Writing my post last week about the non-plagiarism of Marvin Gaye’s ‘Got To Give It Up’ (here) took me back to listening to that great song/recording… and I came upon something that surprised me.
The lyrics.
As much as I love the song and as many times as I’ve listened to it and even danced to it, I’m ashamed to admit that I never paid attention to the words, other than the Chorus (‘Keep on dancin’… Got To Give It Up’).
It turns out that lyric is the story of a shy, submissive guy …
I used to go out to parties
And stand around
‘Cause I was too nervous
To really get down
But my body yearned to be free
I got up on the dance floor baby
So somebody could choose me
… who, through the power of music and dancing, lets himself be seduced, set free…
You’re movin your body easy with no doubts
I know what you thinkin’ baby
You wanna turn me out
Think I’m gonna let you do it babe
What strikes me about this is how different the character in the song is from Marvin’s usual persona. In his songs he’s more often assertive and seductive (Think ‘Let’s Get It On’ or ‘Sexual Healing’). Yes, he’s sensitive and vulnerable, with feelings; but nervous and shy? Not usually.
He’s more often the seducer. Here he’s the scared but willing seducee.
The reason I’m going into this is that it’s good to remember that I don’t always have to write in my familiar persona. I don’t have to write about how I actually am, about what’s factually real for me, or from a default comfortable persona, for a song to feel ‘real’. It just has to have an emotional ring of truth. And that can be found by a single writer in many characters and voices. I have many sides to me; we all do.
(If you’ve read about Marvin’s life and personality, you’ll also note that inside he was probably more the insecure guy than the confident one he was more often seen as.)
I think it’s important to try to write outside of my familiar ‘voice’. I’m not claiming to always succeed in this – of course I have my comfort zones, my sweet spots – but a change of pace, an exploration of another, less familiar, side can bring about songs that broaden my repertoire and open me up as a writer.
I use this idea a lot in my Songwriting workshops. The assignments I give are often designed to help the writer find new ‘voices’ inside themselves (musically as well as lyrically), new areas of strength, even new comfort zones. Otherwise we revert to the familiar, which can really be limiting (not to mention boring for us and our listeners) after a while.
Try on a new character. Think of the opposite of how you usually approach a lyric idea… and try it that way. Marvin did it!
(Listen to the long version of ‘Got To Give It Up’ here.)
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Love your analysis! I went to a songwriting session at NSAI in Nashville which I valued greatly and was told that when we write songs, they have to be “real” for the artists or they will not record. I was told that only persons who experienced divorce would record a song about divorce. I was also told that artists, especially in Nashville, only wanted sweet songs, kind songs. Yet even sweet Taylor Swift writes songs about guys being “mean” and saying that they’re “never ever getting back ” and they were hits! Band Perry says that the relationship will last until death, one way or the other, in my translation. Sweet, happy Carrie Underwood sings songs about love gone wrong, but I was told that songs needed to be “sweet love songs” to sell. I kinda’ think like you. I write songs from a man’s point of view, songs about a mother getting fed up with her husband and leaving, a woman saying that her husband is having an affair, and sweet love songs about love. “I’m Walking The Floor Over You” and “You Ain’t Woman Enough To Take My Man” and “Whoever’s In New England” and “Earle Had To Die,” were they all “real” or “true” or “sweet” for the artists singing them? Surely Dixie Chicks did not commit murder? And was Reba’s wonderful husband having an affair that the tabloids miss? I love what you said about breaking the norm, but how do we get them to artists who will sing them if it is true that they will only sing songs that resonate with them as true to their lives? How can we know the intricacies of an artist’s life and even if we do and we write a song about it, unless it’s Taylor Swift who successfully writes her own “song diary” then where do we place them? I watch real life and write what I see but has the music industry become of such that artists no longer just want a great song but songs that typify their real lives? I STOPPED submitting after then to try and understand this new industry. I just write songs…and they are good. They aren’t real to my life but they reflect someone’s life. Interested to know what you think.
some things are timeless, and it seems like a big crap shoot, so you just got to be true to yourself
Joyce,
Can’t go wrong!
TC
Connie,
Thanks for your thoughts. I think if I’m writing to reflect someone else’s life, I’ve got to find something of myself in them… like writing a character for a novel, play, or movie. It’s not me, but I have many sides, and I find something in me that can connect in an authentic-feeling way.
Remember, at heart it’s ALL ‘makin’ stuff up’.
Best wishes,
Tony
Authenticity is also important.
I can’t tell you how many times in our workshops how non-urban types come in with “rap” (when they call it that, you KNOW it’s gonna be a problem!) or “country” songs with words like “variable analysis” or “Personify your disorder” in ’em.
If you’re gonna go there, make REALLY sure you understand where it REALLY comes from & research the context of the genre before committing yourself to the song, unless of course, you don’t mind being a parody.
True, and well said, Jimi. Thanks!
Best wishes,
Tony
In modern popular music it is understandable that current artists are effectively midgets standing on the shoulders of giants in order to reach new heights… and some similarities are bound to appear in the new works so created. However, when it comes to the particulars and technicalities of copyright law, emotions (particularly envy and jealousy) are usually not well-suited to reaching a correct resolution (and that applies to the jury as well as the many public opinions that abound on this case).
Great point, Wallace!
Best wishes,
Tony
Perhaps Mr. Gaye pulled this out of some old stuff when he was very young and shy and revisited it. Just a thought
Joyce,
If you’ve read about Marvin’s life and personality, the shy, insecure, submissive guy may have actually been closer to the ‘real Marvin’ than the confident love man.
Thanks for writing,
Tony
Tony, I agree wholeheartedly with this blog entry! I’ve been saying for years that Sammy Cahn had a great mouthpiece and that was Frank Sinatra. Now, I’m writing R&B for other singers, not planning to sing or record the songs myself. It really frees me up to write lyrics that are more emotional. I am more excited about songwriting than I’ve been in awhile and I think it’s because it’s more emotionally fulfilling for me now. And that’s because I wrote a song with Sharon Jones in mind. I imagined her singing it as I wrote it. When I sang it in a workshop, I could feel a charge of energy in the room. Whether Sharon Jones ever records the song is out of my hands (although I did get the demo to her). The important lesson for me was that I could think of someone almost as a musical instrument who could play my words and music.
I love that too!
Thanks,
Tony