We’ve all heard songs on the radio and thought, “I can write a better song than that,” or “I wish I had written that song,” or “great hook, but stupid song,” and lastly, “Wow, what a great song, what was the name of it?”
There are basically 3 things that drive a song on the radio.
1. THE ARTIST- Often and artist will come out with an album having only one or two radio hits out of the 10-12 cuts that are on the CD. If the first song becomes a hit, then the DJ’s have to figure out what other cut to play. They collectively decide, unless the label has instructed them otherwise. Sometimes the demand for the artist is so great among the listeners, they can’t wait to hear the next song. If the album was launched with only one bonafide good song, then we are subject to hear those “other” songs. Usually the “hit” is written by outside songwriters and the rest of the compositions are written by the recording artist. Then you ask: ”Why would they sign the artist?” Perhaps great vocals, personal appeal, or having the “it” factor.
2. THE STORY- Sometimes a song has such a powerful message and lyrical flow that the listener is spellbound by the song. Sometimes the individual lines are not as memorable as the story itself but full of impact. Often the story is so compelling we don’t pay attention to who the artist is that’s singing the song. These are the kind of songs that launch artists.
3. GROOVE- Throughout history, and nearly every 2-3 years there are a few songs that make the listener bob their head to the beat before the third note of the song. Great groove. The groove often becomes more famous than the song. Often the bass line is delivering a powerful, hip shaking, hypnotic pulse that stays with the listener long after the song is over. I can think of a few off the top of my head…”Brick House,” from Lionel Richie, “Cocaine,” from Eric Clapton “Every Breath You Take,” The Police, and U2 has at least one on each album, such as “She Moves in Mysterious Ways.”
My point in all of this: concept songs #2 & #3 stay with the listener long after the songs are over. How does your writing add up? What can we learn from this?
Unless you’re famous, #1 won’t pertain to you unless you’re writing for artists other than yourself. Most of you are not in a band, so #3 doesn’t pertain to you either but #2 does!
The story is the most important concept for you to focus on when trying to get your songs on the radio. This is where uncut writers should focus their attention anyway. Even if you’re not writing that kind of a story song…paying attention to how you’re going to move your audience is time well spent. Ask yourself, “What do I want my listeners to feel? What do I want them to see? Have I fulfilled all that the listener is asking of me? Meaning, did I give them an unsatisfying ending or did I answer and fill in all the holes so that they love the song and can’t wait to hear it again?
Pay attention to the story line of your song. Remember that you are writing a 3-4 minute movie via your lyrics and music. Just like a movie, you have an intro, introduction of characters and situation, the chorus is a proclamation of the outcome your story is trying to achieve, the 2nd verse helps drive the point home with additional information and sentiment as to why we should care about this song, the bridge is the pinnacle of the film i.e. the car chase scene, perhaps the reunion, or answering any questions you may have posed throughout the song, & tying up loose ends. The last chorus (even with the same words) should satisfy us that the point you made was valid and worthy of us listening to your 3-4 minute movie.
Sometimes asking yourself questions about your own composition will teach you where your strengths and weaknesses lie. If you see an opening to make things better, then re-write, re-write, re-write.
© 2010 Jill Holly
