I have been writing about the songwriting process, off and on, for a long time. I leave hints at being a songwriter on occasion as well. The reality of writing, for me, is that I never stop learning and evolving. If anyone asks what my best work is, I usually say "the next one."
This is the story of the evolution of my latest work: Ocean Born.
This song has had me perplexed for months. It started as an idea, 2 chords, and a lyric. The idea was to write about a codependent relationship. The chords were G and C, and the lyric was about drinking too much tequila. The issue was that I couldn't get past the starting line. I hovered there for months thinking "will this song ever flow?"
The struggle was visionary and structural. I don't really wish to come across as promoting a drunken lifestyle. However, for the sake of the song, it almost needed start there.
I had some early help with a friend who has assisted me in the past with concepts, but we wrote it on the fly, and I was not convinced the treatment was true to how I felt. After writing the first draft, the question came up: does this work as a codependent song? Is that really where it needed to go, or could I take advice and lighten up? It almost seemed too dark. My gut was saying "rewrite."
The next issue was in the chord selection and strum pattern. There is nothing special about a G,C,G pattern, but the original sounded too familiar. I am still not completely sure what it sounded like, but it was definitely something. After strumming around, I instead chose a more natural (to me) strum and moved the C chord to a slightly generic D/F#. It felt a little better that way. I also added a little ear candy to the riff to break up the monotony.
From there I need to actually structure the verses. This was a huge struggle. I actually liked the words I had already written, but again, for the sake of the song, I knew I needed to get over myself and re-write. Originally, there were references to sleeping through church (due to hangover), lines about leaving a lonely girl alone (had to be modified), and many other lyrical quips I slaved over.
So, conceptually, I messed around and settled on an old idea. Everyone I know, at one time or another, has thought about living at the beach. I even had a title, Ocean Born (lifted from a Nightwish LP, Oceanborn ). I liked the idea of using the title as symbolizing a new beginning.
I probably asked too many opinions about this song early on, but I did find them valuable. I did not want to settle. The issue is that others will hardwire an unfinished work as gospel for a minute. It eventually corrects itself with time. I may continue to ask for opinions, as it pushed me to really work out a complete concept versus just another bleeding heart cry for attention. The result, for me, is a story of hope.
The chorus, and its country fried Thunder Road concept, solidified the message of hope. The cherry on top was accidentally pulling a stop/start pattern by muting all the strings. Its something I have unconsciously done for years, but I recognize its potential after learning an acoustic version of Brantley Gilbert's Bottoms Up. Its a pretty solid effect when placing emphasis on a lyric.
This song was inspired by modern country music, there is no doubt. I am learning new things from paying attention. There seems to always be a conceptual noun or phrase a song is written around. It's very counciously done in Country. I maybe did this in the past, but it was more about feeling, and if a concept emerged, great. I can be a bit more of a storyteller than a romantic writing this way, and its opening my mind to new ways to hone this craft. The use of the word "Country" was planned, and executed, because I needed to give a middle finger to my beloved peeps busting my balls about "going country," and a nod to the genre inspiring it. Also, I do what the hell I want.
Play Me Daisy, my last dive into this genre, was a bit the same. However, I was absolutely writing that song from my gut for my friend and fellow songwriter, Mary Lou Scherder. I was engrossed in massive amounts of Punch Brothers at the time also, which is probably why it sounds bluegrassy. I look at Play Me Daisy and Ocean Born as equals and opposites, but maybe my coolest acoustic work to date (in my mind). They both are rewarding in the challenge of how they made me push my limits.
In conclusion, I feel like a new LP is inevitable, and these two songs will act as cornerstones. If they are any indication of things to follow, I am really gonna love the next song, which I hope will be my best song.
Nago
