I Hate Mornings

There are three key factors that affect a song’s success:

* *Formula* - is it familiar?
* *Execution* - does it sound cool?
* *Character* - do you like the singer?

For me at least, everything boils down to these three. These are the dealbreakers when I’m deciding whether to buy an album, stay to watch a band at a gig, or give an artist a good listen on headphones.

I’m hoping I may be able to use this information to write some worldwide smash hits. ;o)

h3. Formula

Unpopular an idea as it may be among musicians, following a proven formula is a necessary step in the creation of popular music. A song (or image, or video, or sound) will only be popularly successful if it stays within the boundaries defined by previous successes. That’s not to say that great songs don’t come along and nudge the boundaries, but when they do there is always something outside the song that gives it a helping hand (and that something is almost always conceived by a well-informed marketing department).

The good news is that there are now so many popularly successful formulae that it’s not much of a limitation any more: it’s just as formulaic to use post-punk beats and delivery as it is to write Celine Dion power ballads. Formula is our friend.

h3. Execution

bq.. To me, ideas are worth nothing unless executed. They are just a multiplier. Execution is worth millions.

Explanation:

Awful idea = -1
Weak idea = 1
So-so idea = 5
Good idea = 10
Great idea = 15
Brilliant idea = 20

No execution = $1
Weak execution = $1000
So-so execution = $10,000
Good execution = $100,000
Great execution = $1,000,000
Brilliant execution = $10,000,000

To make a business, you need to multiply the two.

??Derek Sivers, president and programmer, CD Baby and HostBaby??

p. I think this business analogy works just as well with songs. There are great songs and there are weak songs, but the performance, production and marketing (ie. the execution) can make all but the most awful song sell.

Every musician has moments of despair when listening to the pop charts. How can so many average (or worse) songs be so successful? We know the answer: record companies have paid top dollar for production teams, studios, musicians, marketing, videos and tours. The structure of the song and the originality of the harmony and melody don’t matter. If you make the execution multiplier big enough, even the most average song will be a success.

But it’s still worth writing good songs. Why? Two reasons. Firstly because a good song has an intrinsic value that isn’t tied up with its success, and secondly because a good song will outlast the well executed crap by many years.

h3. Character

So you’ve written a great, well produced classic pop song. Why don’t I like it? *Because I don’t like you*. The biggest deciding factor with bands/artists for me is whether I like the singer, and it’s taken years of headphone-wearing obsessive analysis to figure that out. I don’t care if you’re virtuosic, charismatic and a superb lyricist. If I don’t think we could be friends (and good ones at that), I’m not into it. Heartless, I know.

That’s why there are some artists that I will *never* like. Rufus Wainwright is a good example. People have played me albums, shown me videos, told me all about how wonderful the guy is. And I agree. He is wonderful. His lyrics are spot on, his arrangements are some of the best ever, and he’s quite fascinating to watch in documentaries. But I’ll never buy his music. I’m not bothered about seeing him live. Sorry Rufus, I just don’t like you.

On the other hand, there are artists like Richard Manuel (piano player and singer for The Band), who has a voice that makes you want to hang out and listen to him. In fact, The Band has three singers (Manuel, Levon Helm and Rick Danko) who all make me want to hang out with them. That’s why I spend so much time listening to their records.

You (and I) will never have a character that *everyone* likes. There will always be people that “just aren’t into it” based on a gut reaction. Fine. You can’t change that. They aren’t your audience.

h3. Listen for yourself

Next time you hear a new tune you like, on the radio or at a gig or whatever, take a minute to figure out why it’s pushing your buttons. Here are a few questions to help you along:

* Is the formula similar to something I already like? What other songs does this remind me of?
* Are you digging the production, the beat, or maybe some mad backing vocals? Is it the execution that’s doing it for you?
* Is the singer your friend? Do you want to hang out with (or sleep with ;o) him/her?

Every once in a while you will come across a new song, or a new band, that ticks all three boxes. Musicians: why not think about how your audience would answer these questions about you?