https://soundcloud.com/artwhimsically-yours/forbidden-fruit"Forbidden Fruit" Copyright MFB III Nov. 8, 2024
(This Title is a 'choice', a Songwriter's Judgment Call, as opposed to a summary Line of Lyric that sums up what the whole Lyric is all about, usually Repeated a minimum of three times, with more Repetition driving it home as the Title for the listener's 'education' as to what to go looking for with money in their pocket. It's a practice common among poets, and Songwriters are poets, presenting their poetry in Lyrical form, in Prosody with Melody. So... that's... okay.)
(Introductory Movement 0:00 - 0:15)
(Verse I) (0:16) (I think all of this is Verse I, in two Stanzas on the written page, but all 'setting the scene',
introducing the Conflict Complaint of the Singer-Character,
introducing the Love-Interest Character,
and introducing the Other Character, the love triangle Conflict which is an interesting story-telling device.
The last Line of the Second Stanza does a Pre-Chorus 'lift', Melodically expressing the more urgent emotion of the coming of the Chorus.)
(Verse I)
We said for better or worse,
I’m sure that doesn’t include
me finding you with my best friend
in the nude acting lewd,.
So don’t be begging my pardon
in our garden of love,
you tasted forbidden fruit
denied on earth and above……
Trading trust into lust
while I still thought you loved me.
you’ve turned us into a modern
day Adam and Eve…..
tempted to dally with treats
from my ex-friends family tree
you put the famine in family
and it’s time that you leave!
(I'd label these two Stanzas the Chorus 0:46 - )
You were the apple of my eye
the Blossom I picked to share
all the rest of my life
but now we’re going nowhere
I caught you both in “Our” bed
I kicked his ass he dared bare
Go on get out of my life
Find someplace else and go there….. (By 1:00 in you should have arrived or be within seconds of arriving at THE Hook, the Title concept you want the 'consumer' to remember.0
Go trade his trust into lust
while he still thinks you love him,
Bring him the pain you brought me
and then he’ll know where I’ve been,
He’ll know you scavenge your love
from other family trees
putting the end into girlfri-end
until he too turns and leaves. (1:16)
(1:16 - 1:23) (Instrumental Bridge) (Same function as a Lyrical Bridge, to break potential Monotony of the Repetition to supply Structure, with Change, to renew listener interest.)
(Verse II?)
Go trade his trust into lust
while he still thinks you love him,
Bring him the pain you brought me
and then he’ll know where I’ve been,
He’ll know you scavenge your love
from other family trees
putting the end into girlfri-end
until he too turns and leaves.
You’ll wind up lonely and old
with a little black book,
documenting all the family trees
that you came and shook,
With no one in it to call
cause they all took the fall,
while you were out behind their back
and having a Ball.
(1:55 -
Then you’ll remember how it was so nice
Living with me in paradise (Living With Me In Paradise might be a more likely Title. It does get Repeated once.)
(1:58 - 2:29 Instrumental Bridge)
(Repeat Chorus) (2:30)
You were the apple of my eye
the Blossom I picked to share
all the rest of my life
but now we’re going nowhere
I caught you both in “Our” bed
I kicked his ass he dared bare
Go on get out of my life
Find someplace else and go there…..
Go trade his trust into lust
while he still thinks you love him,
Bring him the pain you brought me
and then he’ll know where I’ve been,
He’ll know you scavenge your love
from other family trees
putting the end into girlfri-end
until he too turns and leaves.
(Coda) (Final Musical Movement, spoken, recitation, effective in sustaining listener Hook Factor)
You’ll wind up lonely and old
with a little black book,
documenting all the family trees
that you came and shook,
With no one in it to call
cause they all took the fall,
while you were out behind their back
and having a Ball.
Then you’ll remember how it was so nice
Living with me in paradise (3:30)
(How in the hillbilly hell do you get all that in in a radio-friendly 3 minutes and 30 seconds? I salute your... or someone's... or some thing's... efficiency of execution.)
(I like to unclutter Lines in the singer's mouth by deleting 'and', 'but', 'cause' connector words writers employ but listeners don't need. Little things matter and omission of some of those might give a singer a chance to breathe, give the other words space to be enunciated clearly, 'sent' to be better able to be 'received'. Word meanings have Hook Factor. Only about 10% of the public can carry a tune, I read somewhere. But most of them can 'get' the words and be Hooked with the Storyline, so delivery, Communication, sent/received, is of strategic importance.
Those Instrumental Bridges are some nice licks. Those Pre-Chorus lifts are simple but effective. The Change in what I'm labeling your Chorus works to break the Repetition, sustain listener Hook Factor, keep 'em listenin'. )
