Here is my write-up of episode 2 of BBC2’s brilliant series “Secret of the Pop Song”. You can read Part 1 here. I’m hoping that by reflecting on these stories and ideas about writing pop songs you might be inspired within the worship arena.
This week song writer Guy Chambers works with super producer Mark Ronson to create what they hope to be a breakthrough single for 23 year old singer and lyricist Tawiah. Mark is described in the programme as Music’s Man of the Moment, The Prince of Cool and The Phil Spector of his generation. Recent credits include Adele – one of the current most successful singers on the planet, and, rather poignantly, Amy Winehouse.
So, what is the secret to the perfect pop single?
The programme interviews a number of song writers trying to figure out the secret to their success. Brian Higgins of the hit making team Xenomania have enjoyed 35 top 10 hits with artists such as Kylie Minogue, Girls Aloud, The Sugababes and Cher . He says that they will often through multiple ideas together into one song. The team each work on different elements of the song which is built up like a jigsaw. Whilst a song may be written incredibly rapidly, its often built on years of experimentation and experience.
Xenomania have been likened to the hit factory that was Motown which enjoyed 192 number 1s worldwide. Inspired by the production line mentality of the car manufacturers in Detroit, the song writers and producers churned out songs to very specific rules. They looked for infectious structures and melodies; chords and drum beats that brought out sensitivity. The marriage between lyrics and melody was crucial and the songs typically took the listener on a journey. At two and a half minutes the songs were short and the aim was to “get” the listener within the highly infectious first 8 bars. Motown’s teams would be working at producing up to a song an hour. They had to mine all their life experiences for subject material and then critique each others’ work.
I wonder what would happen if we approached worship song writing in that manner. Would we consider it less inspired (anointed?). Certainly its refreshing to see a lot more worship song writing collaborations than ever before. If you’ve read Nick Page’s book “Let’s Move Into A Time of Nonsense” you will know that he catalogues some of the less than deep lyrics of contemporary worship songs. He advocates for musicians working in partnership with wordsmiths and theologians. Its quite common for pop music to be written by a team of people each with different skills. Up to a dozen people may collaborate. Rhythm and structure generally come first followed by the “top line” namely the melody and lyrics.
Now some might be cynical and suggest that these co-writing credits are all about the cash, and the artist effectively “Adds a word and takes a third”. I’m sure that happens, however Rich Harrison Writer of Beyonce’s Grammy winning Crazy in Love (called the Song of the 90s) explained how Beyonce herself had great insight into what would improve the song he had written. His style is to “grunt” over the melody that emerges from his creativity. He was grunting this melody (which was to become Crazy in Love) to Beyonce and she opted to retain the grunts creating the hooky “Uh Oh Uh Oh” refrain.
Back to the story behind the BBC2 programme and Guy Chambers, Mark Ronson and Tawiah relatively painlessly pull a song together. They jam around an initial the chord sequence and rhythm. Tawiah starts to improvise words, sounds and melody over the sequence. They decide to incorporate a style of dance music from Ghana called Highlife. The result is something that sounds quite Paul Simon influenced.
Mark Ronson explains how they will often begin with a sample from another record, jamming over it so it becomes unrecognisable. This is certainly the way a number of Christian worship recordings begin. In our Worship Drums DVD, Delirious drummer and session player Paul Evans is asked to describe the recording process and he cites the use of reference tracks. I’m sure if you think about a number of well known worship songs you will have some idea of their musical influences from the secular arena.
The Chambers, Ronson and Tawiah song evolves. The live drums are laid down and the lyrics start to be refined. “Colour” is added with layers of different instruments. Trumpet and sax give sparkle. A final vocal is recorded in a single take with a return visit to the studio a few weeks later to try a different set of lyrics for the chorus.
The result is catchy enough. Its well received by a live audience. The radio pluggers quite like it but don’t feel its really the breakthrough single BBC2 was hoping for. You can judge for yourself in the clip from the show below.
Other posts you might like:
Ask the expert – CCLI and copywriting songs
Ask the expert – What are the copyright implications of adapting a secular song for worship?