There’s no question in my mind that songwriting collaborations can mean all the difference between one’s eventual success or failure in the music world. Some of the biggest songwriters in the world are – almost with no exception – great collaborators. A case for working together with someone is easily made: fresh vibes, unexpected ideas, synergy, extended contacts – and potentially a lot of fun!

There is, however, also a potentially messy flip side in this. What happens when your collaborator turns around one day and does one of the following:

• Prohibits you from pushing the song, because as a cowriter he feels that it’s not ready yet and doesn’t want to “tarnish his reputation”
• Argues that he wrote more of the song than you’re giving him (or her of course) credit for
• Promotes the song without telling you, claiming full authorship
• … and any number of other unpleasant scenarios

I’ve done hundreds of collabs in my day: I’ve gone from “spur-of-the-moment” sessions to “carefully-planned” ones, from work with total amateurs to work with total pros.

Issues of “who gets to control this copywright/song” rarely came up as a bone of contention (because I typically worked with people who had the same easygoing mindset that I had) – but come up they did in some cases.

Once songwriting and production became my main work, I discovered that having a fair and short agreement handy can be very useful in pre-empting problems. In fact, although it might at first seem to you like some sort of a nasty “pre-nup” which might breed distrust – it works quite the opposite. It’s not a marriage – it’s a collab. And both parties get focused and motivated by entering into a well-structured agreement which is of a professional nature. It can actually set the (positive) tone of your entire collab session!

So, what should such an agreement contain?

Before we look at that, first you must decide if you’re working with someone who is potentially an “equal” contributor. If this someone is just a casual passerby who has no business writing songs, perhaps you ought to reconsider!

But if it’s someone whose input you will value, then I would advise a simple 50-50 deal where each person gets to have full freedom of representing the song, as long as they inform the other party about it. If you have an established studio and/or a music operation, you may be the “natural” lead and if so, the agreement should reflect that. If a song is co-written for a specific purpose or a commissioned job which one of you secured, then that will be the final deciding point on who should represent the song. Ultimately, however, if you’re both on an equal level, both just trying things out – don’t limit your chances! Both of you should be able to represent the copyright in a fair spirit, as long as you always make sure to reflect the correct credits!

In cases where another person is only a minor contributor (and acknowledges that it is indeed so), then you can probably award them (minor) points based on their input – in the event the song goes somewhere. They would have NO control over the song, but they would be entitled to something should it ever get placed.

Caveat emptor: I had a case or two where a visiting person would sit in on a session and venture a word or two for a lyric – and I’d accept it. Later, however, he’d insist that I give him points! At that stage, even if you were to say “okay I will drop your line and write one of my own” they will still have a somewhat-legitimate claim that you may not have written the rest of the song they way you did without their input! And will continue having a “rightful claim” on “your” song.

With this in mind, it’s always a good idea to (1) be careful who you work with, (2) be prepared to be generous but FAIR in sharing credit, and (3) have something in writing even before you start the creative process. Oh and (4) being clear on what your goals are with the song and how you wish to achieve them. (This means that if you’re writing a song you wish to pitch, you should WELCOME any qualified help you can get).

Overkill?

Yes, if you write one song a year and it’s just a hobby for you.
No, if you’re serious about this as a “business” as well as your “calling.”

One last thing. What do you do if you get into a collab in the belief that they will contribute 50-50, but you were in fact the main contributor?

Personally, I wouldn’t spilt hairs. Another time the roles may be reversed. If you’re truly creative, it won’t matter to you in the least, so don’t be petty. But if this collab is always one-sided, you can simply stop. This said, there is one interesting kind of a collab which is rarely mentioned or even considered, but it’s very real nonetheless: some people are “muses” more than collaborators. They “inspire” more than they “actually contribute.” What do you do then? Well, if you value their role as your “muse” – then make sure you reward them for it!

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Let’s face it – songwriting is not just an artform. It’s also a craft. If it wasn’t – a monkey could do it. Many artists visiting Fame Games are already excellent songwriters, but others only show potential which is yet to be fulfilled.

Amateurs often have a common argument against “learning” songwriting. It goes something like “you can’t learn this thing, you’re either born with it or you’re not.” Needless to say, and without much additional qualification, this is one of those “leave me alone I’m afraid to learn and fail” kind of arguments. You may be born with a special talent for something, but it will come to nothing without further development.

In my previous posts, and probably in some of the upcoming ones, I’ll touch on some useful techniques for getting “more” out of your songs. There is an element of subjectivity in this, of course. But it’s a bit like listening to someone speak. Some people bore you to tears even if the subject of their talk is very interesting. Others keep your attention even when they talk nonsense. We all have a radar in us which somehow knows what is “good” and what it not. We may differ on that point from person to person, but the overwhelming majority will tend to agree with each other at least on the general principle. It’s just a fact of how our psychology works.

Some key points to keep in mind, when writing songs. And it’s just a small sampling.

• Keep it real. Avoid meaningless and boring topics unless you really feel they need to be told.

• Keep it interesting. It may be just a key hook line or the entire lyric, it can be minimalistic or slightly wordy, but it needs to mean something to your listeners. Tell this story to a friend and see if he gets it. This doesn’t have to be anything high-flying or philosophical. You may just want to write a song about partying and having fun with the opposite sex. But you can say it in a way which makes your listeners fall asleep – or you can put a smile on their faces.

• Ensure that the lyrics have a strong and balanced meter, and rhymes (if used) are strong and not banal. Don’t “settle” for makeshift solutions. Make sure you know what your lyric “wants” to say and then find a way to express it. This will more often than not mean a LOT of revision.

• If your lyric has a good rhythm, so will your song. A well-written lyric virtually “sings itself.” Many songs have “forced rhythms” – for example cases where a syllable is stretched unnaturally in order to make the rhythm work. This is not the same as extended syllables which are there for special effect or because they just need extra emphasis or styling. This is about those lines where the writer simply couldn’t think of a way to make the phrase balance and he’s cheating by stretching or contracting words until they fit. This technique CAN work, but all too often it comes across as simply amateurish.

• Learn about chordal progressions. Some progressions “flow” and are natural and some are… erm… challenging. Some progressions are so well established that they’re known as “power chords” and you’d be surprised at just how many songs rely on them. The familiar C-Am-F-G progression works with children’s melodies but it’s also the basis of many classic hits. If arranged well (the right inversions, clever dynamics and rhythms) you might not even recognize it. Don’t be afraid of using “standard” chord progressions, but do challenge yourself to ensure that they come across as fresh.

• Ensure that your melodies aren’t “glued to the chords.” Melodies which follow chords have been done to death in the past and any new song which uses that technique immediately sounds boring and dated, with few exceptions. Deliberately “flip out” some notes in your standard melody and see how the song gets transformed. Try your melody against different chords. Does it sound more interesting? But keep in mind that melody lines are like lyrics: you’re always re-using familiar elements, but you need to put your own stamp on them. Between intervals, meter, rhythm and dynamics – and a bit of divine inspiration – you have all the tools you need to write something that nobody’s heard yet.

• Push yourself. Subject your songs to analyses and cold-listens by unsuspecting strangers. Clock their facial expressions more than their words (which are often cautious compliments, even when they’re not deserved). Find ways to write your songs so that the physical reactions you get become undeniably positive.

• Come up with tricks to improve your songwriting. One such “trick” isn’t really a trick at all, but it can completely transform the way you write your music. Get another singer to sing your song. Not because they’re “better” but because they’re DIFFERENT. If you know a singer who’s great get him or her to “interpret” your song. Try it with your melody line first, then ask them to just feel it and do their own thing with it. Then, get a “poor” singer to sing it. Watch him or her kill your song and unconsciously deliver a parody of it. The lessons you’ll take away from this can be invaluable.

• Study other great songwriters. Note that songs by greats such as Lennon-McCartney, Elton John or Diane Warren survive decades and lend themselves to virtually any musical style. How did they do it?

• Always ensure that your demos are done properly. They can be simple or complex, “produced” or not – but the basic values need to be there. Strong confident instrumentation and vocal, “flowing” arrangement, hooks, little surprises – and a decent mix.

When reviewing demos, “the song” is always the biggest consideration. Given two songs, one of which is beautifully written but poorly produced, and the other hastily written but beautifully produced, all too often the latter will win out. This is because “production” is just another word for “presentation”. We all know that it’s not clothes that make the man and we shouldn’t judge a book by its cover. But the fact still remains that first impressions are always going to be critically important. So have the depth and the content and all that – but also ensure that you grab their attention from the start with your craft – even if it’s basic. “Basic” is ok, as long as it’s “proper!”

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If your first reaction is “what business does a producer have poking his nose into my lyrics?”, then you’re not alone. Many artists don’t realize that whether they themselves are the producer or whether they get someone else to do it, the name of the game is getting the product right. And that includes the lyrics if we’re talking about a song.

But aren’t lyrics supposed to be spontaneous poetry, art..?! Sure. Just like your song and everything else you do! But when you’re done with the initial creative process, just make sure that you proceed to craft your lyrics as well as you can.

So, are there any general guidelines? Yep. First and foremost, no matter if your lyric is about something profound or mundane, fun or sad, dreamy or humorous, it’s got to be “real.” What this basically means is that it’s got to be something that you would say, and others would understand and relate to. Additionally, it should be said succinctly and in such a way that your listener might say “that’s exactly how I’d say it!”

So how do you go about something like this? One size doesn’t fit all, unfortunately, and you’ll find that many songwriters use different techniques. But all the good ones have one thing in common: they revise and polish until they’re happy with it!

Let’s look at a hypothetical example. Say you want to write a song about your experience of losing your girlfriend/boyfriend. First, ask yourself how it made you feel, and write that down. So you might write “She left me when I least expected it, and it completely surprised me and I still can’t get over it.” Very good. But… is this a lyric?

Some might argue that it is. And, indeed, it “might” be. But what if you could come up with a way to say the same thing with fewer words? Wouldn’t you rather? Perhaps you would, and if so, read on. For example, you can see that in the above line, “surprise” is redundant, since you already wrote “I least expected it”. So, why repeat yourself? Thus you could re-write it using only one of the two expressions without losing the meaning, right? Perhaps “She left me when I least expected it and I still can’t get over it.” Better. So… is this a lyric now?

Again, some might say that it is, but you should ask yourself “is it a GOOD lyric?” Is it something original, and am I the only one who might say it in this particular way? I know, I know. It’s a tough one. If your heart tells you that this is it, then by all means, accept it as it stands. But… perhaps you could think of a “smoother” way to express this? How about “I didn’t know she was leaving, my heart is bleeding”? Hmm, that’s certainly a different way of saying the same thing. But is it better? Perhaps it’s too dramatic for your personality? Or not dramatic enough? Or it sounds too clichéd? And so, you keep on tweaking it, until it’s “you.”

Once you manage to get your lyric down to a “punchy” or “strong” short sentence, which is both “natural” and yet still “poetic”, start thinking in terms of the intended rhythm. Count the syllables. Get it to feel POWERFUL. With enough revision and an attitude that doesn’t settle for anything less than “excellent”, you will arrive at a lyric which will convey power and emotion in just the right way.

A great lyric will help you write and arrange your song that much better. Because if you think of your lyrics as “okay” or “throwaway”, where will such thinking stop? Will your melody be perfect even when your lyric sucks? Will your progressions, arrangement, mix, production follow suit?

Take your time! Lyrics can make up a full 50% of the song experience. Or more! Think of some of the best songs you know – ever. Chances are they have words that you can still repeat by heart and you cherish and understand them.

That’s how you should aim to structure your songs too!

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Another more general topic today, but also one which is tremendously powerful in its simplicity. Pop music is all about hooks. But, if truth be told, it’s not just “pop” music. Just about “any” kind of music, to be widely accepted or respected must be able to “hook” its target audience. Mozart wasn’t above “hooky music” either! Quite the contrary.

So, what is a “hook”?

Most people think it’s the “chorus.” True, a chorus should be “hooky” but it’s just one of many possible hooks a song can have. A particular sound; a cool riff; a “sticky” melody somewhere in the verse; a sound effect; a cool word; a hooky break… and the list goes on.

In fact, “anything” in a song CAN be a hook. It’s just something which grabs the listener’s attention and invites him to have another listen. A well-contrstructed song will have multiple hooks. The way is starts, the way it goes in the verse, the way it transits to the chorus, and so on. And, as I already said before, DON’T make the mistake of thinking “hooky = cheap commercial crap.” Nothing could be further from the truth. Some of the most ambitious and demanding music in the world has CLEAR hooks. Except that some of those hooks might be aimed at more demanding audiences!
The thing about hooks is that they’re actually not all that difficult to write or arrange – as soon as you realize that they’re needed. The trick, of course, is to come up with something original or quirky or… “you.”

But you should start by analyzing established music for its hooks, and see if you can come up with something comparable for your tracks. Perhaps it’s a few notes on the piano as you transit from one part to the next. Maybe it’s an insanely hooky guitar riff which you’ve rehearsed for 10 hours and finally got it to work. Or maybe it’s a crazy, soaring chorus which just needed a couple of notes flipped out here and there to really rule…

Making great music is ALWAYS a process of REVISION. Do not believe in those stories on divine inspiration which resulted in a classic. While they may or may not have happened, believing in them will distract you from what really matters: spend the TIME it takes. If it’s worth doing, it’s worth doing GREAT.

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