Why evaluate the strengths and weaknesses of your songwriting, an exercise that can be somewhat painful? Mostly because improvement is absolutely possible if specific areas are identified and worked on. Think of it like a bodybuilder (which I’m not). If you do enough steady work on your arms, your abdomen, etc., you’ll see improvement; you’ll […]Read more
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They’re important. They’re the first thing people hear. But Intros – aka the part before the singing starts – are often taken for granted. When they work, they get the listener intrigued, involved, curious… Like with any good story, you want them thinking, ‘What’s going to happen next?’ What makes good intros is harder to […]Read more
This Max Martin/Ali Payami production sounds very full but, relatively speaking, there aren’t as many elements as you’d think. The parts are not numerous… but something changes in some way each time they come around. As Max Martin says, “I like it when a song is like a journey, building up along the way. That […]Read more
Most commonly, Verse/Chorus songs start with the Verse and build into the Chorus. This allows the song to begin its story or situation, and to build up drama and excitement, ideally climaxing at the Chorus. Almost all songs involve some kind of story, or a situation that’s summed up in the Chorus, or a question […]Read more
One of my occasional posts about recording and producing songs: Recordings that are great but not too hard to understand are good to learn from, whether you’re an experienced producer or not. The recording of ‘She Blinded Me With Science’ by Thomas Dolby (listen below… and read along) works well along these lines. It’s a […]Read more
Unless you’re a very strong performer, it’s difficult to make a dent as a songwriter without having good recordings of your songs. Otherwise how are people going to hear them? So I’m going to start occasionally using this blog to look at the recording aspect of songwriting. It can’t be ignored. Even if you don’t […]Read more