The Hodgepodge: Why I Put So Much Stock into Songwriting

Will Hoge solo at ACM @UCO Performance Lab, Oklahoma City, OK. December 4, 2015
Will Hoge solo at ACM @UCO Performance Lab, Oklahoma City, OK. December 4, 2015

After finally listening to Sturgill Simpson’s interview with Marc Maron on the WTF Podcast and listening to Guy Clark for the past day or more, I’ve been thinking a lot about song lyrics and songwriting as a whole. Clark was a masterful songwriter. It’s a shame to hear about his passing as he joins a long list of music legends lost in 2016. Do yourself a favor and explore Clark’s catalog if you haven’t yet.

As a music fan, lyrics are what draw me into a song (which is why I catch myself focusing on the song’s content more than anything when reviewing music). I’ve always enjoyed reading poetry, and love dissecting songs with abstract lyrics. I also enjoy writing stories on my own time. And while it’s been over a year since I’ve worked on a screenplay, I’m still constantly crafting stories in my head. I say all this to show how I’ve essentially conditioned myself over the years to look at the stories and words used to communicate the messages of songs.

That’s not all that goes into a song obviously, but lyrics are the first thing I notice, and the part of the song I typically hold in a higher regard. The beauty with songs, and poetry in general, is the typical sort nature of the format requires skill to convey details in a short amount of time. This is why the laundry-list type songs work in popular country. Bonfire, moonlight, beer, and trucks set the scene. It’s enough generic detail for the mindless listener to easily fill in the blanks to his or her own party. But in well-written songs, one line or one specific word can convey emotion or provide detail that a different, lesser word or line could not. The example at the front of my brain is “The Funeral” by Turnpike Troubadours. The entire song deals with a rebel son, Jimmy, returning home after a while for his father’ funeral. It’s clear he’s the black sheep of the family and there’s quite a bit of tension in the song’s subtext. In the final verse, there’s a line that says “he knew his daddy’s .38 was in that trunk buried deep, and it’d find its rightful owner once his mama was asleep.” To me, the word “rightful” hammers home the narcissism and selfishness the rest of song builds up about Jimmy.

The main problem with Music Row is how desperate these songs seem to stay relevant with the younger demographic. Building whole songs off pop-culture phrases like snapbacks and “said no one ever” or maintaining buzzwords to add a self-imposed legitimacy to a song. As evidenced by a majority of the singles from the past five years mainly, it’s become monotonous with the same kinds of songs, settings, actions being sung and written.

The CMA has a songwriters’ series where the songwriters from the major labels get their chance to sing the songs they wrote for singers like Tim McGraw, Jason Aldean, Kenny Chesney, and more. It’s a chance for these songwriters to share their stories as to how they come up with the songs. Yet with so many songs of the same nature, you get boring stories of how three guys in a room manufacture a hit. For instance, Luke Laird shares the same kind of story for how “American Kids” was written and how “Take a Back Road” was written. Essentially it’s a song that came out of how they all grew up. While it’s great for the songwriter to have the spotlight for a moment, it’s also a little disappointing when it’s a mediocre song with no special story.

Compare that to hearing Wendell Mobley sing “There Goes My Life.” While he doesn’t share the story of the song at the show, the story of the song makes his soulful performance that much more powerful. Mobley fathered a daughter while only in high school, and that daughter passed away at just one year old. Outside of the back story, “There Goes My Life” is still a great, well-written song. And I’m not saying every songwriter needs to sing the song they wrote about one of their worst moments in life, but I think it’s disappointing to hear something like “this is how me and some other guys grew up, so we just put random phrases together that rhymed.”

It appears that we’re on the brink of some more meat in songs produced on Music Row. Going back to the level of maturity from 10/15 years ago will take some time. The labels won’t go from 0 to 60 right away, but it seems that they’re slowly making the move toward maturity…or so they say. Even with a deeply personal, religious song on If I’m Honest, Blake Shelton has still recorded an immature revenge song in light of his divorce from Miranda. The leaked lyrics for “She’s Got a Way with Words” are mean-spirited, but what else can you expect from Blake?

At the end of the day, it’s been the constant immaturity from the songs that’s continued to turn me off from mainstream country and helped me further appreciate Americana, Red Dirt, select Texas Country, and independent singer/songwriters. For the most part, the songs are written from a place of honesty and vulnerability that I have the utmost respect for. As a music fan, there’s honestly nothing better than sitting in a listening room with a great songwriter on stage, aided only by an acoustic guitar (or piano), and pouring his/her heart out while singing their songs. I know that’s probably not everyone’s cup of tea, but it’s something I think every music fan should experience. With the rate that Nashville has gone for the past decade, it’s an experience you’re more likely to find outside of the mainstream realm of country music.

Upcoming/Recent Country & Americana Releases

  • The Honeycutters’ On The Ropes will be released tomorrow.
  • Dierks Bentley’s Black will be released on May 27th.
  • Also released on the 27th is Yarn’s This Is The Year.
  • Maren Morris’ highly anticipated debut, Hero, will be released in two weeks on June 3rd.
  • First we had Hold My Beer Vol. 1, now we get Watch This! Wade Bowen and Randy Rogers will release a live acoustic album from their Hold My Beer and Watch This tour. Watch This will be released June 3rd.
  • Lori McKenna will release The Bird & the Rifle on July 29.

Throwback Thursday Songs

I don’t have a non-country suggestion this week, so I’ll include some extra Guy Clark songs here. Seriously, go listen to him.

Tweet of the Week

It’s starting to seem that way.

A Nightmare iTunes Review

Screen Shot 2016-05-18 at 6.56.30 PM

A review praising Cole Swindell’s new album and hoping that he attains Luke Bryan’s superstar status. Cole Swindell is already basically Luke 2.0, but I hope that doesn’t evolve any further.

6 thoughts on “The Hodgepodge: Why I Put So Much Stock into Songwriting

  1. jb May 19, 2016 / 11:17 am

    /stands and applauds/

    The immaturity of mainstream country is its greatest sin, and as you suggest, its greatest contrast with classic country and contemporary Americana. You need never grow up beyond the age of 22 (even when you’re pushing 40, like Luke Bryan, or 50, like Keith Urban). If that’s something you *want*, being reminded of it never grows tiresome. But if you recognize that it’s neither possible nor especially wise, then . . . .

    Liked by 1 person

  2. Raymond May 19, 2016 / 11:18 am

    Like I think I’ve said before, I don’t really pay attention to lyrics provided they at least have to have some sort of intelligence or self awareness. That’s why I detest “Home Alone Tonight” or really most Luke Bryan music. I do also listen to songs for catchiness, and melody plus production. I’m starting to now try and balance it all out, that’s why “Mayday” “Humble and Kind”, “Thy Will” “My Church” “Loving Lately” and especially for me “Peter Pan” work, because those songs don’t sacrifice intelligent lyrics for a catchy song. In my opinion they combine both and stand out. It’s why I’ve always had songs with some awful lyrics if they have a good hook and melody I’ll look past it examples for me being most of Thompson Square’s music (which they are releasing a new song tomorrow) Lindsay Ell so far, “Good Girl” “Undo It also being examples.


  3. Jason May 19, 2016 / 3:04 pm

    Lyrics are definitely the first thing I notice in music, but a lot hinges on how the artist sings it. Take “She’s Got A Way With Words”… I honestly think it could be redeemable if Blake Shelton didn’t sound either completely bitter or completely uninterested. If that song had been conveyed with more sadness than bitterness, it could’ve been alright. Then you take Cole Swindell, who has a couple of songs on his album that really shouldn’t work, but they do because there’s less bitterness and more regret conveyed (“Middle Of A Memory”, for example).


    • Derek Hudgin May 19, 2016 / 4:11 pm

      “Middle of a Memory” might be the best vocal performance I’ve heard from Cole, but the lyrics are still rather douchey. He’s upset because she left him at the bar while they were only rounding first base. It’s a song about a failed hook up. I can’t get behind that song when every song of his revolves around some sort of party or an attempt to get laid.


      • Jason May 19, 2016 / 5:06 pm

        The lyrics aren’t anywhere near great and can come off as selfish, but I think the delivery alleviates that somewhat, where as if Cole Swindell opted for a more bitter delivery the song would be completely insufferable.


  4. Josh Schott May 19, 2016 / 7:18 pm

    Spot on! And so appropriate on the week we lost one of the greatest songwriters country music has ever seen in Guy Clark. I also second Derek’s recommendation to check out Clark’s material. Truly wonderful, deep music throughout his life. Clark influenced so many other great songwriters we hear today too. RIP Mr. Clark


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