Saturday, November 22, 2014

".....The Thing With Stretching The Limits Is That Stretching Is Often Accompanied By Yawning...."

What goes up.

So to speak.

Eminem has gained yet another enemy. The entertainer rapped about raping Iggy Azalea in his new song “Vegas” that leaked this week — and she’s not happy about it. The Australian rapper took to Twitter on Thursday, Nov. 20, to respond to the cringe-worthy, controversial lyrics.
"I’m bored of the old men threatening young women as entertainment trend and much more interested in the young women getting $ trend. zzzz," the 24-year-old "Fancy" singer tweeted.
"It’s especially awkward because my 14 year old brother is the biggest eminem fan and now the artist he admired says he wants to rape me. nice!" she continued. "Women in music have the bigger balls anyhow we endure much more harassment and critic."
In his new track, Eminem appears to tell Azalea to put away her rape whistle. “Unless you’re Nicki [Minaj]/grab you by the wrist let’s ski/so what’s it gonna be/put that s—t away Iggy/You don’t wanna blow that rape whistle on me,” the song goes.
The lyrics come just days after Eminem threatened to punch Lana Del Rey in the face in his freestyle rap video “SHADYXV – THE CXVPHER” off his upcoming Shady XV compilation album.

First, and mostly as an aside, having been around since the days when parents thought the Stones were the end of morality on the planet as we knew it, I get a particular smile out of reading Mr. Mathers being referred to as one of "the old men".

Meanwhile, back at the ranch.

Or rap, as the case may be.

The issue here, despite every good indication to the contrary, really isn't so much about morality, sanctity or even quality.

And even though it ostensibly addresses a "cultural ill", it's not even about sociology.

What it's physics.

And what a lot of these young people who fancy themselves as cutting edge "artists" don't seem to grasp.

The automatic, inevitable, unavoidable limit and/or shelf life they put on their own "creativity" with their particular choice of approach.

Theoretically, digging ever deeper into society's psyche on some kind of pseudo-intellectual quest to expose the darker side of man's inhumanity to man.

Or, more often than not, man's inhumanity to woman in the form of misogyny, sexism, gender bias, chauvinism and just plain good old fashioned disrespect.

Oh and, by the way, all of this assumes for the purpose of our discussion here that all of this loftier  perspective isn't simply wasted wind, given that the primary and, for that matter, only goal that modern day capitalists like Marshall have is the accumulation of as much money as possible by simply playing to the basest instincts of the lowest common denominator of the listening audience.

Which, of course, is the way likelier scenario.

But, for now, indulge me a little.

Life, being a living, breathing thing is never static.

It's either getting better...or worse.

Happier or sadder.

Healthier or sicker.

Put even more simply (for those who are just joining us from an evening of reality TV).....

It goes up.

Or it goes down.

Eminem, for all of his purported "edginess" and/or "envelope pushing" is obviously seriously lacking in one pretty primary area of awareness.

There's only so much down to get.

Even if the very rock hard bottom of the barrel proves to have be false, there is, at some inevitable point, a very rock hard bottom of the bottom.

The end. Progress concluded.

No. Mo. Go.

Up, meanwhile, is, to the best of our knowledge, limitless.

Now, only the truly naïve' (and maybe Elizabeth Hasselbeck) would believe, for a nano, that art, music, television, movies, novels, etc, etc, should always, and only, reflect the happy, the good, the light, the best, the brightest.

Because, in its most intimate and poignant expressions, art reflects a complete image of who and what we are.

In more ways than one, black can be beautiful.

For example, singer/songwriter Steve Earle once said to me, in an interview, that the whole notion that Nashville music decision makers were always looking for "up-tempo, positive songs" for their performers was essentially bullshit because, in Steve's eloquent turn of phrase....

" is not always up-tempo, positive.."

Fair point. And true.

That said, though, only the truly prurient (and maybe Bill Cosby, jury's still out at this writing) would find any real entertainment, let alone artistic, value in the depiction and, through depiction, the implied endorsement of the sexual violation of women.

And if modern day capitalists like Marshal Mathers don't understand that on any level of decency or morality or simple human courtesy, then maybe they can be persuaded from a profit/loss perspective.

As mentioned earlier....there's only so much down to get.

And once you hit bottom, you  have no where to go but up.

And if you think that up puts you at risk of losing your street cred, then your only option is to swim around down there at the bottom.

Putting yourself at a not so obvious, but certainly more potentially damaging, risk to your livelihood as a cutting edge "artist".

Being boring.

Kind of like the way Eminem is boring Iggy.

No upside to that at all.

Monday, November 3, 2014

Not So Much 1989 As 2.0

Today's "Yup, Nope, Maybe" Music Review for Non Taylor Swift Fans Who Might Be Curious:

                                                                TAYLOR SWIFT

Is this album a departure from her "country" stuff?                                         yup
Is there anything going on here that hasn't been done...and done?                  nope
Is this album going to resonate with her current fan base?                              yup
Is this album going to bring new fans into that fan base                                 maybe
Does this album break new ground sonically, lyrically or musically?            nope
Is this album going to sell sixty hundred gazillion copies?                             duh

Saturday, June 7, 2014

"....Sure, It's Crap....But We Had Our Crap, Too, So Fair Is Fair....."

Good songwriters generally accomplish, at least, two things.

They get their songs cut.

And they make a few bucks.

Great songwriters accomplish those and, sometimes, two more, perhaps even more remarkable, things.

They speak volumes with just a few words.

They can actually effect changes.

Vince Gill is a great songwriter.

And in a recent interview with Rolling Stone, he not only did that volumes with few words thing, he also changed something.

My mind.

".......You have to look at a young person today and understand their influences were nothing like mine. I'm almost 60 years old. And so 50 years ago what taught me how to play and sing, it's gone. It's in our history and that's great, and if you go find it and learn it, you'll be better for it. But you take a young kid like Brett Eldredge or Kip Moore, guess who their mentors are? Tim McGraw and Toby Keith, and the biggest people from 15 years ago. So I'm not ever going to be critical of a young person that doesn't know [country's] history. I didn't either......."

Yet Gill did extend a challenge to a country music industry bloated with rural clichés and tropes when accepting a career achievement award at the 2012 ACM Honors ceremony in Nashville.

".......I feel inundated these days with music that's telling me how country it is," he said, his voice full of emotion. "And what I long for, more than anything, is to hear how country it is......."


There it is.

Not to spill 80's booty bass references to Tag Team into an offering highlighting country music.

The current crop of country boys have that dirt road to Miami more than plowed.

The "it" that's there is, in my humble o, the simple, unambiguous summation of all the chit chat/debate/argument/lament/dissertation and good ol' fashioned country jaw flappin' about the state of contemporary country music as it affects millions of country music lovers who have felt like their beloved traditions are, to paraphrase the lovely literary pride of the South, Margaret Mitchell, a genre of music gone with the wind.

Die hard, true blue purists who are, so to speak, Jonesing for George.

Vince Gill, meanwhile, just basically did a flawless impression of Little Richard.

"Shut up!"

The complete interview (available online at is a very good read and deserves a few minutes of your attention if you're one of those folks standing on one side or the other side, or perched precariously on the middle, of the fence on the matter.

But the two points Vince made in the excerpts above were all I needed to close the case and move on to trying to solve the mystery of why television keeps giving big blocks of weekly time to idiots.

Point number one.

Today's country singers, both male and female, did, in fact, grow up influenced, not so much by George and Loretta and Hank and Patsy and Willie and  Faron and Conway, even Dolly, et al but, by Alan and Martina and Toby and Tim and Jo Dee and Garth.

Garth, who recorded and had hits with Billy Joel songs, for God's sake.

So it's neither surprising or unpredictable that the current crop would be finding ways to work in the hip hop with the hee haw, the booty bass with the bass boat, yo mama with mama's fried chicken.

Could be worse.

So far, nobody in country has opened up a can of K.C. sunshine.

Uh-huh, uh-huh.

So, while I will always be more a fan of Tammy than Two Live Crew, more Mother Maybelle than MC Hammer, even more Vince than Vanilla Ice, I've decided to put away my own denigrator ray gun and let the young folk do what the young folk do.

The remarkable Mr. Gill's other point, though, is not only spot on, it bears repeating.

 "I feel inundated these days with music that's telling me how country it is ......and what I long for, more than anything, is to hear how country it is."

That's a point of view on this whole today's versus yesterday's country music that no one had articulated.

Until Vince Gill and his few words that speak volumes.

Uh-huh, uh-huh.

Sunday, March 2, 2014

"...Nashville Obviously Feels The Need....The Need For Speed....."

Ricky Bobby said it simply and eloquently.

"I wanna go fast."

You want fast?

I got yer fast.

How about Malcolm Campbell?

September 1937.

First person to drive over 300 mph on land.

How about Chuck Yeager?

October 1947.

First person to break the sound barrier in level flight.

How about Miranda Lambert?

May 2014.

(Kimberly Ripley/ WebProNews)

Miranda Lambert has her own exhibit at the Country Music Hall of Fame and Museum–or at least she will starting in May. It was just announced that the singer and husband of The Voice’s Blake Shelton will be featured front and center in the museum. Her exhibit, called “Miranda Lambert: Backstage Access,” will run from May 16th to November 9th and is expected to draw droves of fans.

“The Country Music Hall of Fame is a place to cherish what country music is all about,” Miranda said following the official announcement. “And I’m so honored to have an exhibit in this treasured hall.”

“Miranda Lambert is one of contemporary music’s most popular and acclaimed artists, and for good reason,” said Museum Director Kyle Young. “She’s a dynamic performer; an emotive and powerful vocalist whose voice is equally at home with lyrics tough or tender; and a songwriter with a deft touch for feeling and place.

“Her numerous hits, from empowering anthems like ‘Gunpowder and Lead’ to introspective set pieces like ‘The House That Built Me,’ are rich contributions to country music’s storytelling tradition,” he continued. “We are looking forward to taking our visitors behind the scenes with Miranda during her amazing successes in 2013.”

Miranda Lambert is the reigning four-time CMA and reigning four-time ACM Female Vocalist of the Year. Her most recent album, Four The Record, debuted atop Billboard’s Top Country Albums chart, making her the first country artist in the 47-year history of the chart to have each of her first four albums debut in that number one position. Mama’s Broken Heart is just one hit single from that album. You can see her perform it in the music video above. Lambert recently released her new single Automatic, which is the lead track from her upcoming fifth studio album.

Blake Shelton must be incredibly proud of his wife–in general, of course, and now even more so for her upcoming exhibit at the Country Music Hall of Fame and Museum.

What with the evolution of the country music business, and the particular results of that evolution, in recent years, it gets increasingly more difficult to simply observe and/or comment without, even unintentionally, adding a little "in my day" to the rhetorical recipe.

Be that as it may....

In my day...

The Country Music Hall of Fame, a remarkable and, even, iconic entity honoring and lauding (that's yee-haw-ing to all you long time country fan/purists) what is judged to be what represents the very best in accomplishment in the art of country music.

And, like any museum worth it's salt (or good ol' salted country ham), the Hall of Fame takes particular pride in the exhibits that have, since they first began, detailed and, once again, honored, lauded and yee haw-ed an historic and, again, iconic assortment of country music pioneers.

Among them...

Patsy Cline.

Eddy Arnold.

Hank Williams.

Earl Scruggs.

Ray Price.

Kitty Wells.

Brenda Lee.

Tammy Wynette.

Chet Atkins.



In recent years, though, The CMHOF, like the country music business in general, has begun a not so subtle swinging of the spotlight away from the more iconic, the more pioneering, the more traditional and, instead, has begun to put a big ol' shine on the more contemporary, the more current, the more hip and groovy.

Taylor Swift.

Carrie Underwood.

And now, starting this May....

Miranda Lambert.

Okay, there's no point in trying to kid ourselves that the name of the game here is anything more than "sell tickets".

Just like the name of the game on, for example, Broadway is "putting butts into seats."

Due respect to the genius of Arthur Miller, his playwright ancestors, peers and heirs notwithstanding.

You want art for the sake of appreciating art?

Go Guggenheiming, already.

Want to see the boots Miranda wore on stage during her sold out show last Tuesday in Akron?

Country Music Hall of Fame, starting in May and running through November.

All of this might be regrettable to the hard core, old school country music connoisseur, but some slack does, in fairness, deserve to be cut.

After all, all the "artistic integrity" in the world don't mean horse hockey if there ain't nobody ponying up to take a gander.

Even if the implication is, as it has always been, that the exhibits offered in the HOF are, ostensibly, tributes, honors, lauds (yeee-haws) to those performers, writers, singers who have made foundational contributions to the genre, broken new ground, shattered old stereotypes, innovated new innovations, made, and left, an indelible impression and had an unforgettable impact on the history of country music, an impact that will be felt and respected and revered and remembered for generations and generations to come.

Once, and in the beginning, bet the farm.

Now, not so much.

Because, due respect to any of the current crop, does anyone who knows anything about country music, at its core, honestly think that, say, fifty years from now, the contributions of, say, Miranda Lambert will be viewed with anything coming close to the appreciation, even reverence, that those of, say, Patsy Cline are viewed?

Fifty years after one very country music history changing plane crash?

Many years ago, when Madonna was still a relatively new star, but the reigning, for the moment, queen of the pop charts, she had bestowed upon her, at that year's MTV ceremony, the Lifetime Achievement Award.

The following night, in the course of his Tonight Show monologue, Leno reported on that awarding and added, both in good fun and spot on satire.....

"Wow....that oughta give Ella Fitzgerald somethin' to shoot for...."

Miranda Lambert first came on the RFD radar when she finished third on the talent show "Nashville Star"in  2003.

She started charting with her songs in 2004.

She started her reign as award winning queen of the country charts in 2007.

A little over six years ago.

No question about her success.

And now, starting in May, she will be exhibited and added to the list of the past exhibited like.

Patsy Cline.

Eddy Arnold.

Hank Williams.

Earl Scruggs.

Ray Price.

Kitty Wells.

Brenda Lee.

Tammy Wynette.

Chet Atkins.

Making her not only honored, lauded and yee-haw-ed.

But prescient.

What with having gone from unknown to Country Music Hall of Fame exhibited in less than ten years.

And her 2012 song....

Fastest Girl In Town.

Not to mention giving Ella Fitzgerald one more thing to shoot for.

Monday, February 3, 2014

"....Play It Again, Sam.......Pharrell......As The Case May Be....."

Everything old is new again.

A while back, one FB friend or another posted a link to this song and commented that

a) they liked the song

b) they were curious as to why

Well, a) you like what you like when you like it because you like it.

b) that's a little trickier, kind of like why you think a joke is funny.

Usually, the fact that it made you laugh would seem like answer enough.

Enjoy the song.

And then I'll tell you the real reason you liked it.


Here's the thing.

Pharrell's a talented guy.


Maybe not so obvious, though, to fans under the age of say, thirty, is that he is, also, either a fan of 60's and 70's music or he grew up in a household filled with 60's and 70's music.

Because this tune is, to these initiated into the pop music world by the Fab Four a long time ago ears, a wonderfully catchy casserole of, at least, two fairly iconic attitudes/presentations of 60's and 70's pop.

Bobby McFerrin's sing along, while not syrupy, optimism.

And Marvin Gaye's way with a groove.

To wit...


a) me, too.
b) that's why.

Friday, January 17, 2014

"....the "A" word...."

Fifty years.

That should be the mandatory minimum.

Tell you what and why shortly.

Not long ago, John Carter Cash uncovered, "among a huge stash of Johnny and wife June Carter's effects," the master tapes for an album his father recorded in the early 1980s but never released. The album, called Out Among the Stars, will finally come out in March, and, according to Rolling Stone, it features duets with June Carter and Waylon Jennings.

The first track to be released is "She Used to Love Me a Lot," which you can hear below.

For country fans, for that matter for music fans, the arrival of a "new" Johnny Cash album is obviously a pretty noteworthy occasion.

And, regardless of your particular musical tastes, preferences, et al, there's no reasonable argument to be made in opposition to the observation that this guy, among a very select few, deserves the title "legend".

If, for no other reason, because he contributed his country music artistry to the culture, and the world, for fifty years.

And even now, ten years after his passing, the interest in his past work continues while the excitement about "new" material is considerable.

Legend, indeed.

In fact, I'll go you one better.


A word that, for the loose change in my portfolio, gets doled out far too often with far too little criteria, a term that almost automatically becomes an adjective in front of the name(s) of almost anybody who manages to get a song recorded and/or made available to the masses.

No matter the song.

No matter the singer.

No matter how much it actually matters.

Johnny Cash mattered.

And matters still.

As for the latest, the newest, the hottest, the "greatest"....

Here's a thing.

Get back to me in fifty years.

When there's buzz about new material of yours being discovered.

When your fifty career has come to an amazing, poignant, stunning, once in a lifetime conclusion.

Like this career did.

Then we'll talk "artist".

Till then, listen...and learn.

Thursday, January 16, 2014

"...This Guarantees Your Success As A Songwriter...Or Not..."

Old saying.

Those who can, do.

Those who, can't.....

Came across this article on FB, the link posted by my FB friend, Garth Shaw.

No slouch himself when it comes to knowing great songs.

Me being me, though, with due respect to Ms. Yukiko, I have taken the liberty of adding a couple of cents to her observations based on my own experience/perspective.

And, as a value added, thrown in some songs you might find helpful as points of reference.

Happy to help.

9 Secrets to Writing a Great ChorusBy Robin Yukiko

Robin Yukiko is a Berklee College of Music grad, singer-songwriter, pianist, and music educator in San Francisco. She performs regularly and hosts the SF Singer-Songwriters’ Workshop at the Musicians Union Local 6. Robin is currently producing her second album and enjoying nerdly pursuits

One of the main tools in your songwriting arsenal is the almighty Chorus. Sometimes it comes naturally, sometimes it is elusive. Oftentimes, it gets lost in the other sections and needs a way to stand apart. Here are nine unabashed ways to make a chorus sound more like a chorus.

1. Use your hook at the beginning AND end of the chorus. Bookending it gives the listener a chance to hear it again and makes it clear that it’s important.

Two Cents-- Don't sweat the hook at the beginning or end of the chorus. If you are an unknown songwriter, the chances of your work tape/demo getting listened to all the way up to the first chorus are slim in the first place, unless, of course, you manage to pull of writing a song that sounds just enough like the current Florida Georgia Line song to keep the publisher subliminally intrigued while not writing it so much like the current Florida Georgia Line song that the publisher realizes you are trying to break into the business by writing songs that sound exactly like Florida Georgia Line.
   Meanwhile, if you are already an established, successful songwriter...."uh, I'm sorry, but we're gonna take a pass here because you didn't use the hook at the beginning and end of the chorus", said NOBODY EVER.

LISTEN TO:   "Red"   by Taylor Swift...and try to write something like that...except, maybe in a style more like Florida Georgia Line.

2. Place a solid I (one) chord at the beginning. Example: if you are in the key of C, give us a nice big C chord (or A minor) for that sense of arrival that marks a chorus. Bookend it for a classic chorus, or make it the second chord, but the ear wants it in there somewhere, especially at the start of the section. Avoid it, and your song will sound like it’s in a constant state of transition.

Two Cents--This whole chord thing is a "dependin' on".  If you are an unknown songwriter, the excitement you generate when playing your song for a publisher is going to be proportionate to the excitement generated by the current Florida Georgia Line song. If they placed a solid I (one) chord at the beginning of their chorus, then, for the love of dear God, make sure that you do, as well. If, on the other hand, they did not, then, well, duhh....also, be careful at all times to remember that they have moved on since "Cruise" and anything in your song that even smacks of that is going to tell the publisher that your writing is not only hopelessly derivative (which may, or may not, work against you depending on the publisher) but that, even worse, you are hopelessly out of date with your derivative.

LISTEN TO:   "Cruise" by Florida Georgia Line...and for the love of dear God, make sure your song doesn't sound like that.

3. Write big sweeping melodies (wide intervals, long tones) or short rhythms. Whatever you have in your verse, make it the opposite in the chorus--and make it extreme. These are often the most memorable.

Two Cents--Melody, Schmelody--Everybody from A (Aldean) to Z (well, everybody) is either on, or going to spend a little time on, this horrific morphing of rap and country known as hick hop...and rap/hip hop/hick hop wouldn't know a melody if it came up and bit it on it's Daisy Duke covered, honey dripping off'n ass (or big bad booty, as the case may be). So, if you can't write a melody with a gun to your head, now's the time to get while the gettin's good. Cause, just like tomatoes, yogurt and, God willing, the Kardashians, this whole rap crap country has an expiration date.

LISTEN TO:  Anything by Colt Ford...and then ask your particular God why, in the name of all things holy, He allows bad things to happen to good music.

4. Change the feel. It doesn't have to be as dramatic as Alex Clare going into dubstep in “Too Close”. No Doubt did it in Sunday Morning to smokin' effect going from half-time reggae to four-on-the-floor(ish).

Two Cents--Of All The Things That Don't Matter, This Is Probably One Of The Things That Doesn't Matter Most-- If the groove is attention getting, chances are that it's also attention keeping. Even if the "groove" is so mind numbingly repetitive that you break a nail reaching, in a rage, for the pause/next/off button before you drive your Prius off the next cliff. (See any week's current Pop Top 40 or any thing released in the last twelve to twenty four months by Britney Spears...or Colt Ford)

LISTEN TO:  "Tornado"  by Little Big Town---a huge hit, a catchy as all giddyup song and a drum track from beginning to end that could have been, but we're assuming wasn't, laid down by a machine set on "REPEAT"

5. Keep the chorus's melody in a different range to differentiate it even more. Typically the chorus is higher in pitch, but not always.

Two Cents-- This Is Basically That "Change The Feel" Thing Again Applied To The Melody And Matter Just About As Much--the only etched in stone rule that legitimately exists in the profession of songwriting is that there is no such thing as an etched in stone rule. One need only refer back to any song that has been popular in their lifetime that has made one shake their head and ask themselves "what the fuck?"  As far as this "secret to a great chorus" is concerned, we suggest that if advice you must follow, let that advice be that offered by Sheldon Cooper and let the chorus go "wherever the music takes you, kitten".

LISTEN TO:  "Wanted"  by Hunter Hayes---nary a quiver of difference in the melodies of verse and chorus...every now and then, you might experience a little confusion as to whether you've inadvertently stumbled onto a Rascal Flatts song, but, other than that...

6. Get vague. The time for lyrical specifics is usually in your verses. Let your choruses generalize/label, say how you feel, or have a catch phrase that will mesh with your entire song.

Two Cents-- Because "Getting Vague" Is Certainly Something You Want To Do With A Song You're Going To Play For Publishers Who Couldn't Hear A Hit Song If It Bit Them On The Ass (Booty)-- One of my very talented young up and comer friends wrote and recorded a song with a clever metaphorical use of farm life and how divine intervention can replenish us, as rain replenishes the soil. He played it for an established publisher in Nashville who responded "hey, I love the song, man, but tell me....what's irrigation?"   If the lyric feels right for the chorus, vague be damned, let it fly, baby.

LISTEN TO:  "Irrigation From God"   by Eric Karge---and then contact me, I'll send you the publisher's email address so you can explain it to him

7. Add a pre-chorus or transitional bridge. Taking a few bars before the chorus to set up the change can make all the difference in defining your sections. (There are lots of ways to use this section, including making phrases twice as long or twice as short to highlight that something different is coming, especially if your chorus is similar to your verses.)

Two Cents--Yada, Yada, Yada-- again, not to worry about this scenario..."oh, damn, you know I was knocked out of my socks by this one, right up to the moment I realized you failed to incorporate a pre chorus or transitional bridge...and, by the way, do you have any idea what the hell 'irrigation' means?"

LISTEN TO:  Any random five songs in the current top 10 of any musical genre and see if you can find more than one, if any, that add a pre-chorus or transitional bridge.

8. Color. This one is a little trickier but, if you can manage it, adds extra finesse to your lyrics. Create line in your chorus which, when repeated after each verse, takes on a new meaning. This is advanced stuff!

Two Cents--Good Intentions Here But Remember Your Audience--while a few writers of literary caliber (Bob McDill, Bobby Braddock, Hugh Prestwood, et al) get away with raising the bar on lyrical depth, they are exceptions....largely because, despite the ever broadening appeal of country music, the core audience remains primarily made up of people who think that erudite is a denture adhesive, the Peabody Award is something given to people who watch the most Rocky and Bullwinkle and pickups, dirt roads, beer and the aforementioned Daisy Duke covered, honey drippin off'n asses are required to be included in hit country songs by state, if not federal, law.

LISTEN TO:  "That's That"  by Michael Johnson (written by Hugh Prestwood) and weep, weep for the state, if not federal, law that mandates the current use of pickups, dirt roads, beer and the aforementioned Daisy Duke covered, honey drippin off'n asses in hit country songs.

And finally...

9. Know when you need a chorus. Sometimes, when you have a rocking verse, all you need is a refrain (a short hook that gets tacked on like "Come Together right now over me"). Sometimes the song calls for AABA and all you need is a

Two Cents--Ah! The Disclaimer in Disguise---kinda boils down to everything we've shared with you so far...listen to what's currently popular, try to imitate, while not plagiarizing, that style and get as close as you can to Florida Georgia Line...keeping in mind, at all times, they have moved on since "Cruise".....

Serve the song and she will serve you. Happy writing!

Uh, Robin said that. Not us.

Come to think of it, though, that might be a great hook.

I'm hearing Sting.

Just needs three verses, a pre-chorus or transitional bridge.

And a groove like Florida Georgia Line.