Writing Hit Songs - Myths

[andreh]

Scare tactics and marketing hype aside, there ARE formulas to follow for generating [commercially-speaking] hits, and there are ways to guarantee a song will never be a hit as well.Of course there are exceptions to every rule, but IMHO we're not wasting our time by listening to what's actually being played and emulating the core features of popular songs.André

[vicky]

Quote:and all bass players are... Quote:Of course there are exceptions to every rule, but IMHO we're not wasting our time by listening to what's actually being played and emulating the core features of current hit songs.steal...and borrow,,,,sounds better than emulate cheers..vtbp

[sgs4u]

Well, let's start by to taking into account all the entities or assumptions, that play a part in making a "hit." Let's start a list. I'll go first, jes cause I said so. A hit can only be a hit, if it has been listened to "X" number of times. It must also create a desire in listeners to talk about, recommend, and hopefully purchase said piece of music. I'll submit an arbitrary number, 1,000,000 listens. How's that? How do you get your song listened to, 1,000,000 times? Who's next? Quote:Scare tactics and marketing hype aside, there ARE formulas to follow for generating [commercially-speaking] hits, and there are ways to guarantee a song will never be a hit as well.Of course there are exceptions to every rule, but IMHO we're not wasting our time by listening to what's actually being played and emulating the core features of popular songs.André

[squids]

Umm, and I'm totally NOT wanting to start something here but:Sure, there are formulas for writing "hit" songs out there. But they don't guarantee squat. You can write a story-song, get to the chorus is such-and-such a time, make sure you have a prechorus (this year, anyway ) and a freakin' HUGE hook, ex amount of choruses, a short instrumental break and a big crescendo at the end. But folks are doing that all ova the place on these boards. I don't see a "hit" being generated. Yet. Doesn't mean at all that it won't happen, jes means that it hasn't happened yet. And with all these writers writing to formula and taxi existing as long as it has, certainly ML would be able to quote at least a dozen top 10 hit writers as members of taxi.I believe there are an enormous amount of variables involved in what's considered a hit. And only a part of it as the song and lyrics itself. What about belief by those people who hear it and think it's good enough to capture attention? What about the key it's in, the instruments they used, the resonance of the singer's voice, the backup singing? What about the producer?If they can figure out how so many millions of individuals like one thing, all the magic will be gone and we'll be in the business of fast music instead of fast food......prepackaged everythang.

[andreh]

In the [paraphrased] words of Morpheus, it's one thing to know a path, and another to actually walk it.People who are following the formulas of current commercially successful songs ARE generating hits. If you're not hearing any from this or other boards' members, then those people aren't getting it yet.I'm stating the obvious here, but writing a hit is only the first of many steps to getting actual airplay.AndréPS - I'm pretty sure we ARE in the business of fast, packaged music! Quote:Umm, and I'm totally NOT wanting to start something here but:Sure, there are formulas for writing "hit" songs out there. But they don't guarantee squat. You can write a story-song, get to the chorus is such-and-such a time, make sure you have a prechorus (this year, anyway ) and a freakin' HUGE hook, ex amount of choruses, a short instrumental break and a big crescendo at the end. But folks are doing that all ova the place on these boards. I don't see a "hit" being generated. Yet. Doesn't mean at all that it won't happen, jes means that it hasn't happened yet. And with all these writers writing to formula and taxi existing as long as it has, certainly ML would be able to quote at least a dozen top 10 hit writers as members of taxi.I believe there are an enormous amount of variables involved in what's considered a hit. And only a part of it as the song and lyrics itself. What about belief by those people who hear it and think it's good enough to capture attention? What about the key it's in, the instruments they used, the resonance of the singer's voice, the backup singing? What about the producer?If they can figure out how so many millions of individuals like one thing, all the magic will be gone and we'll be in the business of fast music instead of fast food......prepackaged everythang.

[squids]

Well, maybe I'm jes slow then.

[jh]

Quote:If that's the case, then I don't understand why he' so judgmental...Quote:but IMHO we're not wasting our time by listening to what's actually being played and emulating the core features of popular songs.I don´t think he is judgemental. For example Myth#3 means that if you emulate "mediocre" songs, you´ll probably write "mediocre" songs. The chances are that you´re emulating all the "bad parts" too if you´re not aware what´s "good" and what´s "bad". (That´s how I interpret it.)- JH

[sgs4u]

It's ALL GOOD. Quote:Well, maybe I'm jes slow then.

[ibanez468]

Wheeew! This thread is SMOKIN'!!!!

[hummingbird]

here's how I look at it. I've been to the Road Rally in 2005, 2006, and 2007, where REAL PEOPLE who LOOK FOR SONGS EVERYDAY come and talk to us about how to get their attention. And every single one says, blow me away with your songwriting. Every one says, talent isn't enough, hard work is required. Listen, learn, get better. The real fact of the matter, which he has not covered, is that most songs on the radio are written by, or co-written by, or written for the artist. Most songs on the radio are written by the artist, someone in the artist's camp, by staff songwriters. Very few are written by 'outside' songwriters who have no relationship to anyone around that artist. very very few. And I'll bet you that 'outside' songwriters who place songs that get on the radio have recognized credits that make them part of the 'in' ('trusted') crowd. In other words, having talent, having craft and having skill, is *vital*... and at least as important as Relationship Skills. And you see this at every Rally, relationships at work. Between us, between us and 'them', ahd between 'them' and us. So here's Hummin'bird's list of things to do to get on the radio:-- call up the local college station-- send them CD-- voila Are we having fun yet