I think the true test of a pop song, for me, and I've talked to a lot of other writers about this, is you take your demo, you pop it in your car and you drive down Sunset Blvd. to Santa Monica, and that's the Hollywood car test.
The only thing contrived is the production - you can over-produce to the point you kill a good idea, you can under-produce so that the song's amazing but you'll have folks at a radio station saying they won't play it, so there's this balance, and it has to be true.
Any time you have a song that is directly connected to a very specific musical trend of the moment, you have immediately cut it off at the knees, doesn't matter if it goes to number one in the world, if you're too attached to a production style.
Im not interested in fad songs.
I find the songs that have the most human components in production are the ones that will stand the test of time.
I would rather put out two year-defining songs a year than flood the market with eight or nine songs.
Writing songs is about trying to connect with people on a deeper spiritual level - but I'm not a fan of contemporary Christian music.
I think the best songs are being written by the very under-stated, under-appreciated indie artists. The thing that separates them from mainstream success is they either consciously or unknowingly refuse to deliver on a big chorus.
If you're talking to an architect, he can look at a blank piece of paper, and once the initial design is there, the formula kicks in. Each room should have something unique and different about it - much the same way that in a song, every eight bars or so, a new piece of information should be introduced.
Melody is the single most important thing to any song, period. I don't care what anybody says, it trumps everything. Not because that's my opinion but because I think it's actually indisputable fact. The human brain retains melody easier than it retains words. It's that simple.
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