1. ANALYSING AND IDENTIFYING THE CONTINUOUS SUCCESS OF
EVERLASTING MUSIC HITS AND HITMAKERS BEHIND THEM:
IS HIT MAKING AN UNEXPLAINED
PHENOMENA OR A FORMULATED
PROCESS?
by Tatjana Tasic
2. II
“The world don’t need any more songs. They’ve got enough.
They’ve got way too many. As a matter of fact, if nobody wrote
any songs from this day on, the world ain’t gonna suffer for it.
For every man, woman and child on earth, they could be sent,
probably each of them, a hundred records, and never be
repeated. There’s enough songs.
Unless someone’s gonna come along with a pure heart and has
something to say. That’s a different story.”
- Bob Dylan
(Zollo, 2003)
3. III
ABSTRACT
This project analyses what makes a music hit stand the test of time and still sell
records and remain remembered by a vast number of people. It looks into the powers
behind making a successful hit and whether it is a business mechanism or true work of
art. There is a review of over 20 hit songs which are all different one from another in
their genre, background or reason for success. I have broken down a song into
different elements as well as looked into the science behind human psychology and
neurology to understand process behind music choices and preferences. Interviews
(primary and secondary) with artists in the industry have been collected to present
their views into the secret behind making hits.
Finally I have studied the music industry and its effect and control behind songs that
have made charts and topped sales. It is important to mention the song and industry
analysed is from the period of 1950’s until 1990’s.
My conclusion does not give a definite answer to the hypothesis as it is a very blurred
line when it comes to art, how it is created and then experienced. However, this
research has corrected some of my previous opinions and has opened up my eyes to
how complex the whole matter is.
7. 1
INTRODUCTION
What makes a certain hit song a surviving hit? Why do so many people across the globe
like it? Why does its popularity refuse to diminish with age? Who is behind the hit
making? Why do certain producers, artists or music business entrepreneurs have a
continuous success with making hits and do they all have something in common? These
are all questions that do not have a straightforward answer.
There is science behind how we perceive sound on a neurological and cultural level. Our
music preferences develop and grow with us and. On the other hand there is the
phenomena of source of creativity and process from the hit makers.
The gift of certain producers and music artists that make memorable hit songs, adored
by millions across the globe over decades is fascinating and not easy to unravel.
Visionaries such as Otis Blackwell, Stevie Wonder, Prince, Butch Vig or Nile Rodgers and
so on have made music history.
And where would it all be behind the giant machine that makes it all come to life, or to
our music devices? Music industry. Does it recognise true talent or does it deceive us for
profit?
The objective is to gather a great amount of information and perspectives and thus a
conclusion whether these everlasting hits, or at least some of them, are really
unexplained phenomena that lie within the souls of the creators or if it is all just a
matter of great craftsmanship, a vessel of excellent knowledge and approach to music
business.
This is a 100% written contribution submitted to obtain a Bachelors of Arts
9. 3
HISTORY OF POPULAR MUSIC
Popular music evolved in the US from various worldwide backgrounds and cultural
inspirations that amalgamated and spread out into the entire western world and
beyond.
Several musical and cultural developments happened in the United States in the 19th
century, which brought on the rise of popular music that spread across the western
world and eventually came to be as what we know it today, on a global level. Popular
music, i.e. music enjoyed by a large number of people, developed in the US, progressing
song from theatres on to a musical stage. First form of musical entertainment enjoyed
by large masses of people, that really took over America was minstrel show in mid 19th
century, known as Minstrelsy. The subject of the show were white performers
caricaturing black people by covering their faces in black paint and imitating the black
population, which happened to be ex slaves from the North and slaves from South
America. The entertainers would accurately imitate their speech, singing and dancing
styles. Eventually the black performers took on this role so were in fact imitating
themselves. After the civil rights movement in 1865, which aimed to eliminate racial
discrimination and followed by abolishment of slavery, Minstrelsy started losing
popularity.
Simultaneously, a variety show known as Vaudeville became a dominant entertainment
movement. It came after Minstrelsy, but now featuring mainly Caucasian artists, singers,
jugglers, dancers, acrobats from all over the US as well as, again, black performers. Now
they were integrated. This is relevant as it depicts the strong impact black music and
culture had on America. There was sadness, and there was joy.
“Despite of (or perhaps because of) the severe handicap of slavery, it was the music of
the slaves that made the first of many profoundly important black contributions to the
American mainstream” (Clarke, D. 2013, p.21)
By end of 1880’s, New York was full of vaudeville, or variety, theatres. What became a
priority in vaudeville were attractive female performers such as Norah Bayes, Eva
Tanguay and Lillian Russell that did not hesitate to show a leg, while singing provocative
10. 4
songs. As radio culture boomed and became popular in most households, so did
Vaudeville diminish from live stage onto the TV screen.
“Songwriters and music publishers kept an eye on up-and-coming talent in vaudeville. It
was apparent that the best way to make a song a hit was to get someone good to sing
it” (Clarke, D. 2013, p.46)
By 1900, all the best songwriters, booking agents and publishers were located in New
York’s famous Tin Pan Alley, between 6th
Avenue and Broadway, surrounded by
theatres. It was the first publishing house as such (later even became a name for a music
genre in it’s own right), printing large volumes of sheet music for performers, lyricists,
songwriters and even home use. As the copyright laws were quite relaxed, bookers and
publishers would make note of songs that proved popular and in demand and printed
their own versions for mass exposure. Tin Pan Alley became known as the birth centre
of popular music. Even though it’s physical location changed, the industry as such kept
the name. Vaudeville, dance hall music and ballads were the commercial music material
generated from the Tin Pan Alley on high demand. “Soon it was almost impossible for a
song to become a hit unless it was published in New York first.” (Clarke, D. 2013, p.52)
A lot of the songs that were successful contained subjects about what the songwriter
saw happening around him on events he read about or heard about in everyday life. For
example Charles K. Harris wrote hit songs “After the ball” and “Hello Central, give me
heaven” based on real events he observed. Most of the popular songs were ballads.
Another important songwriter, who strongly influenced the course of popular music and
filled this era of early 20th
century with game changing songs, was Irving Berlin. His
content was quite journalistic, capturing the life of New York citizens and their everyday
lives and interconnectivity.
Berlin was one of many Jewish refugees, which came over to the US to flee the Tsarist
Russia. Apart from a search for a new home and a new beginning, these Jews brought
with them their music.
Much progress has happened during the 1800’s in America and its separated views
between north and south regarding the slavery abolishment and the impact on black
performers in the entertaining industry. In the following century comes a new wave of
social and cultural change, which has shaped popular music, as we know it today.
12. 6
21 HITS LIST
One could endlessly argue as to which songs are truly best remembered, and the
journey to find the most accurate and truthful representation of this list is a complicated
one.
There are various “Best songs of all time” lists compiled by music magazines, data from
music streaming platforms such as Spotify, digital purchases, sales of 45inch singles
since the 1950s or sheet music, juke box, etc.
As Billboard’s own columnist Trust (2013) explained himself, “As we wrote in January
when YouTube data was added to the Hot 100's equation: "Generally speaking, our Hot
100 formula targets a ratio of sales (35-45%), airplay (30-40%) and streaming (20-30%)."
Trust (2013) explains further on that “ that's an overall target for 100 songs each week.
That mark can change. This week, though, the Hot 100 breaks down in line with the
formula's intent: sales, 39%; airplay, 34%; and, streaming, 27%.
And, week-to-week, some songs show largely along those percentages, while others
skew noticeably toward any of the chart's three metrics.”
Sales figures of singles are not an accurate reflection of a song’s popularity, simply due
to the fact that not many people purchased singles exclusively. Same goes with charts,
as it is a short-term statistic, often based on predictability and interest towards the song
in a very short space of time. Needless to say that for example Christmas hits, or hits
made for social or political support such as “We Are The World” and “Candle In The
Wind” are not true reflection of interest towards the song as much as supporting the
cause or marking an annual celebration.
Considering the analysis is focused on songs that have remained hits over a long period
of time is another reason as to why charts are not reflective information of what has
necessarily sustained in success. The Grammy Hall of Fame is a useful and more
accurate guidance as it awards songs for their "qualitative or historical significance",
after they have been released for at least 25years. Hence my list goes up to 1990’s,
followed by my personal forecast of what could be remembered after that.
As far as equal opportunity goes, any genres, labels or bands are not supported very
much by broadcast media such as TV music channels or radio stations, which is not to
13. 7
say these bands or artists do not have a vast and considerable following, even years and
decades since their hits were released.
It is relevant to mention, since this project is based on longevity of hits and not
necessarily chart data, that some songs have gained more popularity with time. This can
be noticed in recent polls and statistics drawn from digital downloads and user-
generated platforms.
I have compiled a list of songs since the 1950’s which feature either in weekly charts as
number 1, or have topped sales as the best selling single at the yea it was release, and
finally if it is on the list of top songs of all time issued by music magazines such as the
infamous NME, Q Magazine, or the loyal and integral Billboard US.
My choices are carefully selected in order to cover various genres as well as hits, which
were either performed by a chart topping band/artist or one hit wonders of the same
impact.
The list is in chronological order. Much attention has been given to pick songs, which,
through my analysis, appear to have different reasons for everlasting success. Some
songs are unique in their way, some are game changers in terms of leading the way to
new style of musical or cultural expression. Some songs are follow ups of a very
successful song writing pattern while others come from deepest emotional sincerity that
is impossible to ever forget how much it moves us.
1950’s
• “Rock Around The Clock” ‘55
Performed by: Bill Haley & His Comet
Written by: Max C. Freedman and James E. Myers
Produced by: Milt Gabler
Grammy Hall Of Fame
Even though it is not the first Rock ‘n’ Roll song ever made, it was the first Rock ‘n’ Roll
song to top the US charts and the one that pushed the genre into the global mainstream
and. As the soundtrack for the culturally significant and controversial movie Blackboard
Jungle, it revolutionised rock and roll through the theatre screens captivating young
14. 8
masses. It’s a very energetic song, with thumping rhythm section that drove the
youngsters wild. As far as relevance in production and recording goes, every instrument
was miked, thus being rich and fulfilling sound to the ear. With hip attitude and youthful
rockabilly stage performance, playing at dozens of high school dances across US, young
teenagers were Haley’s main audience. It may be the easiest argument that winning the
hearts of a teenage audience is a powerful recipe for international success. It held high
positions on both Billboard and UK charts.
REASON FOR ONGOING SUCCESS: remembered as the first rock and roll song which
marked the beginning of a new era for music and youth culture
• All Shook Up ‘57
Performed by: Elvis Presley
Written by: Otis Blackwell and Elvis Presley
Produced by: Steve Sholes
Elvis is a rock ‘n’ roll icon. With this fact, it is needless to mention that the process of
selecting one of his hits for this list was a diligent one. Although his sixth number one hit
on US Billboard chart, the reason for this choice is simply for the facts that it had stayed
on top of the chart for impressive eight weeks in US, is certified 2X Platinum by
the RIAA, became Presley’s first number 1 in the UK and entered “The Rolling Stone’s
500 Greatest Songs Of All Time” list. Apart from the credentials, this choice also brings
out the magic behind Presley’s success. What Presley gave to America was a freedom of
self-expression and self-discovery, which the youth of America felt suppressed from.
Presley was a sexual revolution, manifested through his hip swaying performance, his
seductive singing and let loose energy. Just like Jerry Lee Lewis, who is also on the list,
he played and performed in style of black music and in a way that was only witnessed in
church gospel. No wonder his radio identity and race were ambiguous until seen live.
This absolutely shook up the nation. Song was written by the prolific Otis Blackwell, an
African-American chart topping songwriter and performer from Brooklyn who provided
numerous songs for Presley, as well as for J. L. Lewis and the notorious “Fever”, made
successful by Peggy Lee.
15. 9
REASON FOR ONGOING SUCCESS: Seductive singing with romantic lyrics and a steady up
beat rhythm made the a few heads spin. Elvis’ stage presence and provocative
performance played a major factor in this remembered number.
• Great Balls Of Fire ‘57
Performed by: J. L. Lewis
Written by: Otis Blackwell and Jack Hammer
Produced by: Sam Phillips
Grammy Hall Of Fame
This song was the peak of Lewis’ fame craze. Written again by Otis Blackwell, this
famous rock ‘n’ roll number was possibly predisposed for success by it’s predecessor hit
“Whole Lotta Shakin’” (banned due to insinuating sexual lyrics), which shook the
listeners, and now TV audience, like a sudden rhythm-pounding, lascivious insinuating
earthquake. Great Balls of Fire has the well-known recognisable to-the-point
introduction that grabs immediate attention. The song is a classic rock ‘n’ roll sound, but
with a very catchy melody with self titled hook and a teasing bridge:
“You’re fine,
So kind,
I’ll tell this world that you’re
Mine, mine, mine, mine!”
Lewis’ superb execution of the song’s lyrics, which is performed and phrased with
passion and seduction, is accompanied by his provocative, temperamental and
dangerously electrifying piano-whacking performance. As The Rolling Stone Magazine
(2011) expressed, “’Great Balls Of Fire’ is full of Southern Baptist hellfire turned into a
near-blasphemous ode to pure lust”.
Originally written as “Great God Almighty”, the God fearing singer changed the words to
“Goodness gracious…great balls of fire!” which leaves a memorable stamp.
On one famous performance occasion, whilst touring US with Chuck Berry in ’57, Lewis
was witnessed by hundreds of screaming fans to set the piano on fire whilst performing
the song on stage. Perhaps this “fiery” connection and god-provoking title left “Great
Balls of Fire” to be Lewis’ most memorable hit which helped define the 1950s.
The record entered the US National Recording Registry.
16. 10
REASON FOR ONGOING SUCCESS: Dynamics and dramatics. This classic hit stands out for
all the great reason: Catchy aggressive melody, snappy lyrics, theatrical and slightly
eccentric interpretation and vocal delivery. Backed by phenomenal piano playing. Lewis
brought drama and scandal into rock ‘n’ roll, with his performance as well as personal
life choices. His rebellion and attitude made fame and his performances hit a nerve on a
conservative, morally unprovoked America.
• Fever ‘58
Performed by: Peggy Lee
Written by: Peggy Lee and Otis Blackwell
Produced by: Dave Cavanaugh
Grammy Hall Of Fame
Originally written by Otis Blackwell, and performed by R&B singer Little Willie John in
1956, “Fever" gained memorable success on both sides of Atlantic, thanks to Peggy Lee’s
arrangement and delivery. Unlike many covers of songs, which tend to add texture and
layers to the existing composition, Peggy followed her instinct for subdued power in
music and passion for rhythm section and stripped back to song to its bare minimum,
only to make it’s simplicity most powerful. With just drums (played by hands), bass and
finger clicks at the background, Lee’s vocal delivery of the song made it a definite hit.
Unlike the original performance by Willie John, which was more rough, Lee’s singing is
sultry, seductive and slightly enigmatic. Lee has also changed parts of the song’s lyrics,
but unfortunately did not copyright.
REASON FOR ONGOING SUCCESS: Sometimes less is more. The accent on the groove and
Peggy Lee’s mysterious voice make the song unique.
1960’s
• She Loves You ‘63
Performed by: The Beatles
Written by: John Lennon and Paul McCartney
Produced by: George Martin
17. 11
Method behind selecting a famous Beatles song was similar to Elvis’ decision-making
process. The fact that it is their best selling single to date and with it, the best selling
single of the whole decade, made it easy to decide. Beatles made success with
exceptional songwriting ideas, and by keeping the AABA song format (in the early
Beatles years) which proved successful. However, this single had a few new interesting
concepts. Sometimes The Beatles keep songwriting fresh by starting a song with a
bridge, but this time they open the song with a hook from the chorus. As simple as it
sounds “She Loves You, Yeah, Yeah, Yeah” hook works. They sing in a peculiar harmony
and end the song in the major 6th
chord, which sounds unusual, yet interesting.
REASON FOR ONGOING SUCCESS: This song, as other Beatles’ masterworks, survives the
musical time lapse due to their interesting and innovative arrangements and clever
attention grabbing hook positions.
• You Really Got Me ‘64
Performed by: The Kinks
Written by: Ray Davies
Produced by: Shel Talmy
Grammy Hall Of Fame
Song written by the band’s guitarist Ray Davies propelled the Kinks into history of
influential bands. After failing to break through with two of their previous hits, “You
Really Got Me” retrospectively gave nuances of punk and rough, distorted heavy rock
and inspired bands such as The Who, John Lydon and Jimi Hendrix.
REASON FOR ONGOING SUCCESS: Distorted recording technique and dirty blues riff gave
a new sound to rock. Game changer. Secret lies in the recording technique.
• The Sound of Silence ‘64
Performed by: Simon & Garfunkel
Written by: Paul Simon
Produced by: Tom Wilson
Grammy Hall Of Fame
18. 12
Even against the hurricane of Beatlemania, Sound of Silence managed to get heard,
although only in it’s second attempt, when just after Paul Simon and Art Garfunkel gave
up on the flop of their album, the song got re-released with drum parts. The power
seems to mostly lie in the lyrics, which are unshadowed by delicate melody and subtle
sound.
Simon explains (Mastropolo, 2015) “The key to ‘The Sound of Silence’ is the simplicity of
the melody and the words, which are youthful alienation. It’s a young lyric…it was a
post-adolescent angst, but it had some level of truth to it and it resonated with millions
of people”.
“‘The Sound of Silence’ has more melodic, genius, simple power than I ever realised. As
the years go by, there’s something extraordinarily hooky about that simple melody” says
Garfunkel (Mastropolo, 2015).
The album entered the US National Recording Registry.
REASON FOR ONGOING SUCCESS: Simplicity in sincerity. Powerful lyrics supported by
simple beautiful melody.
• I Can’t Get No (Satisfaction) ‘65
Performed by: The Rolling Stones
Written by: Mick Jagger, Keith Richards
Produced by: Andrew Loog Oldham
Grammy Hall Of Fame
Perhaps it is a good thing, but there is not much to say about this classic rock song. It
contains the genuine expression of feelings and frustrations in Jagger’s voice as well as
powerful Richards’ guitar riff, which does not age with time. It has all the sincerity,
rawness and energy a solid rock song should have and it is timeless. For mid 60’s, it
definitely gave the rock ‘n’ roll genre more attitude. Even Steven Van Zandt claims, “It
was, after all, the most important rock record ever" (Lynch, 2015)
REASON FOR ONGOING SUCCESS: raw energy and pure rock ‘n’ roll attitude in the
songwriting and performance. Hooky lyrics. Timeless.
• Respect ‘67
19. 13
Performed by: Aretha Franklin
Written by: Otis Redding
Produced by: Jerry Wexler
Grammy Hall Of Fame
Although originally written and performed by Otis Redding, Franklin’s version made
history and everlasting success as an ode to female power and woman’s confidence and
self-respect (as the song suggests) as well as becoming a symbolism to feminism. The
lyrics are slight altered on her version to fit this message, as well as the added famous R-
E-S-P-E-C-T citing bridge. It was recorded with the Muscle Shoals rhythm section who
then started their own famous Muscle Shoals Sound Studios in Alabama (important
recording centre responsible for the production of some of worlds top hits).
This version even convinced the Grammy Awards in 1968 to create a whole new
category in order to give it an award; Best Female R&B Vocal Performance.
REASON FOR ONGOING SUCCESS: Lyrics about celebration of female empowerment,
carried majestically with Aretha’s soulful and powerful performance.
1970’s
• Smoke On The Water ‘72
Performed by: Deep Purple
Written by: Ian Gillan, Ritchie Blackmore, Roger Glover, Jon Lorde, Ian Paice
Produced by: Deep Purple
Deep Purple are a prolific heavy rock band who have helped define both the decade and
genres of classic hard rock and heavy metal. It is of absolute necessity and importance
to list them in this selection. Smoke On The Water is a classic hit. The wonderful thing
about it is that it is a hit amongst people who do not listen to rock or heavy metal, nor
necessarily know who Deep Purple are. But they would know the opening guitar riff
played by Ritchie Blackmore, which has put a stamp on the record and made it an
instantly recognisable hit. A great example of how a good, well-thought riff goes a long
way. (Important to mention, as simple is the riff sound, it is quite complex to play). The
20. 14
lyrics are an autobiographical story from one of their gigs, however, it does not seem to
hold the bearing of its success.
REASON FOR ONGOING SUCCESS: Powerful, memorable riff that is instantly
recognisable.
• Superstition ‘72
Performed by: Stevie Wonder
Written by: Stevie Wonder
Produced by: Stevie Wonder
Grammy Hall Of Fame
This legendary hit was 22-year-old Wonder’s second US number one. Known for its
fantastic funk groove and that specific Hohner clavinet sound, Superstition is a hit
record that really stands out. The song is written, arranged, produced and performed by
Wonder himself, therefore it is solely his creation and it shows his sheer talent and
wizardry when it comes to songwriting and arrangement.
The album entered the US National Recording Registry.
REASON FOR ONGOING SUCCESS: talented songwriting with skilful arrangement. Catchy
groove.
• Bohemian Rhapsody ‘75
Performed by: Queen
Written by: Freddy Mercury
Produced by: Roy Thomas Baker
Grammy Hall Of Fame
Still 3rd
best selling single, this shockingly unusually structured song that contains opera,
a ballad, hard rock segment, and a guitar solo seems like an ode to popular music forms
with which everyone is familiar with. Enriched with challenging vocal parts and
harmonies and complex music arrangement, it is possible the success lies precisely
behind the unpredictable direction and diversity of music styles. It is highly entertaining.
This anthemic hit shakes the notion that success behind a hit on a global level is
subjected to any particular song form. A very risky and courageous move by the band to
21. 15
go into such a creative production journey, yet it proved incredibly successful,
considering it is “a song that has no chorus, that eschews conventional love-based
narratives for nightmares of murder and nihilism, and which has at least six disparate
kinds of music in its six minutes”(Service, 2009)
REASON FOR ONGOING SUCCESS: brave avant-garde composition and production, like
nothing ever done before. Anthem.
• Dancing Queen ‘76
Performed by: Abba
Written by: Benny Andersson, Björn Ulvaeus, Stig Anderson
Produced by: : Benny Andersson, Björn Ulvaeus
Grammy Hall Of Fame
Dancing Queen is the epitome of all things kitsch, glittery and glossy in the world of
American disco. The reason for this is because that is exactly what the writers and
producer aimed for. "Our aim was to make American records…because they sounded the
best” recalls their engineer at the time, Michael Tretow. (Super Seventies, 2000)
It gained relevant success in thirteen countries worldwide, as well as across Europe and
reaching number 1 in the US. Dancing Queen is definitely a “floor filler” song and
therefore kept alive on any celebratory occasion which involves a live band, a juke box
or karaoke.
REASON FOR ONGOING SUCCESS: “The track has all the components necessary for pop
immortality: cheerfully defiant upper-range piano chords, sprightly disco strings, and
sweetly blended vocals from Lyngstad and Fältskog”
• Stayin’ Alive ‘77
Performed by: The Bee Gees
Written by: Barry Gibb, Maurice Gibb and Robin Gibb
Produced by: The Bee Gees, Albhy Galuten, Karl Richardson
Grammy Hall Of Fame (Album, OST)
The song was written at the same time as “How Deep Is Your Love” and “More Than A
Woman” with the brothers’ aim to make a rhythm and blues record. The song Stayin’
22. 16
Alive propelled them to stardom not only by appearing in the opening credits of
Blockbuster smash hit “Saturday Night Fever” featuring John Travolta’s sexy swagger
walk, sharply dressed in leather and flares that captures the moment of exciting, excess
fuelled times in 70’s America, but also because of its addictive tempo and groove,
originally recorded by a drum machine. According to their engineer and assistant
producer Karl Richardson, they were not aware of disco or making a disco record. They
were going for an R&B record. Richardson added, “It was all about feel at that time; that
was the key to the music”. (Buskin, 2012, pg.164) According to Barry Gibbs and
Richardson, the band was very aware they had a massive hit on their hands. They
outsourced the best performers to overdub the strings and did not hesitate splitting the
tape and re-doing the whole process again until it sounded just right.
The album entered the US National Recording Registry.
REASON FOR ONGOING SUCCESS: Recognising a hit song, followed by meticulous
production. The song had success because it encapsulates that era perfectly. This is the
case of a song being at the right place at the right time. It is a time travelling post card
from 70’s disco dance floor.
1980’s
• Don’t You Want Me ‘81
Performed by: The Human League
Written by: Phillip Oakey, Jo Callis, Philip Adrian Wright
Produced by: Martin Rushent
Many songs like “Don’t You Want Me Baby” hit the radios and now the videos too. This
was the new wave music period, a fresh new entry into the new decade, with an
abundance of new arrangement ideas, songs taking influences from wherever they
pleased and making it work. Synthesisers mixed with punk rock mixed with disco mixed
with dark gothic. It was all there. And it all made some level of reception. On the
popular level (as opposed to arty, underground and obscure new wave music of the
early 80’s) there were tons of great songs. This one is chosen because it peaked at
number one across Europe, US and Japan and still today it represents 1980’s, even to
23. 17
the newest generations, born in the 00’s. It contains dramatic synths, a solid rhythm,
and a catchy happy chorus. It is also a love story sang in a very simplified manner, easy
to learn and sing along. It follows an interesting story in which the singer, Phil Oakey,
quickly hired his friend Ian Burden on synth, and two random teenagers from a
nightclub in Sheffield to sing as backing vocals, in order to make a more pop orientated
catchy song and effective tour ahead and save himself from being sued by Virgin
Records. His hasty plan worked. Some might say their debut multi-platinum album Dare,
which contained “Don’t You Want Me” was a blueprint for the new synth pop genre,
which took both sides of the Atlantic. Martin Rushent who produced and engineered
the album was very invested in the synth sound and appreciated how big of a job it was
to make electronic music. This quality of production of such a new sound for that time
absolutely made an impression and helped the record be seen in its binaurally shiny
glory.
REASONS FOR SUCCESS: A catchy pop melody, easy to remember. The memorable
moody synth melody at the beginning (which repeats in the middle of the song, and
closes the song at the end) signifies the new sound of the 80’s. Superb execution of the
new synth pop sound in the production process.
• Billie Jean ‘82
Performed by: Michael Jackson
Written by: Michael Jackson
Produced by: Michael Jackson and Quincy Jones
Grammy Hall Of Fame (Album)
As we enter the era of MTV and video, audience can now also get attached to the
artist’s visual appearance, performance, and artistic direction of great video making
(Duran Duran are a great example). By this time Jackson has won they ears of his
audience, and now eyes by anyone who owned a TV set. But aside from his magnetic
charisma, mysterious personality and mind blowing dance moves, his songs were great.
Billie Jean has a personal story in the lyrics. It had passion in the vocals, like most
Jackson songs, and it has a fantastic arrangement, more so the infamous bass line which
is the song’s hook, and which get stuck in people’s minds. Jackson said he worked on it
for three weeks It is incredibly distinctive, one can recognise it within first two bars,
24. 18
along with the specific drums, which took dozens of takes, and specific drum setup
according to the mix engineer Bruce Swedien, until it was a drum sound that has never
been done before. Jackson came up with the whole arrangement, from the lyrics to the
rhythm section, in his mind. The production wizard Quincy Jones helped sculpt this
everlasting art piece and Swedien delivered accurately the envisioned sound.
REASON FOR ONGOING SUCCESS: The sound and the rhythm. The production is so
impressive and the groove so addictive, it pleases the ears when listening to such crafted
sound. One of the best produced records.
• The Trooper ‘82
Performed by: Iron Maiden
Written by: Steve Harris
Produced by: Martin Birch
It is a puzzle when it comes to music giants such as Iron Maiden. A band that has
branded heavy metal, and has most dedicated followers across the globe, since
beginning of 80’s does not seem to hold the brightest torch when it comes to music
charts. This is precisely one of the reasons I have not relied on charts to represent on-
going popularity of certain songs. And because of lack of high positioning in charts, even
though they have released 14 albums, it was not easy to choose a song for this list. The
Trooper is added as it is a clear Maidenesque production and arrangement.
Unpretentious melody and catchy, it is considered an “all-time genre classic that
boasts Murray and Smith's most memorable harmonized lead riff, plus that trademark
galloping (bass) rhythm”. (Huey, no date)
Dickinson’s dramatic and powerful vocal delivery is phenomenal. It is a clear Iron
Maiden song, with their signature writing and composition skills. The Harris-Birch
combination has proven to be recipe for success.
REASON FOR ONGOING SUCCESS: Iron Maiden has created a long list of all time heavy
metal classics. This is one of them. A representation of the British heavy metal era.
Catchy chorus and signature galloping rhythm. Their melodies, rich arrangement and
historical story-telling lyrics have been unrivalled in the last 3 decades. They definitely
own the word ‘epic’ when it comes to song productions.
27. 21
REASON FOR ONGOING SUCCESS: Great melody, catchy love song lyrics, powerful
recognisable guitar riff. Guitar solo and building chord progressions towards the end of
the song hold strong emotional resonance.
• Like A Prayer ‘88
Performed by: Madonna
Written by: Madonna, Patrick Leonard
Produced by: Madonna, Patrick Leonard
A great video goes a long way in the 80’s. And so does controversy, in any decade.
Madonna is a wise businesswoman as well as an honest songwriter and an assertive
performer. After the enormous success of “Like A Virgin” album followed by “True Blue”,
Madonna decided to take things into her own creative hands and write an album which
was more mature, and more cathartic. This song from the album of the same title deals
with racism, rape, religion, love, sex and confession. That is a handful. The message of
the song is made clear with a very powerful video, which incorporates all of these
without any ambiguity.
Madonna’s lyrics are honest and sincere; “I didn’t try to candy-coat anything or make it
more palatable for mass consumption, I guess. I wrote what I felt.” (Zollo, P. 2003,
p.616) The melody is great as well as the song structure. It fluctuates from quiet, self-
reflecting tone to joyous gospel-like beat. It builds up towards the end into a strong
crescendo climax backed up by a rich choir performance, and resolves into gospel
church-like rejoicing and rhythmic clapping. The song fades out in a haunting minor
chord progression and choir follows. All these parts of the song contribute to its
magnetism and success. The song is an all time classic, not bound by era.
REASON FOR ONGOING SUCCESS: taboo topics being challenged, written from the heart,
exuberates passion in its delivery.
29. 23
strongest interest on streaming platforms and is a solid track that speaks directly to the
heart, which Amy clearly wears on her sleeve.
• Get Lucky ‘13
Performed by: Daft Punk, Pharrell Williams, Nile Rodgers
Written by: Thomas Bangalter, G .M. de Homem-Christo, Nile Rodgers, Pharrell Williams
Produced by: Thomas Bangalter, Guy-Manuel de Homem-Christo
As one of the best selling songs of all time which sold over 9.3 million copies and
number 1 in over 20 countries and received an (at least 2X) platinum in 13 countries, it
is safe to say a lot of people like it. When it came out it was played on every station, in
every club, on every music channel on heavy rotation. It has a rich analogue production
and a funky disco groove and very tasteful arrangement. It does not have a fashionable
sound, as in it could have been made in the 70’s or 80’s or 90’s. It is therefore timeless.
REASON FOR ONGOING SUCCESS: The song is fantastically produced (it took 18 months
to make) and has an aesthetically pleasing, lush sound. Disco groove has proven over
time to always get people dancing. Pharrell’s warm vocals and rhythmic chorus singing
create a hook. It also has Nile Rodgers’ input and his groovy guitar riff. It cannot fail.
ANALYSING A SONG
A song in western popular music usually consists of three basic elements. Structure,
lyrics (not always, but in this case it will be analysed as a reason for everlasting success)
and melody. The question regarding which aspect of the song is more relevant, is a
reoccurring one. Creative touches such as production technique, choice of instruments
and arrangement as well as vocal expression often tend to hold the secret to success for
making song an everlasting hit, as it is seen in the song analysis. But they do not tend to
exist as a general rule, rather as an exception. An example of this being “In the air
tonight” by Phil Collins, most remembered by the phenomenal tom fill before the
30. 24
second verse, which only happened due to talkback mic with compression being
accidentally left “on” in the recording room, returning into a channel with a
compression gate. Whilst a groove will be the secret ingredient of one hit, such as
Wonder’s “Superstition”, another song will have that unmissable guitar riff as heard in
“Sweet Child O’ Mine” by Guns ‘N’ Roses.
STRUCTURE
“ I like to be unpredictable. There isn’t one song (on album City Streets) that’s AABA or
ABAB. They all turn left somewhere… there’s a beginning to a song, and there should be
an end of a song, and of course there’s the middle. And I like to take that middle
anywhere it wants to go… The song form is limitless. You can do anything you want.” –
Carole King (Zollo, P. 2003, p.144)
The first thing that becomes apparent about a song is its tempo and rhythm, then length
of the song and finally the pattern (verse, chorus, verse, bridge, chorus). Tempo and
rhythm are schematic patterns, which we develop in our brain at a young age. This
cognitive predisposition to familiarity and preference will be explained in more detail in
the next chapter. Structure is important because it is one way of controlling listeners’
expectations. If a song has proven successful and satisfying to a large audience by being
3 minutes long with two verses, two choruses and a short bridge in the middle, then it is
a logical step to use this as an equation that works when writing a song. An example of
such success on a grand scale is seen in the 60s with the Beatles and then popular AABA
form (verse 1, verse 2, chorus/middle 8, verse3). A band that has written dozens of
songs with a very vast spectrum of moods and song structure patterns, had success
sustainability from the beginning following their first hit “From me to you”. Like many
bands, they secured their fame by following this song form, which worked until they
won the hearts of an audience so large, they could afford to then experiment creatively
and still be heard.
31. 25
“She Loves You” followed soon after, going straight to number one again as well as “I
want to hold your hand”, “Can’t buy me Love” and 14 more, which then took different
shapes.
Completely contrary to this is Queen’s “Bohemian Rhapsody”; an amalgamation of
different popular music genres in a peculiar arrangement.
By observing two ends of the complexity spectrum regarding the song structure, the
theory that success is more likely following a certain form pattern is questioned.
LYRICS
“Nowadays I pay much more attention to lyrics than I used to. I used to think that
nobody really whistled a lyric. I thought the thing people remembered was the melody.
And I think that’s still true, but I think a bad lyric is going to down a song.” – Burt
Bacharach (Zollo, P. 2003, g.202)
Lyrics appear to be either completely obsolete to the success of a song, or the essence
of magnetic pull towards it. Songs that are stripped back in the melodic and
instrumental complexity, by writers such as Bob Dylan, Tom Waits, Carole King or Joni
Mitchell, carry their value in poetry. We tend to connect to the confessions or deepest
inner thoughts and observations that the songwriter has offered to share with us. This is
what connects us.
“One of the reasons that we’re willing to make ourselves vulnerable to our favourite
musicians is that they often make themselves vulnerable to us… The power of art is that
it can connect us to one another.” (Levitin, D. 2006, g.244) Of course, this is true to many
forms of art, not just verbal, lyrical type.
As aforementioned, “Sound of Silence” written by a prolific songwriter Paul Simon holds
the power in its lyrics and the truth of it, which listeners invest their connection to.
However, like many composers and songwriters, Simon sways between the balance of
lyrical and melodic importance. There is no rule or connection necessarily between a
songwriter and prioritised element of the song. As Burt Bacharach’s quote above
suggests, perhaps with age and/or experience, the artist’s focus shifts. As Bacharach
32. 26
feels that bad lyrics could have a negative impact on a powerful melody, reversely
Simon suggests that weak melody would drown great lyrics: “My thinking is that if you
don’t have the right melody, it really doesn’t matter what you have to say. They only are
available to hear when the sound entrances and makes people open to the thought”.
(Antlitz, no date)
With this inseparable intertwining relationship between the two elements, the next and
final element to examine therefore is melody.
MELODY
“Melody is one of the primary ways that our expectations are controlled by
composers…The setting up and manipulating of expectations is the heart of music, and it
is accomplished in countless ways.” (Levitin, D. 2008, p.112)
Several things define melody in a song. Mainly it is an order and pattern of musical
notes. But it is also shaped by time signatures (rhythmic patterns), tempo and coloured
by instruments which give it a certain timbre and pitch. It also has the strongest effect
on us emotionally. The simple fact that human body reacts to music in a general way,
meaning, we all react nearly the same to a major and minor scale, modes, or to tonal
and atonal music, consonance or dissonance in harmony. Some excite us, whilst others
make us feel sad or melancholy. Pitch and chords (combination of notes played
together) have a powerful effect on our emotional response. “Mood, excitement, calm,
romance and danger are signalled by a number of factors, but pitch is the most decisive.
A single high note can convey excitement, a single low note sadness.” (Levitin, D. 2008,
26)
The next chapter “How We Hear Music” elaborates on these questions as to why certain
melodies and pitches move us on a neurological level.
A melody is usually made up of various chords in a certain order or flow, known as chord
progressions. These chord progressions carry the movement of the melody and
therefore the mood. Chords have a music theory behind it that is somewhat
33. 27
mathematical but the chord progressions can have infinite patterns, with a logical link to
a certain extent, but not necessarily a rule. This is composer’s creative freedom to
design. These progressions have defined genres such as rock ‘n’ roll, Motown, rhythm &
blues and punk. They can be defined as patterns.
If a song has a rhythm section, this would be it’s backbone. The percussion and the bass
tend to provide a groove for a song. Some composers are masters of finding the right
groove that a vast number of people get hooked on. One of the most known groove
masters is the hit maker Nile Rodgers. Apart from being the guitarist and composer
(alongside the bass player Bernard Edwards) for disco band Chic, Rodgers has been the
magician producer behind some of the worlds top hits and albums from variety of artists
such as David Bowie, David Lee Roth, Bryan Ferry, Duran Duran, Madonna, Jeff Beck and
many others.
His band Chic had a worldwide success in defining the Disco genre and by having
continuous hit success. They all contain his signature groove and the way the songs
break down after chorus into simple instrumental melodies and then rebuild themselves
back again. This has proven (on the club dancefloors in the 70’s) to be something
audiences go crazy for.
The debate whether writing a successful hit comes down to words or the sounds and
beats seems an endless one. While some say there must be a balance, and others that it
depends on the song, some yet claim one is clearly more effective on us over the other.
(Zollo, 2008)
And finally, there are artists that come up with the whole arrangement for music and
lyrics and rhythm and pattern simultaneously, such as Michael Jackson. Most of the
world’s population have been familiar with and quite fond of the works of his genius.
Jackson possessed a unique and remarkable talent of hearing complete songs in his
head, even without any musical or songwriting training. “The lyrics, the strings, the
chords, everything comes at the moment like a gift that is put right into your head and
that's how I hear it”. (Jones, L. 2014) The listed song “Billy Jean” was just one of many
songs which he had a complete vision of in his mind, that came from somewhere up
above and just like Rodgers, Jackson songs are popular for their dominant groove.
34. 28
HOW WE HEAR MUSIC
In this section I look more deeply into how we react to music as humans. How our brain
behaves and responds to it, what music triggers off emotionally and how we are
predisposed to certain music preferences.
What is it that makes us attached to a certain song? Why do some songs feel as though
they know exactly how we feel, and we relate to them so strongly? And why does this
feeling about them not fade even after hearing them hundreds of times?
In our lifetime different subjects influence our music preferences. Biology, neurology,
self-identification (ID development), social groups and bigger view of the world and our
place in it, often reflected through nostalgia. To make things simpler, I have analysed
these influences in a linear, order, from (pre)birth to adulthood, because our cognitive
and emotional preferences can only be developed in a chronological order, one unable
to be independent of the previous one (even if we like to argue this to not be true, and
that our decisions are made solemnly by our current observations and thought)
INFANCY
Alexandra Lemont’s of Keele University conducted an experiment with mothers and
their babies in both prenatal and infant phase, as part of her study about musical
preferences in infants the study shows that babies at 1 year of age already have a
preference to music which they have been exposed to whilst in the womb after 20 or so
weeks, at which time their auditory system is fully developed.
Other studies by Trainor of McMaster University and Sarah Trehub, University of
Toronto, have shown that infants have the ability to recognise pitch and musical shapes
and patterns as well as timbre and tempo. This also includes recognition between a
pattern and time transposition. This is relevant because adults’ cognitive behaviour is
no different. These studies suggest we have a predisposed familiarity to music
35. 29
surrounding our environment, in other words culture. As far as melody and pitch goes,
some studies have shown that Western music seems to be preferred choice for infants,
regardless of their culture or race. Even though there are still more evidence being
collected to support these reports, perhaps this is related to infants’ preference of
consonance rather than dissonance in western music. According to Trehub (Levitin, D.
2006, p.229) “infants are more able to encode consonant intervals such as perfect fourth
and perfect fifth than dissonant ones, like the triton.” These are all elements of the
western major and minor scale. So how is this relevant to infants’ response and how we
are hearing music as adults?
Lets say that babies are open to interpretation when it comes to equal and unequal
steps of our major scale, in other words whole tones and semitones. They do not find
one more confusing than others, and for this reason “our brains and musical scales have
coevolved”(Levitin, D. 2006, p.229).
EARLY CHILDHOOD AND ADOLESCENCE
By the age of two, children begin to show association with music of their culture. As
they age, they begin to get bored of the simple songs with predictable chord
resolutions. By the age of 5, children would have formed parameters of song recognition
and would “have learnt to recognize chord progressions in the music of their culture –
they are forming schemas. We develop schemas for particular musical genres and
styles”. (Levitin, 2006, p.117)
Music played in their environment by their family or radio will begin to have an
influence on a child’s music taste.
However, the most important phase seem to be the teenager period. According to
Levitin (2006, p.231) “researchers point to the teen years as the turning point for
musical preferences.” Adolescent years are a stage where we go through self-discovery,
which includes how we connect ourselves to our world, raising questions such as who
am I? What do I like? What is my attitude? What do I think/feel about the world? What
does my social group like? Who/what do I identify with?
36. 30
With these questions we shift from prenatal and infant predispositions to music
preferences to external influences, which we associate with and to which we start
having an emotional response to. Emotions play a giant role at this stage as teens are
emotionally charged throughout this self-discovery period.
Many music labels and witty songwriters are well aware of this powerful influential
phase of young adults and therefore purposely write songs with which teenagers can
relate to, whether it is angst or looking for need to be understood and heard, in these
lonely teenager heads that nobody else seems to understand! Music genres such as
punk, new wave or heavy metal, which are very much so an attitude definition as well as
music type, have just like football clubs or certain lifestyle preferences, given people a
social group where they feel they belong, they feel a part of something that is united
and supported in numbers and most of all, related and understood by one another,
when the rest of the world does not (or so they feel). As Levitin points out in his book,
“we listen to the music that our friends listen to…we form bonds or social groups with
people who we want to be like, or whom we believe we have something in common.
Music…a vehicle for social bonding and social cohesion. Music and musical preferences
become a mark of personal and group identity and of distinction.” (2006, p.232)
ADULT LIFE
As we move from adolescence and the music that helped define the person, we shift
towards adulthood. From here on people will, naturally, always remain open to
influences to new music however, the music which has shaped them and which has
provided them company and definition of their identity and possibly given lifelong
friendships and most important memories, would have made the strongest imprint on
their preference. As Dylan shares his thought; “The melodies in my mind are
simple…they’re just based on music we’ve all heard growing up.” (Zollo, P. 2003, p.73)
Here is where the aspect of nostalgia begins to play the largest part. Also, as we grow
older, the more we look back into our young adult life. As popular music has existed as
such for only just over 60 years, there aren’t many generations and variables of music
ages since then. This is relevant as some decades and periods of music have had more of
37. 31
an impact capturing the zeitgeist of those eras. For example John Lennon’s “Imagine” or
Marvin Gaye’s “Whats’s going on” encapsulating the times and troubles of society
during the repercussions of Vietnam War or punk rock as an anti government revolt and
response to Thatcher Britain. It must be noted however, that many of these socio-
political “souvenirs” of certain era never made top-charting success worldwide simply
because the power is in the lyrics, and not everyone understands English.
But if the popularity of songs is weighed in the nostalgic aspect of a generation, this
would mean after these generations have passed, so will the interest in the songs. Yes
this is not the case. Some songs remain hits no matter when and by what generation
they are heard. So what is it that makes them popular across the board?
In the next chapter I have listed responses of some songwriters and producers to the big
questions, such as what makes a song an everlasting success and where does the
creation come from?
WORDS FROM THE CREATORS; WHERE DOES “IT” COME FROM
VIEWS ON THOUGHT CONTROL
John Lennon: “It's like abstract art really. It's just the same really. It's just that when you
have to think about it to write it, it just means that you laboured at it. But when you
just say it, man, you know you're saying it, it's a continuous flow. The same as when
you're recording or just playing, you come out of a thing and you know "I've been there"
and it was nothing, it was just pure, and that's what we're looking for all the time,
really.”
(Cott, J. 1968)
Paul Simon: “I don’t consciously think about what a song should say. In fact, I
consciously try not to think about what a song should say. You want your mind to
38. 32
wander. As soon as your mind knows… it’s supposed to produce some lines, either it
doesn’t or it produces things that are very predictable. And that’s why I say I’m not
interested in writing something that I thought about. I’m interesting in discovering
where my mind wants to go, or what object it wants to pick up. It always picks up on
something true.” (Zollo, P. 2003, p.95)
Bob Dylan: “Throwing yourself into a situation that would demand a response is like
using bait. People who write about stuff that hasn’t really happened to them are
inclined to do that… motivation is something you never know behind any song, really.
Its nice to be able to put yourself in an environment where you can completely accept
all the unconscious stuff that comes to you from your inner workings of your mind. You
have to be able to get the thoughts out of your mind….and you have to be able to sort
them out, if you want to be a songwriter. You must get rid of all that baggage.” (Zollo, P.
2003, p.72)
VIEWS ON HIGHER POWERS
Carole King: “That song wrote itself. It was written by something outside of myself
though me…that song is one of the examples of that process where it was almost
completely written by inspiration and very little of any perspiration”
Zollo: Does that give you the feeling that these songs come from beyond you?
Carole King: “Absolutely.” (Zollo, P. 2003, p.143)
Michael Jackson: “"The songwriting process is something very difficult to explain,
because it's very spiritual. You really have it in the hands of God, and it's as if its been
written already - that's the real truth. As if its been written in its entirety before were
born and you're just really the source through which the song come. Really. Because
they just fall right into your lap in it's entirety. You don't have to do much thinking about
it. And I feel guilty having to put my name, sometimes, on the songs that I - I do write
them - I compose them, I write them, I do the scoring, I do the lyrics, I do the melodies
but still, it's a...it's a work of God." (Kory, A. 2013, p.98)
39. 33
David Byrne: I tend to believe that it comes from something within myself. But I comes
from the collective unconscious, from a part of myself that’s also very similar to other
people, so it becomes a part of myself that’s no longer me. It’s not I any longer. It
doesn’t reflect my petty concerns or desires or problems. Its tapping into something
universal.” (Zollo, P. 2003, p.496)
Leonard Cohen: “If I knew where the goods songs came from, I’d go there more often.
It’s a mysterious condition. It’s much like the life of a Catholic nun. You’re married to a
mystery.” (Zollo, P. 2003, p.335)
Madonna: “I don’t remember the name of my first song but I do remember the feeling
that I had when I wrote it. And it just came out of me. I don’t know how. It was like
somebody possessed me. And then after that, they just kind of gushed out of me.”
“I wait for inspiration”. (Zollo, P. 2003, p.616)
VIEWS ON DISCIPLINE VERSUS INSPIRATION
Leonard Cohen: “To be able to find that song that I can be interested in takes many
versions and it takes a lot of uncovering. My immediate realm of thought is bureaucratic
and like a traffic jam. So to find that song, that urgent song, takes a lot of versions and a
lot of work and a lot of sweat. One is distracted by this notion that there is such a thing
as inspiration, that it comes fast and easy. And some people are graced by that style. I’m
not.” (Zollo, P. 2003, p.332)
Zollo: Are you a writer who will work on songs on a daily basis, regardless of whether
you’re feeling inspired?
David Byrne: Yes. I still think you have to wait for the inspiration, but unless you’re
there, waiting at the bus stop, you ain’t gonna get on the bus. I find that you have to get
into the mode and hope that something comes. It doesn’t always.” (Zollo, P. 2003,
p.501)
41. 35
our consciousness. Instead, it is something that stays, enters an ongoing musical
conversation. Something that is refers to over again and has a cultural currency to it.
D.D: Its hard to define it, because there are some hits with 4 chords, some hits with 8
chords, that don’t really have a hooky chorus but have a hooky riff, but there is always
something - one element, a certain something that just sticks in your head, and grabs
you straight away. That is the common denominator, but that can come in various
forms. That can be a vocal hook, an instrumental hook. I would say, more often that not,
it’s a very good melody.
T.T: Is there a difference between a listener’s and producers point of view when it comes
to defining the meaning of the word “HIT”?
C.E: In some cases yes, in some cases no. some producers are very money driven. So
their definition of a hit would depend on did it bring a pay check. Some are more driven
by other things. Some can afford it; have had previous success and are not worried
about it. For others, it feels very accidental when they end up with a hit.
D.D: actually I don’t think there is a difference because good producers should be good
listeners, and in actual fact, those two things are the same. The way producers create a
track should be from a listener’s point of view. So the two things go hand in hand.
T.T: What about influence of labels and marketing?
C.E: There’s plenty of great sounds out there that I’m sure nobody has ever heard. I
mean they’re reissuing soul stuff from the 60’s and 70’s constantly. It’s like a bottomless
well of amazing songs. Why weren’t these hits and others were? It’s certainly not the
quality of songwriting. It’s certainly not the quality of production. It’s certainly not the
quality of the vocal track. There’s other elements hear that really have nothing to do
with the chemistry in the studio or the song.
T.T: Relevance on song structure: lyrics, melody, arrangements. Would you say that one
of these things is more important than another (when it comes to success of a hit)?
43. 37
POWERS OF THE MUSIC INDUSTRY
The beginning of 20th
century created a whole new industry in music based on making
records that will sell. Tin Pan Alley in New York was the centre point of that industry,
since the late 1800’s. The businessmen and entrepreneurs saw money in numbers and
went forward to follow schemes of successful hits. Same as in Vaudeville and Tin Pan
Alley. As mentioned in the history of popular music, Tin Pan Alley was in a way a club of
songwriters and publishers. First it was songs written for live performances and
theatres, then it became apparent that ballads were popular. Eventually came rock ‘n’
roll in 1950’s which saw a sudden emergence of producers all over Midwest US as well
as Southern US, set out to make the next big rock ‘n’ roll record. And it was easier back
then. Nothing like it ever existed before, and there was a handful of songwriters and
producers who made hit after hit.
Rock ‘n’ roll songs were focused on teens and Aldon Music Publishing, at the famous
Brill Building in Manhattan was focusing on exactly that. Youth dictate what is popular.
Youth is where the money is and music business orientated the songs for teenager life.
Brill Building was the Tin Pan Alley of rock ‘n’ roll, which contained an astronomical 165
music businesses. From songwriters and arrangers, to publishers, promoters and
performers, including studio facilities. “A classic model of vertical integration.”
(http://www.history-of-rock.com/brill_building.htm)
The Brill building was a production line of popular music. Interestingly enough and not
all that surprising, many songwriters such as Burt Bacharach, Laura Nyro and Carole King
eventually became performers of their own, more personal work, looking for freedom
of creative expression.
The story of Tin Pan Alley and the Brill Building are examples of music business seeing
the profitable future. There were creative hot spots for different music waves. 50’s
Motown in Detroit, 60’s soul at Muscle Shoals, 70’s Disco in New York, and punk rock in
London, 80’s electro-synth-pop in Germany etc. and all this locations catered for
production of the same music. Where there is demand, there is opportunity for
production and profit.
The downfall is that styles of any art form tend to pass. And with the record labels now
having the last word, especially after 1970’s, there had to be a way to keep consumers
interested in the much invested product. Firstly, there was the pressure to create a hit
44. 38
single. This means, hits did not happen by chance, but by plan. As the successful
songwriter/publisher Phil Thornalley recalls from his early days in the late 70’s, “It didn't
matter who the artists were, they could be like a pop band or a credible band… all that
mattered was that they had a hit single, because if they didn't have a hit single, there
wouldn't be another album. These days I think everyone considers that normal, but back
then it was considered a bit brutal.” (Flinner, A. 2015)
The hard fact to bear is that much of the music industry facts which are given to us, and
which have painted a picture of popular music demand is, for the major part of it, rather
false.
A few eye openers have emerged in recent years, depicting the real face of music
business and how statistics and facts are handled. An award winning record producer,
who has, under the pen name Moses Avalon, written the important “Confessions of a
record producer” book, is one of few who shed a light on this hidden treasure.
Radio plays, record sales and song charts are as reliable as a word of mouth. And
although, thanks to companies such as SoundScan, it has been more transparent to
follow record sales, it is fascinating the loopholes cleverly created to keep certain
records on top.
These days we have streaming sites and user-generated content platforms such as
Youtube, which could be dubbed “label-generated content”, as little as we know. If
number of clicks or chart position will spark up interest and generate sales, they will be
involved. As Moses writes in his book, “I think it would shock the average person to learn
that until 1991 the Billboard chart had nothing to do with actual record sales or even
airplay!” (Moses, A. 1998, p.92)
So, looking back into these times before 90’s (as my 21 Hit List) in this example,
Billboard were not able to track record sales by actual sales, but instead by shipping
invoices of record companies. However, the many records were returned, and therefore
this is no way an accurate number. It also does not help that the personnel handling the
goods and writing invoices were also corrupt.
Apart from controlling the numbers, music industry is very aware on how to play mind
games. Or at least try. One of examples of this is controlling airplay. The way a record
company gets to have a song on the radio is by nothing less than legal corruption.
Airplay is advertising. Promotion. They would pay a lot of money to get a song on the
radio on repeat but a small percentage then goes to the songwriter, and eventually back
45. 39
into the record companies’ pocket. And, of course, the advertising (airplay) does the
rest.
Label would hire promoters who were excellent salesmen with great persuasion skills
and…money. There is a story of promoter making sure the station manager played a
record which would ensure to be a big hit. “If he heard an envelope sliding around the
sleeve of an album, he would reply, “This sounds like a great record””. (Moses, A.1998,
p.96) The sound of money.
There is an aggressive philosophy behind this, suggesting that a song will we played
enough times until the listeners learn to like it, same as “if the song is on the charts it
might persuade people to buy the record”. (Moses, A. 1998, p.93)
46. 40
SO… UNEXPLAINED PHENOMENA OR A FORMULATED PROCESS?
“The ultimate illusion in music is the illusion of structure and form. There is nothing in
the sequence of notes themselves that creates the rich emotional association we have
with the music. Our ability to make sense of music depends on our experience.
Just how this structure leads us to experience emotional reactions is part of the mystery
of music” (Levitin, D. 2006, p.109)
There are still unanswered questions on a scientific, neurological level as to why certain
songs move us, regardless of our age, era or geographical location. Perhaps some
songwriters have figured out the formula, and how it works on a simple biochemical
level to which we respond sensually and emotionally. Perhaps it is precisely the not
knowing, even from the artists themselves, where the creation of the song comes from,
which makes it magical. And perhaps it comes down to unique chemistry between all
people that have crossed paths and worked on a record. Or maybe the record industry is
very successful in brainwashing our judgement by force-feeding our ears certain songs.
The answer is subjective to the record. We must be true to ourselves and question why
we feel about a certain song the way we feel. Should we dislike it if we discover it was
contrived to be a hit, or should we pay more attention to a less liked song because we
have learnt the beautiful sincerity of its roots.
When I first started this research, and throughout the majority of it, I was convinced
that what makes a hit an unforgettable one is precisely the sincerity, the truth, if it
speaks from the heart. People somehow have a way of connecting to art of others,
which is sincere. We have a built-in antenna for empathy. However, the more I studied, I
have learnt to accept that as well as getting addicted to a song because it moves me on
a personal level and I can feel as if I am having an intimate conversation with the artist, I
can also be moved by great sounding production, exquisitely arranged rhythms, timbres,
depth and width of sound in space it is mixed in, on a neurological level which would
take me to a euphoric state, over and over, no matter how many times I heard it. One
can trick you into the other. Music can manipulate us into emotions triggered from
different directions than we think. “Most contemporary recordings are filled with type of
auditory illusion. Our brains use cues about the spectrum of the sound and type of
47. 41
echoes to tell us about the auditory world around us… Recording engineers have learnt
to mimic those cues to imbue recordings with a real-world, lifelike quality. Recording
engineers and musicians have learned to create special effects that tickle our brains."
(Levitin,2006)
It is important who we are as individuals. Some people are more inclined towards
poetry and therefore would have a stronger response for songwriters with profound
story telling and poetic skills. Others, like myself, are mostly moved by chord
progressions, harmonies and most of all the key the song is written in, as well as tempo
and groove of a rhythm section.
Neuroscientists say skilled composers know how to keep us engaged with a same song
over years and years just by “setting up and manipulating our expectations” with a
composition. And it does not matter how many times we have heard the piece, it will
still hold our curiosity and attention.
Whether a mass number of the world’s population go crazy over a certain song decades
later which was formulated, or came to be by an unexplained phenomena might not be
as fascinating as the fact that whichever it is, we as people, across the globe, most react
to music in the same way. The fact that a certain song can become and remain a hit by
having millions of fans, tells something about the phenomena of human behaviour and
emotional connection.
48. 42
APPENDIX A - Interview With Chris Eckman
The interview was semi – structured, conducted over Skype and recorded via Skype
recording feature. It was over one hour long, however I have transcribed and edited
segments, which are relevant to my thesis, excluding off topic conversations.
APPENDIX B – Interview With Dario Dendi
This interview was conducted in London in a casual manner. It has been recorded on my
mobile device and transcribed. As above, much of the conversation drifted off top,
hence I edited and selected parts of the interview relevant to my top.
Although the interviews were done separately, they followed the same question flow,
therefore this section in the project is written in such nature.
49. 43
REFERENCES
• Antlitz, K (no date) “The Sound Of Silence And The Silence Of Sound: On Having Ears
To Hear” [Online] Available at: http://www.transpositions.co.uk/the-sound-of-
silence-and-the-silence-of-sound-on-having-ears-to-hear/ Accessed: 28 August 2015)
• Billboard (2011) “500 Greatest Songs Of All Time; Jerry Lewis Great Balls Of Fire”
[Online]
Available at: http://www.rollingstone.com/music/lists/the-500-greatest-songs-of-all-
time-20110407/jerry-lee-lewis-great-balls-of-fire-20110526#ixzz3no2MBIra
(Accessed: 17 August 2015)
• Buskin, R (2012) Classic Tracks – The Real Story Behind 68 Seminal Recordings.
London: Sample Magic
• Clarke, D. (2013) The Rise And Fall of Popular Music. 2nd
edn. UK: Penguin Books Ltd
• Cott, J. (1968) “John Lennon: The Rolling Stone Interview” [Online]
Available at: http://www.rollingstone.com/music/news/john-lennon-the-rolling-
stone-interview-19681123#ixzz3ntrhySfQ
(Accessed: 05 October 2015)
• Flinner, A (2015) “Phil Tornalley”, interview with Phil Thornalley,
Available at: http://www.songfacts.com/blog/interviews/phil_thornalley/
(Accessed: 05 October 2015)
• Huey, S (no date) “Piece Of Mind” Review of Piece Of Mind, by Iron Maiden, AllMusic
[Online] Available at: http://www.allmusic.com/album/piece-of-mind-
mw0000045853
(Accessed: 26 September 2015)
• Jones, L (2014) “The Incredible Way Michael Jackson Wrote Music” NME [Online]
Available at: http://www.nme.com/blogs/nme-blogs/the-incredible-way-michael-
jackson-wrote-music#5d6O1wDcRst8E4Jv.99
(Accessed: 01 October, 2015)
• Kory, A (2013) “Michael Jackson Interviews” US: www.lulu.com (ISBN 1291401776,
9781291401776)
• Law, J (2013) “Let’s Dance”, in Dimney R. 1001 Songs You Must Hear Before You Die.
2nd
edn. London: Octopus Group Ltd. p.522
50. 44
• Lynch, Joe (2015) “The Rolling Stones Release '(I Can't Get No) Satisfaction' Lyric
Video: Exclusive” [Online]
Available at: http://www.billboard.com/articles/news/6620365/rolling-stones-i-cant-
get-no-satisfaction-lyric-video-exclusive (Accessed: 28 August 2015)
• Mastropolo, F. (2015) “51 Years Ago: Simon & Garfunkel Record Their First Classic,
‘The Sounds of Silence’” [Online]
Available at: http://ultimateclassicrock.com/simon-garfunkel-sounds-of-
silence/?trackback=tsmclip (Accessed: 28 August 2015)
• Moses, A (1998) Confessions Of A Record Producer. San Francisco: Miller Freeman
Books
• Service, T. (2009) “Bohemian Rhapsody: Mamma, we've killed a song” The Guardian
[Online] Available at: http://www.theguardian.com/music/2009/dec/08/bohemian-
rhapsody-karaoke-hit (Accessed: 28 August 2015)
• Super Seventies Rock Site (2000) "The Pop 100: The Greatest Pop Songs of the
Seventies" [Online]
Available at: http://www.superseventies.com/pop100.html
(Accessed: 1 August 2015)
• Trust, G. (2013) “Ask Billboard: How Does The Hot 100 Work?” [Online]
Available at: http://www.billboard.com/articles/columns/ask-billboard/5740625/ask-
billboard-how-does-the-hot-100-work
(Accessed: 10 August 2015)
• Zollo, P (2003) Songwriters On Songwriting. 4th
edn. US: Da Capo Press
51. 45
BIBLIOGRAPHY
• Antlitz, K (no date) “The Sound Of Silence And The Silence Of Sound: On Having Ears
To Hear” [Online] Available at: http://www.transpositions.co.uk/the-sound-of-
silence-and-the-silence-of-sound-on-having-ears-to-hear/ Accessed: 28 August 2015)
• Billboard (2011) “500 Greatest Songs Of All Time; Jerry Lewis Great Balls Of Fire”
[Online]
Available at: http://www.rollingstone.com/music/lists/the-500-greatest-songs-of-all-
time-20110407/jerry-lee-lewis-great-balls-of-fire-20110526#ixzz3no2MBIra
(Accessed: 17 August 2015)
• Billboard (2011) “500 Greatest Songs Of All Time; The Rolling Stones, ‘(I Can’t Get No)
Satisfaction’ [Online]
Available at: http://www.rollingstone.com/music/lists/the-500-greatest-songs-of-all-
time-20110407/the-rolling-stones-i-cant-get-no-satisfaction-20110516 (Accessed: 28
August 2015)
• Brown, M (2013) “Deep Soul: How Muscle Shoals Became Music’s most unlikely hit
factory” The Telegraph [Online]
Available at: http://s.telegraph.co.uk/graphics/projects/muscle-shoals/index.html
Accessed: 20 September 2015)
• Business Standard (2014) “Abba's 'Dancing Queen' voted Britain's best 'floorfiller'”
[Online] Available at: http://www.business-standard.com/article/news-ani/abba-s-
dancing-queen-voted-britain-s-best-floorfiller-114103100215_1.html#
(Accessed: 29 September 2015)
• Buskin, R (2012) Classic Tracks – The Real Story Behind 68 Seminal Recordings.
London: Sample Magic
• Classic Albums: Deep Purple – The Making Of Machine Head (2002)
Directed by Matthew Longfellow [DVD]. UK: Isis Productions/Eagle Rock
Entertainment
• Clarke, D. (2013) The Rise And Fall of Popular Music. 2nd
edn. UK: Penguin Books Ltd
