Wouldn't It Be Nice by the Beach Boys revisited GUEST BLOGGER

Guest blogger, Craig R. Clemens, offers valuable insights into the musical aspects of "Wouldn't It Be Nice" not covered in the first post about the song.

 "...if it weren't for the glorious music on WIBN (Wouldn't It Be Nice), it's not a song.

I think there is a place for lyric analysis, but I also don't think the lyrics should stand alone without mentioning how the rhythmic flow of the words depends on the music to deliver the message.

In the case of WIBN, I've said many times on this board (Smiley Smile) and anywhere else that it is my all-time favorite song, #1 on the list without doubt. I can appreciate the lyrics, but from the first notes of that amazing guitar duet in the intro, it becomes special, it becomes a listening experience, I'd even say the original studio version captured all the magic of that song in one recording which no live or cover version can ever match.

In the case of the music on that song, Brian as a musician in his early 20's used nearly every technique he had perfected over the previous run of Beach Boys hit singles and song to create a classic. Everything from the seemingly disconnected intro theme which surprisingly reoccurs in the bridge, to the stop-on-a-dime pauses and breaks, to the soaring falsetto, to the surprising chord changes that take the song out of the verse and into the next section, and perhaps most surprising to the listener both a ritardando and a revisiting of the main groove as the outro but with brand new melodic material on top of that groove. And the structure itself - is there a chorus in the traditional way? yet the main hook of the song, the title "wouldn't it be nice?" is featured prominently enough for everyone listening to recognize that question as the main theme.

Brian threw everything that "worked" for him on previous songs into this one. His arrangement and production did the same thing - he took what he had done one step further, if not ten. And the melody working with the chords creates both a sophistication through the jazzy minor 7ths and ii-V-I standard jazz resolutions as well as a childlike longing and almost an aching quality by using his higher-range voice in a very masculine and powerful way. It's hard to describe, the way Brian belts out the song with pure grit and power, yet uses a high range, makes it sound like a kid approaching adulthood looking ahead and an adult man looking back at when he was that age at the same time...I can't explain it other than it's one of the most perfect lead vocals which fits exactly into the theme of the song and the story, and it could be any one of us at any age relating to what he's singing about.

Almost any cover, including the hundreds of live versions by the Beach Boys themselves, seems to miss the fact that Brian is going all out on that lead vocal, just sheer power and emotion to the point where even in his higher "sweet" voice you hear the gritty quality that comes from giving an all-out, no-holds-barred performance at the mic. Again, that quality of the voice has never been equaled from the original studio version by anyone, and those covering it seem to key in on the sweeter side of the vocal rather than the grit. 

That's just a few thoughts, I could ramble on for pages but I'll spare everyone. I'll say again that recording is my favorite, and one which I have always felt a deep connection with on a personal level that few recordings or songs can reach. So I tend to ramble about it…"

originally posted on Smiley Smile by Craig R. Clemens.  Reposted here with author's permission.  Thanks, Craig!
Visit Craig's blog here http://www.classicstudiosessions.blogspot.com/

And the Academy Award for best original song goes to...

Call Me Irresponsible

Academy Award for Best Original Song at the 36th Academy Awards held in 1964.

Music by Jimmy Van Heusen and Lyrics by Sammy Cahn for the movie "Papa's Delicate Condition"

Insights based on Bobby Darin's recording

4 bar musical intro

8 Bars

Call me irresponsible

call me unreliable

throw in undependable too

8 bars

Do my foolish alibis bore you?

Well, I'm not too clever

I just adore you

8 bars

Call me unpredictable

tell me I'm impractical

rainbows I'm inclined to pursue

8 bars

Call me irresponsible

Yes, I'm unreliable

but it's undeniably true

2 bars

that I'm irresponsibly mad for you

2 bar musical turnaround  (combines with last hook phrase to make a 4 bar transition)

8 bars

Call me unpredictable

tell me I'm impractical

rainbows I'm inclined to pursue

8 bars

Call me irresponsible

I admit I'm unreliable

but it's undeniably true

2 bars

that I'm irresponsibly mad for you

4 bar outro

Lyrics

Another list song!  The main idea is that despite all of his faults the singer is "irresponsibly mad" for the girl.  He may be a list of negative adjectives that end with "ble" or "al", but at least "it's undeniably true that I'm irresponsibly mad for you."  It's hard to come up with an idea this clever for a song, but let's look at what we can learn from how Sammy Cahn, the lyricist, used this clever idea.

You can think of this song as a couple of big, long wind-ups that end with a big punch line ("I'm irresponsibly made for you").  Read the first 4 verses above.  When does he stop listing the self-deprications?  Not until the very last line of the 4th verse, which is the line right before the punch line.  The singer says, call me "this" and call me "that," for 4 verses until we here the big "but" in the last line of verse 4.  And it is a big "but" because we waited so long to hear it and because the singer is about to say something very important to the girl, "but it's undeniably true that I'm irresponsibly mad for you."

Wuhoo! and, with that, we are launched into a swingin' instrumental section.  We've heard the whole idea of the song, so it's time to bask in it with that amazing saxoli, screamin guitar solo, or tantalizing piano riff.  You are allowed to come up with a clever bridge or C section after the instrumental to put a new twist or depth on the message of the song, but in this song, there isn't one.

We return to the verses, and as is almost always the case, we return to the middle of the verse (often it will be the pre-chorus in more modern pop songs).  There's something about jumping into the middle of what was heard earlier that gets listeners excited about hearing what they've already heard without feeling like the song just started all over again.  And leave it to a great singer like Bobby Darin or Frank Sinatra to pour a generous portion of style all over that reprise of the earlier verses.  And, don't forget the arranger.  He is adding new counter lines, more syncopation, and more hits to the repeat as well.  The final touch of variation for this repeat is the elongated punch line.  Which word gets extended?  Of course, it's "mad."  Why?  Because, it's the key word, it's how the singer feels about the girl, and it's an exciting word on it's own in any context.

Melody

The melody happens in 16 bar arches.  The melody starts low, and it goes upwards a little bit for each line until the end of the first 8 bars.  The second 8 bars start up high and descends a little until we've almost come back to where we started at the first 8 bars but not quite there.  It's great to end a cycle on a note or chord that will lead to the beginning of the next cycle as opposed to ending the first cycle exactly where it started because that tends to stop momentum.  Ending the first cycle on a note that wants to go back to the beginning (such as ti or re) allows the momentum to carry on into the beginning of the next cycle.

It's like starting a chord progression on a I chord and ending on the V chord, and because the V chord always feels inconclusive, starting the chord progression on the I chord keeps the momentum going.

Conclusion

A very clever song idea to be sure!  God grant us such genius!  But until then, we can learn from the finely crafted lyrics and melody.  The lyrics are true to the identity of the song idea, and it gives the listener a big punch line after a long setup.  The melody helps by growing slowly in a classic arch shape and descending to a point that gracefully keeps momentum going for a repeat.  And lastly, vocal performance and arrangement can make a good song great and a great song Oscar worthy.

Happy songwriting!

Your Smiling Face by James Taylor: A Refreshing, Simple Song Structure

A really lovely song; short and sweet with a simple structure; but dense with chords and lyrics.  Not an easy song to write I would imagine, but totally do-able and refreshingly different from standard formulas.

Here's the most basic overview of the structure:

-V1

(key change)

-V2

(two quick key changes)

-Breakdown

-Refrain to fade out

So let's call that three formal sections with the first two (V1 and V2) being, musically, a repeat only with different lyrics, and the last section starting with the breakdown but evolving into a continually building repetition of a 4 bar phrase extracted from earlier in the song.

Here's the first verse broken into two sections:

V1

section a

     "Whenever I see your smiling face, I have to smile myself 

     Because I love you, yes, I do. (here's where that awesome guitar riff happens)

     And when you give me that pretty little pout, It turns me inside out.

     There's something about you, baby, (again that guitar riff happens here)

     I don't know.

section b

     Isn't it amazing a man like me     (melody goes higher here, kinda like most pre-

     Can feel this way,                     choruses in most songs, but is this a chorus?)

     Tell me how much longer, 

     It could grow stronger every day. 

     Oh, how much longer?"      (here, there's a smooth transition back into the intro riff that
                                             hurls us forward into a key change and the second verse)

So, the next thing we hear is V2, but usually there is a chorus before V2.  Where is the chorus?  I don't hear a traditional chorus with the song title and main message of the song, do you?  So, look back at V1 and find the spots you find most memorable.  For me, it's the second and fourth line of the first section of the verse (the guitar riff I keep pointing out. Notice that it's also a change of feel).

V2

section a

     "I thought I was in love a couple of times before with the girl next door,

     But that was long before I met you, (guitar riff)

     Now I'm sure that I won't forget you.

     And, I thank my lucky stars that you are who you are,        

     And not just another lovely lady (guitar riff)

     Set out to break my heart.

section b

     Isn't it amazing a man like me (varies the melody slightly here)

     Can feel this way,

     Tell me how much longer, 

     It could grow stronger every day."

Ok, so, section b is exactly the same in V1 and in V2, but for me, it's still not a proper chorus.  It's memorable and we here it at the end of each verse, but we don't hear it again after the upcoming breakdown.  To me, it's just the end or second half of the verse.  The song up to this point is strophic; a lot like "Sound of Silence" by Simon and Garfunkel (see past post for insights from that song).  Each verse has a strong, arched structure with the high note in the middle and memorable melodies and chord progressions throughout, but that's it.  That isn't to say it's easy to do; it's actually extremely difficult.  Sometimes a cool, big, or dramatic chorus can be a crutch for a boring verse.  In this song, every line is memorable and cohesive with the line before and after it.

…again with the intro riff, two key changes this time, and we come into the...

Breakdown and Refrain

-The chords are from earlier (this is key for keeping the song cohesive)

-The melody is very similar to a couple parts of the verse but not exactly the same

-The lyrics are new but they also contain the title of the song in some form or variation (in bold below).

     "No one can tell me that I'm doing wrong today, whenever I see you smile at me.

     No one can tell me that I'm doing wrong today (my favorite guitar riff back in)

     Whenever I see your smiling face my way.

     No one can tell me that I'm doing it wrong today.

     No one can tell me that I'm doing it wrong today."

That continues until the fade out.  Once again, look at the basic structure:

-V1

(key change)

-V2

(two quick key changes)

-Breakdown

-Refrain to fade out

The secret is making each verse memorable the whole way through (strong, arched structure with the high note in the middle and memorable melodies and chord progressions throughout).

What are the most hook-like or memorable parts of the verse TO YOU?  The answer to that question will help you write your own songs that you will be proud of and that will sound unique to your own voice and style.

Happy songwriting!

-Jonathan

"Can't Get You Off My Mind" by Lenny Kravitz

Lyrics

(4 bar intro)

Life is just a lonely highway

I'm out on here on the open road

Very general setting here. It establishes that he's alone. Kinda cliche. Two lines that work off the same metaphor.

I'm old enough to see behind me

but young enough to feel my soul

Continues to establish his situation. He is somewhat young, but young enough to still have passion. Anyone fits that though, but it's a cool line. Also, these first four lines barely rhyme.

I don't want to lose you baby

and I don't want to be alone

Now, we know it's definitely a love song. These first two lines say basically the same thing, just a little differently.

I don't want to live my days without you

but for now I've got to be without you

The third and fourth line here say the same thing as the first and second, but the plot thickens because now we learn that he can't be with her at this time. Also, the rhyme scheme differs here from the first stanza.

I got a pocket full of money

and a pocket full of keys that have no bounds

He has a lot of opportunity in worldly things like money and opportunities. Kinda cliche.

but then I think of lovin

But, love trumps those things.

and I just can't get you off of my mind

He wants her. Very simple. After all that: his situation, alone, his age, he's not with her but there may be some history or maybe he could have had her but has to be on his own for some reason, but in the end, "I just can't get you off of my mind." That last line becomes powerful after everything that precedes it.

(4bars)

Babe can't you see

that this is killing me?

I don't want to push you baby

I don't want you to be told

Gets apologetic right before the most desperate statements of desire in the song.

It's just that I can't breath without you

Feel like I'm gonna lose control

Ok, this verse is all about how much he wants her. It drops any reference to how they can't be together, and that issue gets picked up again in the bridge.

I've got a pocket full of money, oh yes I do

and a pocket full of keys that have no bounds

but when it comes to lovin

I just can't get you off of my mind ya

Am I a fool to think that there's a little hope? ya

So there is definitely some unknown reason for why they are not together.

tell me baby ya

what are the rules, the reasons, and the dos and don'ts? ya

Love, the feeling, is the most important thing, but it gets hampered by fronts and expectations.

tell me baby, tell me baby, ya

what do you feel inside?

The bridge contains the real conundrums. The point of the matter. Is there hope? What am I supposed to do? And, what do you really feel? These questions get us to feel vulnerable. And the emotion carries on into the...

(guitar solo)

I've got a pocket full of money

and a pocket full of keys that have no bounds

but when it comes to money

I just can't get you off of my mind ya

I just can't get you off of my mind ya

Summary of Lyric Structure

Verse 1: I'm going through life alone.

Verse 2: I don't want to be alone, but for now, I have to be

Chorus: I've got some things going for me, but then I think of love and I think of you.

Verse 3: I don't mean to sound overly desperate, but I can't live without you.

Chorus: I've got some things going for me, but then I think of love and I think of you.

Bridge: The desire comes to a point of crisis and questions. But at the heart of the matter is what

do you (the girl) feel?

Chorus: I've got some things going for me, but then I think of love and I think of you.

Melody

First of all it's important to notice that the electric guitar plays a four-bar musical phrase for the intro. So, even though the acoustic guitar only strums two chords during that time, the melody played by the guitar provides a sense of musical direction.

The structure of the verse follows a very balanced, classical format. Each line of lyrics is a one-bar melodic bit, so each verse is made up of four one-bar melodic pieces. Every line follows a pattern of musical question then answer with the first line "answered" by the second line and the third line "answered" by the fourth. But, the "question-answer" scenario doesn't stop there. The first half of the verse (or two lines) is a "question" that gets "answered" by the second half of the verse (or the last two lines). One thing that ties all of those phrases together is their is their rhythm. All four lines of the verse contain the same syllabic rhythm. Try singing the third line with the melody of the first for instance, and you will find that the syllables fit. This helps to make all the lines of the verse sound like they belong in the same verse together.

Then the chorus comes with different pitches and rhythms from the verse. Notice that the pitches are generally higher and therefore more exciting than the verse's pitches. The first three lines all start the same way, and that makes the fourth line, the hook, sound very distinctive. The hook begins lower and the rhythm is different from the three preceding lines.

Then in place of a third verse we get this really cool "Babe can't you see that this is killing me?" line, which takes its time, leaves a lot of space, features the electric guitar part, and is sung in falsetto. Probably no step-by-step songwriting book will tell you to take a liberty like that, but do you like it in this song? I do. Then the actual third verse comes to us in a familiar fashion. However, there's no verse four because of the "Babe can't you see..." bit, and the return of the verses feels half as long as the first part of the song. Like we saw in "Yesterday," this makes for a pleasantly surprising return of the chorus.

Finally the bridge takes us into a whole other world harmonically and melodically. These are the highest pitches in the song. The harmony may be the biggest difference here from the rest of the song, and the music is allowed to be featured by the long breaks between the lyrics. The background vocals get some time to be heard between the singer's desperate questions, instead of filling the bridge with lots of words from end to end. There are only three choice questions over ten bars of music.

The rest of the song doesn't give us much else to talk about here, but it is important to note that the vocal performance continues to be creative all the way to the end. There are little melodic liberties that are taken just to be at least a little fresher with the chorus that we are now hearing for the third time.

Harmony

Just a quick note about the harmony in this song. The verses use very few chords, only two in fact. The changes in the chorus happen a tad bit more rapidly but remain still quite simple. The most interesting part of the instrumentation are the electric guitar lines that are played over these chords and still manage to stay out of the way of the vocals. While the chords in the bridge are more "out" they still don't change very often. Harmonically this song is very different from the many-chorded "Yesterday" by The Beatles.

"Yesterday" by Paul MacCartney

"Yesterday" by Paul McCartney

Lyrics

Yesterday, all my troubles seemed so far away

now it looks as though they're here to stay

Oh, I believe in yesterday

This is the context of the speaker. Things used to be good

Now they are bad

Now he is longing for the past. Longing for the good times spoken of in line 1.

Suddenly, I'm not half the man I used to be

There's a shadow hanging over me

Oh yesterday came suddenly

further description of the bad without full disclosure

the next line remains on the point of his pain.

the unexpected nature of the bad makes us feel sorry for the speaker and identify with him.

Why she had to go I don't know she wouldn't say

Here's the full disclosure of the bad. But the speaker does not say, "My love left me." The speaker assumes we know already, and we are allowed to ascertain the situation from this one statement.

I said something wrong now I long for yesterday

This line evokes sadness because of the blame that the speaker puts on himself. We also infer that he said something wrong on accident. "...now I long for yesterday," is the sum of what the speaker is feeling. It's the most straight ahead statement in the whole song, but it only hits us powerfully because of what we know or think we know about the bad situation.

Yesterday, love was such an easy game to play

now I need a place to hide away

Oh, I believe in yesterday

The first line uses the game metaphor, and the second line talks about hiding away. The connection is the childishness of games and then the terror of the new found darkness in a once bright world.

Why she had to go I don't know she wouldn't say

I said something wrong

now I long for yesterday

Because of the half verse, the return of "Why she had to go..." is not completely expected. It retains a degree of freshness.

yesterday, love was such an easy game to play

now I need a place to hide away

Oh, I believe in yesterday

I can't think of why the first verse wasn't used here to conclude the song except that these lines have the word "love" in them and that helps us remember that this is a love song, but no matter what set of lines return here, the repetition of something we've heard already gives a sense of conclusion.

These lyrics don't spell out very much. The main focus in the verses is on the state in which the speaker finds himself. Left alone, bewildered, and longing for what he just lost.

The first verse states the situation in general terms of good and bad. The second verse continues to describe what the bad situation is like. It doesn't describe the bad situation in terms of facts; it describes the situation in terms of how bad it is. The third verse exhibits the same structure as the first verse in that it describes what was good and what has now turned to bad. It accomplishes almost exactly what the first verse accomplishes but with different words. This is an important point because it shows that you don't need a lot of ideas to write multiple verses. Try saying the same thing twice but with different words, and you may find that you have created verse one and verse two.

The chorus is where the facts are conveyed in this song, but they are far from simply factual statements. "Why she had to go..." sounds like something a person going through great pain would say in the midst of that pain. This and the line that follows are words that are in character with the speaker. They are not just explanatory, although, from them, the listener can infer some kind of a scenario.

Melody

The main issue I want to point out about this melody is it's relatively long form. Each verse is a melody with a beginning and an end. Many modern pop song verses are made up of one or two short melodic lines that are repeated a couple times, but "Yesterday" contains a seven bar, verse melody. It starts with that one note annunciation of "Yesterday..." then continues to grow into a rising line that breaths for a moment, then slowly moves downward, breaths again, and ends with a circular D minor arpeggio before it resolves on the third scale degree.

This kind of long melody is more commonly found in popular songs from the earlier twentieth century by composers such as George and Ira Gershwin, Kurt Weil, and Irving Berlin. Melodies like "Yesterday" and ones written by American Songbook composers usually have some memorable moment that makes them classics instead of a single line that's gets repeated over and over.

One way of explaining the odd, seven bar verse is by dividing it up into phrases. With the first bar as it's own phrase, the rest of the verse can be divided into three two-bar phrases. If the one bar phrase fell at the end of the seven bar pattern, the oddness might be felt because the last phrase might feel short-shrifted. With the odd bar at the front of the verse, it can gel it's way into the next phrase without any abruptness being felt. What also helps the gelling is for there to be so much space between "Yesterday" and "all my troubles seemed so far away."

As for the chorus, note that it begins on a transition chord and resolves on the lyric "something." Most choruses are setup by a transition chord and then the chorus lyrics starts on the resolution. Both are strong moves, but singing over the transition in this case makes for an organic transition. The melody here is enforced by repetition, which distinguishes it as more important than the verse melody.