What Makes a Good Song?

Some time ago I was going to write a piece for my website (realrockandblues.com) about good songwriters. I abandoned it when I became bogged down trying to define ‘a good song’. The trouble is that a good song can be good in-spite of the lyrics, melody, or any of the fundamentals. Some songs, particularly rock blues, have a basic format which serves them well, making the quality of the lyric writing less important. The lyrics merge into the overall sound and can often be ignored as words. The sound of the singer becomes another instrument in the overall mix.

When trying to dissect what makes a good song the quality of the lyric writing is less important than many believe. If you concentrate on the quality of the lyric writing the question quickly becomes is songwriter ‘A’ a better poet than songwriter ‘B’? There is some merit in asking this question but it misses the point about good songs. Why are some people able to create good songs while others produce pap?

I have no doubt hat Dylan is a good songwriter (and poet). Some of his lyrics are sublime. ‘You don’t have to be a Weatherman to know which way the wind blows’ is a line that works on more than one level. It has both a political and natural interpretation. His facility with words is, has been, impressive. However, that is not to say that all his songs are good, or even average. Leonard Cohen is a great poet. His songs? Well, when I was 17 and consumed by teenage angst, worrying about some girl, dreaming of things to come, angry at the state of the world, yes, they were great songs. Now, they are just turgid, to me. I am sure that there are some people who still like them, mainly teenagers wracked with angst etc.? Whether a song is good depends as much on the listener as anything else. However, that is another debate.

I began writing this on Saturday and today is Sunday. The Sunday Times has a review of an Aimee Mann release that said ‘If the stars were awarded purely for song writing, you would be reading a four star review right now. Aimee Mann’s standards rarely drop. The problem with @#%&*! Smiles, however, is that most of the songs are lost in bland and unchallenging arrangements….’ This is a professional critic confusing the quality of the poetry with the quality of the songs. The lyric is only part of the whole, bland arrangements can destroy potentially good songs.

No one would ever accuse the Glimmer Twins, Willie Dixon, Robert Johnson, Wreckless, T V Smith et al of being great poets. They did all make wonderful and evocative songs that have stood the test of time.

Good songs depend on making an emotional connection. They also depend on making a difference to the listener, a lasting difference. That is why blue moon and June songs do not do it for me. I want more. I do not want bland, unchallenging arrangements. If the lyrics are out in front of the mix I do not want humdrum. Neither do I want the sense that I am supposed to be in awe of the songwriter’s word craft. For me Chuck Berry’s ‘Coffee coloured cadillac’ beats all David Grey’s cleverness everytime.

What do I want from a song? Melody? Not necessarily. A driving beat? Sometimes. Clever lyrics? Not often. Give me something that grabs my attention. Something that keeps me guessing, starts me thinking, and is honest. I want a song or a piece of music to expand my experience, to change me.