I quoted someone in the previous blog (Lyrics? Who needs 'em?!?) “Words are only there to articulate the melody”.
A perfect example of this is the beautiful song “Dida” by Joan Baez. (There are two versions, both with accompanying vocals by Joni Mitchell!) She uses the one word – Dida, thus:
“Di-da da da da
Di-i-i-da,
Dida,
Di da da da da Dida”
Oh. Plus “La-la-la-la-la” Hehe!
There are, of course, some songs where the words and music support and complement one another. (Or is it - “...the words complement the music”? Hmmm.)
Here is a simple example.
We hear an acapella opening - two words, the title of the song, sung as an overlapping chorale.
Then an electric guitar plays a simple quick riff, based around the home key of g major. The bass guitar comes in with a high note trill, introducing the singer.
The protagonist sings as someone who is desperate for an new opportunity in his life. He is writing to a publisher, trying to persuade them to accept his work. He is desperate to have his book accepted and also have a decent income and a decent job. He is happy to make any changes he might need; any changes.
The urgency of the lyrics is reflected in the urgent-sounding arrangement. The guitar and bass remain on the single chord for most of the song, only briefly changing to C for two bars at the end of each verse. Another guitar plays uncertain cross-rhythms in the background. The drums hold the beat then play two quick rolls at the end of each verse.
The music stays (mostly) on that one chord for the entire song, which fades out slowly, the singers repeating the title - an unresolved ending... We don't know whether his request will be successful, only his urgent need.
Yes, of course, this is “Paperback Writer”. A wonderful song!
(Ian MacDonald, disagrees with my analysis. In his excellent book about the Beatles songs, “Revolution in the Head”, he feels that the song was an attempt to expand their sound but that the lyrics are merely clever, jokey ideas about living in London.)
Another example?
The classic chord structure of pop songs is C, A minor, F and G, with the song ending on the C. This makes a circle, giving a sense of satisfaction; a sense of completion. There may be a section after the first couple of verses (the Middle Eight) as a contrast.
So my second example of music and words complementing one another starts with this simple classic structure. A sharp snare strike is followed by an electric guitar playing a simple choppy figure around each chord in turn, supported by simple bass, ending back at C.
Then the singer starts. He sounds calm and assured – but the end of the verse returns not to C, but to A minor, which is slightly unsettling. The second verse does then return to C.
The middle eight launches into a different key and the singer suddenly sounds desperate and unhappy, his voice louder and up an octave. He explains that he is lost and that he can see no future, just her face.
This section ends highlighted with a single, offbeat note on the piano. For me this highlights the protagonists single focus, his plangent despair, his loss and that he cannot see anything but his ex. In fact, he will not be watching anything but her, whatever she does.
When we return to the main structure we feel that he will indeed be watching his ex girlfriend – in fact he will be stalking her. Each repetition of the four chords ends now on that minor key. Each verse ends, not in that classic resolution, but back to the minor key uncertainty and a single, off-beat note on the piano – reflecting the chap's singular vision – or lack thereof.
Yes, this is, of course, that song that is so popular for wedding celebrations! The Police single “Every Breath You Take”.
So I admit that some songs do indeed have Important Lyrics and they ain't all just sing-along!