic Refrain is THE hook, the one that sums up the point of the Song.
Stanza-Type Chorus: It may be a Stanza-Type Chorus, comprised of multiple Lines like a Verse. The last Line of the Stanza-Type Chorus, the one left ringing in listeners' ears as that Musical Movement ends, is a strategic position, ideal for THE Hook, the summary, Title Line.
THE Hook: THE Hook can come in other places in the Chorus, Line 1 or other positions, but, unless it is very strong in meaning in the story or evoking imagination, and not crowded in with many other Lines, it may be forgotten by the time the Chorus ends. The last Line is the strongest, most strategic position, left ringing in listeners' ears as the Chorus ends.
THE Hook should be Repeated in the Song a minimum of three times, driving home that idea as the point. That implies three Repeats of the Chorus. More 'hits' on THE Hook can be stronger. It may be two hits in each giving of the Chorus, for a total of six if you sing the Chorus three times. It may be Repeated in the Coda several times. Repetition Hooks interest, supplies Structure. Change renews interest.
SECOND VERSE: Verse II
Lyrically, the function of Verse II is to continue Exposition of the story. Like the second act of the play, the Verse II Lyric carries the story forward, explains and exposes more of what the Song is about. In the movie, "About Last Night", the screenwriters employ changing Chicago weather and holidays to show a progression through time. Songs can employ similar techniques. Something in the Lyric can give that sense of forward motion through the story. Screenwriters have Sixty Major Moments, each lasting 1 to 3 minutes, to show their two-hour movie. A Songwriter has three minutes to show their three-minute movie. A novel has 50,000 words. A Song may have less than 100. Count some and see.
Musically, if the Lyrical Lines in Verse II have the same (or nearly the same) number of syllables (Notes) as the Lines in Verse I, then the Melody can also match. Repetition of Verse Melody functions to supply Structure the listener can relate to. The listener gets the new words of Verse II more easily because they're sung to that Melody they are familiar with from Verse I. They 'learned' it the first time and now enjoy hearing it again.
Verse II leads to a Repeat of the Chorus, and a Repeat of THE Hook. The composition might now be comprised of the Musical Movements in the order of Introductory Movement, Verse/Chorus, Verse/Chorus. Or it may be Verse, Verse, Chorus, Verse, Chorus, again, mindful of the timing. "Don't bore us! Get to the Chorus!" Some Songs start with the Chorus. Just don't go too long, too long for radio, too long for sustaining listeners' interest. Enough. Not Enough. Too much.
One Verse may be 'Enough' Exposition and lead directly to the Chorus. Two Verses might work. A third Repeat of the Verse Melody, BEFORE getting to the first giving of the Chorus, even with more Lyrical Exposition of the story, may be ' Too Much' Repetition. Remember, it must have Enough Repetition to give it Structure, and Enough Change to keep it interesting. You, the first listener, must decide how much is Enough; AND, how much is 'Too Much', or how much is 'Not Enough'.
A THIRD VERSE? OR A BRIDGE?
Songwriters often despair of writing a Third Verse. They can't think of a satisfying way to end their... or the Singer-Character's... Story, a denoument'. They call it the 'Third Verse Curse'. Often the flaw is in the Lyric. It isn't a story, just a Rhyme, that generic laundry list of imagined relevant items, 'props', 'properties' they 'put on the stage' to set the scene. Songs are written without a Singer-Character, the actor (noun, pronoun), to do the action (verb). There are good Songs that found that ending. (Bob Dylan's "Leopard-Skin Pillbox Hat" and The Beatles' "Baby You Can Drive My Car" are two, each with a delightful sense of humor.)
Some Songs resort to a Bridge, a Musical Movement different Melodically from either the Verse or Chorus. Ideally, it is brief, hopefully with pivotal information in the Lyric. The function of this 'Bridge' Change is to prevent the threat of losing listeners in monotony by a third Repeat of the Lyric and Melody of either or both the Verse and the Chorus.
That new Musical Movement functions as a 'Bridge' to set up for a final Repeat of the Chorus and THE hook to end. The diversion to the new, as yet unheard Melody of the Bridge, its Melody, its Lyrical information, functions to renew listener interest and then cause the listener to welcome the Repeat of the familiar Melody of the final giving of the Chorus, instead of being bored by the Repeat.
An Instrumental Bridge, as opposed to a Lyrical Bridge, may serve the function.
THE CODA:
The Coda is a Final Musical Movement. It ends the Song. It may end suddenly. It may be a brief Passage. It may be dramatic. It may be a continuation of the 'jam', going on for as long as is practical. It may fade in volume, leaving listeners trying to sing along, even continuing to sing after your Song stops. Hooked! That's a good thing! Hook Factor. Did you get in their head? Is it an 'earworm' they keep hearing? It might be a hit!
TIME:
The function of music on radio, like a show on television, is to keep you tuned in, Hooked, until they can play the commercial advertisements that pay the bills. If radio is your planned mode of reaching consumers, a good one, 'broadcast' to them in their millions of cars, you want to accommodate the demands of radio by keeping your Songs brief, 'radio-friendly'. In the 1950's and 1960's Songs were often a little over two minutes. Study those older Songs. You'll be amazed at how much they get done in those short minutes and seconds.
In the early 21st century, three minutes and thirty seconds is about maximum. If you've got a great Song you can go on for seven minutes or more ("Hotel California", The Eagles; "Stairway To Heaven", Led Zeppelin). Whether you get airplay depends on whether the Leadership Decision-Makers who run radio agree with your Judgment Call that it is indeed a great Song.
RHYME:
Nursery Rhymes Rhyme because that makes them easy for children, with a limited vocabulary, to remember, to 'get' the story. A child has no idea what 'bells on bobtails ring' means, but they can sing Jingle Bells. In a Song, the function of Rhyme is to help listeners 'learn' the Lyric, the story, and the Melody. Some writers create Lyrics that DON'T Rhyme. Meatloaf's "Bat Out of Hell" album didn't Rhyme and sold 20 million copies, staying on the sales charts for 20 years!
The Rhyme-Scheme established in Verse I should be the same pattern employed in the other Verses. If you Rhyme Lines 2 and 4 in Verse I, you should Rhyme Lines 2 and 4 in the other Verses. If you Rhymed Lines 1 and 3 and 2 and 4, you have set yourself a challenge to Repeat that pattern in Verse II. The pattern can Change in the Chorus and/or Bridge, but should be the same in the Verses. Rhyme hits the beat. It helps set the Rhythm of the Song. It emphasizes the main ideas of the story. Consistency of Rhyme-Scheme sustains listener interest. Singers often 'drop' the execution of the Rhyme-Word at the end of Lines, dropping their voice volume, and pitch, perhaps to 'resolve' the Melody as per Music Theory. Don't. That Rhyme-Word is of strategic importance to make the whole Line comprehensible, to make the whole Verse or Chorus comprehensible, the whole Song, the Storyline. If you lose them there you may not get them back.
Nursery Rhymes are good examples of alternative Rhyme-Schemes. Some use a pattern where they Rhyme two Lines and then leave a third Line hanging, Un-Rhymed. That comprises Verse I. Then they Repeat the Rhyme-Scheme, Rhyming the first two Lines of a second Verse, and picking up the Rhyme for the Un-Rhymed third Line of Verse I in the third line of Verse II.
"Little Miss Muffett, Sat on her tuffett, Eating her curds and whey. Along came a spider, Sat down beside her, And scared Miss Muffett away."
Nursery Rhymes are good examples of 'Internal Rhyme', words Rhyming within the Lines; not JUST the last word. 'Too Much' becomes a tongue-twister. 'Enough' can make your Song more interesting, more Rhythmic, more memorable. How much is 'Enough'? Too much is a tongue-twister, and may not be interesting to the listener. Finding these alternative patterns can keep Songs from being predictable, maybe monotonous, losing listeners. Same old four-Line, Rhyme 2 and 4 pattern as every other Song.
Rhyme is a tool you can employ to make your Song memorable, Hooking listeners and perhaps convincing them to pay to hear it again. Enjoy it. Employ it.
Your Songs can take great liberties with Structure and Lyrical subject matter. The 'rules' are very flexible. "Rules are tools." Andy Rasmussen, Songwriting Tips, on JustPlainFolks website. You should be listening to discern what actually Hooks YOU, the first listener, and what is just entertaining for you to execute. It is entertaining to sing and emote, to play and write. Whether it is entertaining to others demands your discrimination, your Judgment Call between what YOU, the first listener, get out of it and what another listener gets. You may 'craft' a better Song.
Despite thousands of years of Songwriting, the possibilities, Lyrically, Melodically, have not been exhausted. There will always be another Song to be written. Someone will write it. Why not you? Explore. The possibilities are endless. Gary E. Andrews, The First Listener. July, 2025
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
"Yasgur's Farm" Copyright August 11, 2025 by Gary E. Andrews Some time a long time ago I sang a few Lines, ad lib, and liked them, but I think I quit after using the commercial name of a product, a powder people put in their coffee. I don't know if they still make it or not. I think later I added the John Kennedy Lines but never finished the Song. The F.B.I. Man is probably anyone in Law Enforcement, and his hand became J. Edgar Hoover's. The funny thing is, the Singer-Character is looking for his hat, in a daze after three days there, but, apparently, has found it and has it in his hand, but is still looking for it. The festival is over. The fields are littered. And this is the scene.
I was still down on Yasgur's Farm. I was searchin' for my hat, when the F.B.I. man came up to me, and said, "Boy! What's that?" He ran his J. Edgar Hoover hand, down into my fedora, came up with three dollars cash, and a packet... of Cremora."
I said, "I miss John Kennedy, don't you?" He blinked and looked right through me. A tear came to the corner of his eye. And he said somethin' to me, that I never will forget, until the day I die. He said, "We lost the American Dream and more in the most awful way. It was done right there before our eyes, before we knew what to say. Tomorrow can't be any worse. It can't be any better. You get home and see if ol' Nixon's sent you a letter."
I remember Yasgur's Farm, like a picture in my rear view mirror. The old man sees the young man now. He sees him a little clearer. I made it back from where I went. I love life a little dearer, like those days of peace and joy, I hold a whole lot nearer.
Last edited by Gary E. Andrews; 08/12/2505:14 PM.
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
"It's Just Money" Copyright February 12, 2019 Gary E. Andrews (Actual creation date earlier.) D C/G G A
(Verse I) D---------------------C/G-----------D---------------------C/G Money don't mean nothin', to a man who's got too much! Money gets you thinkin', you ain't got enough! Love gets in your way, makes your life a little rough! You start spendin' all that money! Buyin' a lot of stuff! (Chorus Refrain) G---------A-------------D-------C/G------D------C/G Oh! Oh! Oh! It's Just Money!
(Verse II) Money gives you trouble! Money pays your way out! It's on the bar! It's in the car! It's scattered 'round the house! Love becomes a luxury you think you'll do without! Money makes a mystery, where income goes out! Oh! Oh! Oh! It's Just Money!
(Bridge) G Don't let money get 'cha! A You can't take it wit'cha! Oh! Oh! Oh! It's Just Money!
(Verse III) One night you can't get to sleep! Your money is all gone! You knew it wasn't yours to keep! Now you're all alone! You traded love for happiness! You still knew right from wrong! You settled for your circumstance! Listen to the song! Oh! Oh! Oh! It's Just Money!
Don't let money get 'cha! You can't take it wit'cha! Oh! Oh! Oh! It's Just Money!
(Coda) D Money! C/G-----D------C/G It's Just Money! Money! It's Just Money! Money! It's Just Money! D Money! (End)
(Spoken) It's only money.
Last edited by Gary E. Andrews; 12/23/2509:05 PM.
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
"I Ain't Got Time (For Loving You)" copyright September 1, 2025 by Gary E. Andrews All Rights Reserved (Short Title: "Instead"
C/G 332O1O Dm XXO231 G 32OOO3
(Verse I) I should have been lov-ing you, instead of fighting you. I should still be next door. Instead I'm wri-ting to you. I must have been out of my mind! I wasted a-ll that time. (Chorus Refrain) Now I, Ain't Got Time, For Loving You.
(Verse II) I should have wal-ked away. Instead I talked, and stayed. We should be there in bed. Instead we're mil-es away. I should have seen, the signs! They were there a-ll that time. Now I, Ain't Got Time, For Loving You.
(Vocal Bridge) Maybe tomorrow, we, can take, a break. Maybe tomorrow, we can love, for loving's sake.
(Repeat Verse I) I should have been lov-ing you, instead of fighting you. I should still be next door. Instead I'm wri-ting to you. I must have been out of my mind! I wasted a-ll that time. Now I, Ain't Got Time, For Loving You.
(Coda) Now I, Ain't Got Time, For Loving You. Oh! I, Ain't Got Time, For Loving You. Now I, Ain't Got Time, --- For You.
Last edited by Gary E. Andrews; 11/24/2506:39 AM.
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
(Verse I) Just tryin' to work things out, gets to be so hard, like tryin' to do away with doubt, when it ain't in your cards.
(Chorus) You Know Your Heart! Don't let it down! Just play your part! I'll come around! If it's meant to be, you and I, we'll know. And if it's not, all we gotta' do is let go. And focus on love, not on the problem. If there's someone you love, be thinkin' of them. Focus on love! Not on the problem. If there's someone you love, Be thinkin' of them.
Just give yourself some time. Time's all you've got, To figure out what it is, To figure out what it's not.
(Repeat chorus and bridge)
(Coda) And focus, Focus On Love. Focus, Focus On Love. Focus, Focus On Love.
I heard two local girls sing very well and wrote this for them. I played it for them. They expressed a liking for it, began suggesting how they'd do 'trailers' of certain lines, but it never went any further than that.
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
"How I Hate" copyright March 8, 2026 by Gary E. Andrews
{Verse I) You don't know, How I Hate, to let you go. Time has come, to ease me on, down the road. I can't stay, here knowing what I know. (Chorus Refrain) How I Hate, I hate to let you go.
(Verse II) I can't see, any way, for me to stay. I can't win! I can't place! I can't show! Broken hearts, leave me no, place to play! How I Hate, I hate to let you go.
(Bridge) Please! Please, forgive me when I'm gone. I, never meant, to do you so, so wrong. You and him, once my friends, now my foes. How I Hate, How I Hate, to let you go.
(Repeat VI) "You don't know, How I Hate, to let you go. Time has come, to ease me on, down the road. I can't stay, here knowing what I know. (Coda) How I Hate, How I Hate, to let you go. How I Hate, How I Hate, to let you go.
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
"Sun Go Down" Copyright May 1, 2026 by Gary E. Andrews
(Verse I) Oh! The world turns 'round! The sun goes down! All the girls come out to play! On the London streets, from their heads to their feet, it's the girls who make my day!
(Chorus) Oh! Let The Sun Go Down! Don't keep me waiting, hanging around! Send me the sirens, in their natural environs! It's the girls, who make my day!
(Verse II) Oh! The night time falls! The night air calls! The high noon heat fades away! In the London streets, they've come out to meet, a man who knows what to say!
Oh! Let The Sun Go Down! Don't keep me waiting, hanging around! Send me the sirens, in their natural environs! It's the girls, who make my day!
(Bridge) Oh! You look smashing! No wonder I'm dashing, from corner to corner tonight! Your sight and your sound! So nice to see around! Oh! Let The Sun Go Down!
Oh! Let The Sun Go Down! Don't keep me waiting, hanging around! Send me the sirens, in their natural environs! It's the girls, who make my day!
(Coda) Oh! Let the Sun Go Down! Oh! Let the Sun Go Down! Oh! Let the Sun Go Down!
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
"Scatter My Ashes" Copyright August 10, 2005 by Gary E. Andrews All Rights Reserved For The Globe D XXO232 C/G 332O1O G 32OOO3
(Verse I) Once upon a time, you could ask anyone. They all knew my name; the comfort of my guns. We stood against corruption, and the evil ones, who set out to steal our creed, and enslave our sons! If you'd been where I've gone, and seen what I saw, (Chorus Refrain) you'd Scatter My Ashes, everywhere, anywhere but Utah! Scatter My Ashes everywhere, but Utah!
(Verse II) No; I'm not a ghost, just a memory of one. It's been so long ago, it's almost forgotten, how with bullets dipped in greed, they shot into the sun, to leave us all down here to bleed, in darkness, on the run! I'm not, askin', you to go and break the law! Just Scatter My Ashes everywhere, anywhere but Utah! Scatter My Ashes everywhere, but Utah!
(Bridge) Carry me through Wyoming, into the Great White North! Spill me out into the wind! Let me issue forth! Let the lightning storm, nature raging, raw! Scatter My Ashes everywhere, anywhere but Utah! Scatter My Ashes everywhere, but Utah!
(Verse III) Utah is hallowed ground, good earth for to grow! A place to raise your children, so long as you don't go, against the grain of greed, of those who run it all! They got their grubby hands on the powers of the Law! If my son grows up, tell him of his Pa! 'n Scatter My Ashes everywhere, anywhere but Utah! Scatter My Ashes everywhere, but Utah!
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
More Info... Scatter My Ashes Copyright August 10, 2005 by Gary E. Andrews All Rights Reserved For The Globe
In his book, "Bob Dylan Chronicles, Volume I", he tells of intending to write a song about union organizer and troubadour Joe Hill. Dylan said he thought he might research it and write a Song about it. I thought I might research Hill's story so I might write an informed Song. But the muse arrived before I got around to research. She's so fine I always drop what I'm doing and let her in. Hope Bob doesn't mind. She may have been on the way to his house. Songs don't have to be about the people they're about anyway; just fictions that get "a" story told, not necessarily "the" story. She gave me the Rhyme Lines for the quote, which Dylan said he would use as a Refrain, a Refrain-Type Chorus to end each Verse.
I played them on my Martin ONY16, then typed it out, writing new Lines as I typed, not my usual guitar-in-hand, ad lib Lyric, usual creative style.
I had an idea a choir could ask, "Anywhere?," after the lead sings "Scatter My Ashes anywhere," and the lead could come back to specify, "Anywhere but Utah!"
I later asked the internet about Joe Hill. I got a lot of 2005 Joe Hills' news. Then I entered "Scatter My Ashes..." A website said the quote was from a letter Joe Hillstrom (b. 1877-79? - d. 1915) wrote "to a pal" from jail before they hanged him November 19, 1915. He wrote something like, "After they hang me, get my body and have it cremated. Then scatter my ashes everywhere, anywhere but Utah. I wouldn't wanna be caught dead in Utah." Joe Hill advised, "Don't mourn! Organize!"
One source says he was born in Sweden, in 1879, named Joel Emmanuel Haaglung. He came to America in 1902. He worked the kinds of jobs that make calloused hands. Men worked twelve-hour days, six and seven days a week, long hours, in dangerous conditions. Hell's afire! In those days they worked children, small baby boys, crawling back in little holes to place explosives, worked 'em twelve-hour days.
Joe Hill came to think of the 'wage' system loggers and miners, textile worker, and immigrants worked under as unreasonable, not a 'living wage', 'adequate' to pay for the 'living' a man did between the time he left work one day, and came back the next.
He saw all the other assets of corporations just sit there, idle, inert, until Human Resources came and supplied the demanded Human Competence to 'make' all those other assets 'work' to Take Profit. Why begrudge those Human beings an adequate share of the Profit they earned the corporation? They're sole-source suppliers of the demanded Human Competence to turn raw materials into finished commodities.
Somewhere he found the Industrial Workers of the World Union, the 'Wobblies'. But how do you 'reach' and organize men who are illiterate in English, who don't speak it, can't read it, can't write it? Hill began setting pointed words to common tunes, words that satirized the situations men were living in, set to melodies people already knew, Hymns, anthems, popular songs. You might just whistle the tune to a feller you wanted to talk to outside, and he knew what that meant, and met ya out there.
The International Workers of the World Union published The Little Red Songbook, pocketsized, so a man could carry it with him.
The consensus seems to be that Hill was framed by Law Enforcement and Judicial authorities in league with mine owners where he was trying to organize a union for safety's sake. They got lead mines there, co-occurring with copper, gold, and silver, all the metals that make men crazy. In a Union Songbook, March 6, 1913, sold for a few cents to miners, dockworkers, factory hands, there was a Song, "There is power in a Union," credited to one Joe Hill.
In the cold Utah January of 1914, at State Street 800 South, in Salt Lake City, it seems a man named John G. Morrisson and his son Arling Morrisson were killed in the robbery of Morrisson's grocery store. Two men were arrested in the train yards.
But Joe Hill had the importunity to get himself shot that same night and went to a doctor for help. The doctor reported it to authorities. They latched onto him. Joe said a man shot him in a 'dispute' over a woman. But he refused to name the woman or the shooter.
Joe tried to fire his lawyer for pleading him guilty. The judge wouldn't allow it. I can see how that would piss a man off. So Utah is hallowed ground, and it's no fault of anyone alive today that such an injustice took place then; but such injustices continue to be perpetrated and that may be our fault for not knowing Joe's story and preventing it from being repeated.
The prosecution's whole case seems to be the coincidental fact Joe was in that city that night, and got shot. They tried him. They convicted him. They sentenced Joe Hill to death. Helen Keller heard about the case, and wrote, in Joe's defense. The Swedish Government made formal representations. Labor Organizations from Europe and Latin America sent petitions. Woodrow Wilson reached out to the Governor, more than once, asking to delay the Execution.
All came to nought. On November 18, 1915, Joe Hill sent a message to International Workers of the World Leader Big Bill Haywood. "Don't waste any time mourning," Joe said. "Organize."
On November 19, 1915, a Firing Squad put Joe Hill to death at Utah State Prison.
In 1925, Alfred Hayes was at an International Workers of the World Union meeting, and it was raining outside, and he wrote a Lyric; "I dreamed I saw Joe Hill last night, alive as you or me! Says I, 'But Joe, you're ten years dead!' I never died, said he. I never died, said he."
One rendition has the line, "The copper bosses killed you Joe!" and Joe replies, "I never died," said he."
In 1936, Earl Robinson set that Lyric to music. Paul Robeson and Joan Baez and Pete Seeger and a thousand others sang and recorded it and told what they knew of Joe Hill. In the late 1930's Billy Bragg recorded it.
"There is power in a Union" was sung on pickett lines during the Great Depression years of the early 20th century, and at Labor Rallies in countries that didn't exist when Joe Hill wrote that Song.
Word on the street is they put little portions of Joe Hills ashes in envelopes and distributed them to Wobblies Locals across the country, and sent them to Labor Organizations in other countries. One state was not on the distribution list; Utah.
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
Well that figures all that work and writes a book , One things for sure he ain't fucking lazy. I guess he sings till he drops dead . Better than lazy ass retired people talking to cats . Gee I have no money , No shite your talking to a cat .
Last edited by bennash; 06/04/2607:12 PM.
We’re all built from the same dust and dreams, Different roads, but the same means.
Chords: G 32OOO3 C/G bass 332O1O A XO222O Em O22OOO
Verse I The Statue Of Liberty, Put down her torch to call, "Feed my hungry children! They're the neediest kids of all!" It brought tears, To my eyes. It hit me hard and I had to think twice about it. In this land of opportunity, You can stand or fall, Be a pillar of the community, Or a killer behind four walls. It makes a great difference to me, And when you're old enough to see, I hope you'll think, Think about it.
(Chorus) 'Cause down in New Zealand, Up in Montreal, In the former Soviet Union, Yes, And in Montezuma's halls, There are people still longing for the standard of living, Only some of us enjoy, Simple Human Dignity. The right of every man, woman, girl and boy.
Verse II Abe Lincoln and Diogenes, Were sitting on a bench in the park. Abe said, "Di, did you find anybody, After all those years in the dark?" Di said, "Abe, you're the only one, And sometimes you worry me." Abe said, "Son, don't worry 'bout the past. Take a look at what's about to be. Down in New Mexico. Up in Minneapolis, St. Paul. Over in San Diego, And in Niagara Falls, There are people still longing' for the standard of living, Only some of us enjoy. Simple Human Dignity. The right of every man, woman, girl and boy.
Verse III There's a farmer in Soviet Georgia, Like the one near St. Louis, M-O. It's a long, hot, hard, and dirty job, But when the sun comes up they get up and go. They grow the food that feeds the world. All they want is an honest dollar. They squeeze 'em at the bank and at the marketplace. Is it any wonder that they holler? Down in New Zealand, Up in Minneapolis-St. Paul In the former Soviet Union, Yes, And in Niagara Falls, There are people still longing for the standard of living, Only some of us enjoy, Simple Human Dignity. The right of every man, woman, girl and boy.
Coda There are men who make decisions, Who can live and who must die. They're willing to kill, and cheat and steal, So ya know, They're willing to lie.
Down in New Zealand, Up in Montreal, In the former Soviet Union, Yes, And in Montezuma's halls, There are people still longing for the standard of living, Only some of us enjoy, Simple Human Dignity. The right of every man, woman, girl and boy.
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
"I Told You (Not To Love Me)" Copyright July 22, 2026 by Gary E. Andrews. E7 O3321O A7 XO2221 B7 X212O2
I Told You, Not To Love Me. I told you, not to care. I asked you, not to shove me, not to hit me with a chair. I told you not to kiss me. I told you, not to touch me there.
I told your Momma, 'bout you. She act like I wasn't even there. I tried to tell your Daddy. He grabbed me, by my hair. I told you not to kiss me. I told you, not to touch me there.
I saw you, in the meadow! There was sunlight, on your hair. I been living, in the ghetto. We don't see things like that there.
I Told You, Not To Love Me. I told you, not to care. I asked you, not to shove me, not to hit me with a chair. I told you not to kiss me. I told you, not to touch me there.
I told you... I told you...
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
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