Before examining song writing or The Shadows as song writers I would like to summarise an article contained in a recent issue of "MOJO" from August 1997, issue number 45. The basis of this article was that over 100 artists, writers and producers were polled to find the 100 greatest singles of all time. A number of influential people from that list also gave their views on various aspects of a great single, and it is from these that the following summaries are taken.
George Martin (producer).
A song that sticks in your mind, a good tune with a hook that comes early enough and an interesting intro, don't be too clever. George finds that today production is taking over from the basic good song, apart from a few notable exceptions, due to the introduction of computers, sampling and the advent of video. The single now needs to sell on its visual as well as aural qualities.
Ray Davies (britpop godfather)
You have a limited time, make it as interesting as possible. Don't waste any phrase, they're all so important. You have ten seconds to attract their attention... Engage as many people as possible, by making sure that they can relate to the first ideas. You may have a minute or so to bring people in, and then maintain their interest. After that, give people a solo (break) go back to the beginning and fade out quickly.
Noel Gallagher (the 'istory maker)
It's all down to the melody. If it touches people, it's a good song.
Gary Barlow (the teen dream)
A combination of things, the lead vocal must come across as passionate.
I write about universal subjects like "love", and write in a simple way that people can understand. If people can find something in a song that has significance for their own lives, you're onto a winner.
Technically the structure of a composition is important.
Barry Mann / Cynthia Weil (the brill songwriters)
Although it sounds old-fashioned their has to be a great "hook" in a song, not necessarily an obvious thing, it just has to be something that catches you ear. Rules about form are not important but good production is vital though there are no hard & fast rules, especially now.
Jack Nitzsche (the arranger)
As a rule make it sound simple, records today generally rely very little on arrangement more on energy.
Jimmy Webb (pop's Mr Kipling) (for overseas visitors, Mr Kipling is a brand name with the slogan, " Mr Kipling makes exceedingly good cakes")
First you need a catchy tune. Second an infectious rythm even for a slow song. Third, a memorable lyric, something with a natural rythm that sticks in the mind so that a person can sing along. In writing a hit song, you need to factor in the way that you feel when you sit down at your instrument, the way the thing falls together. I think most songwriters would agree that when you're doing something like that, you know you're doing it.
A hit can be screwed up by the producer using the wrong artist or the wrong microphone or drums or whatever, and then there's the record company. A hit record is akin to a miracle.
Lamont Dozier (motown maestro)
It's a combination of great melody, lyric and a story line that anyone can relate to. The lyrics have to have a certain degree of realism, if you don't believe in what you're writing then you can't expect anyone else to. The melody is king with any great single, the lyric should always subsidise the melody and it should fit together in an interesting way. The trick is to come up with an interesting hook or angle, I find ideas everywhere if I turn on the TV, take a walk, anything.
Brian Wilson (the pop genius)
A single could be great because it has:- an exiting feeling (Elvis), a fantastic driving beat (Keep-a-knockin'), a rally cool concept and lyric (sweet little sixteen), a beautiful tune (She's outta my life), an igenious lyric and melody (raindrops keep fallin' on my head) or be a tearjerker (Hey Girl). You always remember where you where when you first heard it.
Paul McCartney ( The fab Knight)
The only thing that tells you when you have written a good single is people's reactions. And then you've got sales. It may be considered crass commercialism but if the record moves people to spend their pennies on it that's the vote that counts.
Right, so the most important element seems to be the song. Hardly surprising really.
The main element is considered by a slight majority to be the lyric, keep it simple, make it understandable although it can have a sub-text, the lyric should have a natural rythm and the ideas should be relevant to the listener to make him want to hear it again. The melody is only slightly less favoured but notable exceptions do consider it the main element. Take your pick, each to his own!
Whilst many options are specified to help with the lyrics apart from saying a "good tune" or "catchy melody" is required no specific characteristics are mentioned. Must make a note to remedy this omission.
The song should have an interesting intro with a definite structure (but the rules for this are debatable and open to interpretation) to help make it memorable. Mix up types of structures for original effects. The song must have a hook which may be subtle, and it should grab the attention of the listener very early to draw the listener in to the song.
The listeners as you might expect were mentioned by all the interviewees, after all they are the final judges and do not forget that feelings are what you are trying to get across with the song.
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And what were the top ten all time singles judged by that illustrious one hundred hit makers? Here they are:-
| No | TITLE | ARTIST | COMPOSER(S) |
|---|---|---|---|
| 1 | Good Vibrations | The Beach Boys | Brian Wilson / Mike Love |
| 2 | Strawberry Fields Forever/ Penny Lane | The Beatles | Lennon / McCartney |
| 3 | Like A Rolling Stone | Bob Dylan | Bob Dylan |
| 4 | Be My Baby | The Ronettes | Spector / Greenwich / Barry |
| 5 | I Heard It Through The Grape Vine | Marvin Gaye | Whitfield / Strong |
| 6 | I Can't Get No Satisfaction | The Rolling Stones | Jagger / Richards |
| 7 | Hey Jude / Revolution | The Beatles | Lennon / McCartney |
| 8 | River Deep, Mountain High | Ike & Tina Turner | Spector / Greenwich / Barry |
| 9 | Smells Like Teen Spirit | Nirvana | Cobain / Nirvana |
| 10 | What's Going On | Marvin Gaye | Cleveland / Gaye / Benson |
For the other 90 you'll have to get a copy of the Mag, most of them were quite predictable with one or two surprises, which I will not name and show my ignorance. The Shadows were not represented, but then no instrumentals were. Not surprising when most comments by the "judges" were about lyrics.
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