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8Graves
by Gary E. Andrews - 09/20/26 06:05 PM
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Saosin
by Gary E. Andrews - 09/20/26 02:43 PM
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Spiritbox
by Gary E. Andrews - 09/18/26 09:51 PM
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TV Drama
by Bill Draper - 09/18/26 02:22 PM
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Syd
by Gary E. Andrews - 09/17/26 09:40 PM
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Lagoons
by Gary E. Andrews - 09/17/26 01:34 AM
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Söndörgő
by Gary E. Andrews - 09/17/26 12:01 AM
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Joined: Apr 2005
Posts: 7,997
Top 20 Poster
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Top 20 Poster
Joined: Apr 2005
Posts: 7,997 |
I don't know your work Shayne, I haven't heard it. You show it to me and I can answer that question for you in 30 seconds or less. Mike, I used to get more caught up in getting my rhyme schemes and meter consistent than telling a truly interesting story. I've written some exceptional ones in spite of that, but plan to review all my material in 2011, pick out the gems, and rewrite the ones that need it. That's a great plan Shayne. Trying to get the best combination is also the most difficult thing. I work with a writer who writes the most interesting,intelligent well crafted lyrics I have come across. But those aren't always the one's that reach people. A great lyric is a great lyric but without being effective musically they never get to be great songs. I'll keep Country Music in mind because I think that's where your coming from. The weaker or less substantial lyric can survive behind effective music. In Country I can think of quite a few number one songs recent and old that have that exact situation. Regardless of someone coming along and saying "Oh I love that song & I love those words" "We" should at least know the difference. While I absolutely adore lyrics and not only praise there importance but torture myself over them literally. However they still in many cases can be switched out for another that works just as well UNLESS they are made to fit that songs meter and vibe.... Then it gets tougher to replace them. We all know this if we had a cool hook with a certain line then tried to change it. The only reason I'm saying this is because of your initial post about getting past a point and getting a chance in the big league. Just look at the charts your trying to get on and see what I mean. You can write the silliest song, the sappiest song or an outright "are you kidding?" song. If it's put across right and it's effective musically, and has the right hooks inside the song and inside the office.. Your chances are going way way up. Try to hit that middle best you can,never assume you can get a cut with the same song Alan Jackson put together start to finish in an hour. Because with his FIRST hit, the one that broke him that was not the case. PERCEPTION! As far as how you feel about what you write and what becomes of it, that's for everyone to decide for themselves. If you wrote Achy Breaky Heart are you still thrilled to death by that BIG HIT or do you care that it's been voted worst radio song ever? When people make endless fun of Ricki Martin and now Justin Beiber do they ATTACK and criticize the writers? Nope because they are ghosts to the public... They collect checks long after the flash star burns out... These are some things to be aware of when your always feel like your defending yourself, and being tested by what seems to be everything in choosing to write songs for a living. 
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Forums118
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"If you are stuck in your musical composing, be unreasonable. Change your environment. If you are stuck in your lyrical efforts, instead of forcing the same old words out, force yourself to do unreasonable things." -Brian Austin Whitney
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