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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; 10/17/2201:23 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; 09/12/2212:39 PM.
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
"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; 10/17/2201:24 PM.
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
"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; 02/09/2306:16 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.
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
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; 07/07/2312:55 PM.
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
"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; 04/30/2312:16 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; 08/03/2302:09 AM.
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
"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!
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
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.
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
"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; 04/02/2402:00 PM.
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
"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!
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
"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!
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
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; 11/20/2408:05 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; 01/23/2512:13 PM.
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
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!
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
"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)
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
(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; 08/12/2504:14 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 August 12, 2025 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; 08/12/2510:06 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; 11/24/2505:39 AM.
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
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