Not Titling to a Hook
Background: When writing songs, we have a tendency to write the chorus or refrain around a memorable line, and then title the song after that line. Country music tends to say the title of the song once at the beginning of the chorus and once at the end, with it sometimes appearing in the first two verses before the chorus. And while this can help both the listener and the singer remember the song better, it’s not always necessary. In this blog, we will be talking about songs that are not titled around a hook, but rather the details surrounding it. This frees you up to rhyme however you need to, without getting bogged down by making the title as memorable as the hook.
“Black Dog” by Led Zeppelin
Lyrically: This song deals with the infatuation of a man with a woman and how she moves. It then details all the things he did to prove his love to her, like allowing her to take his money and his car, knowing she would be famous one day and return the favor. Also, the implication is that the things she does for him make it worth it to lose all that money to her. Again, the words “Black Dog” never appear in the lyrics, but the song was named after a dog that wandered into Headely Grange at Jimmy Page’s house, while recording what would become Led Zeppelin IV.
Melodically: The song is known for its call and response nature, with the call being Robert Plant’s a capella vocals, and the response being the rest of the band coming in. The main riff is in A blues-rock. The B part plays a second riff in A, but does a turnaround from A5 to C5 to A (I, III, I). The final section jumps from A major to an A mixolydian riff, to G5, D5, and back to A (VII, IV, I).
Structurally: There are ten verses of two lines each, in the aforementioned call and response format. After verse three, the chorus comes in, followed by two more verses and a bridge. Three more verses follow, then another chorus comes in. The song closes with two verses, a bridge, and an outro.
“Black Dog” is embedded below.
2. “Positively 4th Street” by Bob Dylan
Lyrically: I consider this song to be one of the first, if not the first, dis-track. The song follows the narrator as he tears apart a rival of his. There is much speculation as to who that may be, including an old bandmate and an ex-girlfriend, but whoever it is, he’s mad as can be. The gut punch comes at the very end when he says, “I wish that just one time I could stand in your shoes, and just for that one moment I could be you. Yes I wish that for just one time, you could stand in my shoes. Then you’d know what a drag it is to see you.” The brilliance of not using the title in the lyrics of the song is that there are many 4th streets in the United States. I loved this song, then I had a bad experience on 4th Street, and I loved the song even more. There is a 4th Street on the University of Minnesota campus, where Dylan went to college, and there is an East 4th Street in New York, which eventually turns into West 4th Street, where Greenwich Village is. Dylan used to play quite a bit in the Village, so the thought is it might refer to West, but the song is more about the transgressions than where they happened. Not even saying the name of the street allows our minds to wander and adds to Dylan’s mystique.
One final note about the lyrics: After Joni Mitchell heard this song for the first time, she said, “I didn’t know you could write songs like that.” As a writer, please don’t be afraid to say exactly what you mean, even if it’s bitter, like this one!
Melodically: The song is written in the key of F# maj, with the capo on the 4th fret. It utilizes the chords F#, G#m, B, and F#, (I, ii, IV, I) followed by F#, C#, B, D#m, and C# (I, V, IV, vi, V) in the first stanza. The second stanza follows the same pattern, except the third line throws in a B (IV) after the C# (V) in the third line. This pattern is followed for the entirety of the song. In the background, there is organ, which some critics have described as a carefree juxtaposition, due to the bitter nature of the lyrics.
Structurally: This song has six verses. Each verse has two stanzas. In each stanza, the last two lines of each stanza pair rhyme with each other. In addition, the second line of the first stanza in each verse rhymes with the second line of the second stanza in that corresponding verse. The exception to this pattern comes in the last verse.
“Positively 4th Street” is embedded below. If you don’t listen, you’ve got a lot of nerve.
3. “Hamoa Beach” by Gomez
Lyrically: This song deals with a failing relationship, and trying to talk some sense into the guy. Saying it’s better to be “with than without,” the guy chooses to stay and put up with whatever it is about her that drives him crazy. The chorus gives us a little more information, saying he doesn’t want this guy to fall victim to the same thing he did – which was fear of being alone. The third verse insinuates neglect within the relationship, with the guy content to let things fizzle out, or as the narrator puts it, “You sit and wait for another man to take your place,” but realizes that once he does that and he’s out of the picture, he’s going to feel a lot better. For reference, Hamoa Beach is in Hawaii, implying a place to relax, a worry-free state of mind. I’m not positive that’s where the title came from, but if it is, the subtlety is genius. So don’t be afraid! Just ignore her, and eventually your problem will be solved!
Melodically: This song is written in the key of B major. The intro is four bars over B major (I) with a neat wah wah guitar groove. The verse is also four bars over B with a G#m (vi) in over beats 3 and 4 of bar 3, back to B (I). Then transitions to C#m7, C#m, E, B (ii7, ii, IV, I). Then the song goes to an interesting chorus of C#, E, B, C#, E, B (II, IV, V, I, II, V I) progression. The use of the major II chord gives the chorus a happier feel than a regular (I, IV, V, I) progression.
Structurally: This song follows a verse, verse, chorus, verse, chorus, solo, verse, chorus format. The end of each verse has a pre-chorus feel to it, but since the verses are only two lines long without that, I still consider them to be part of the verses.
“Hamoa Beach” is embedded below.
4. “Iceberg” by Ben Dayton
Lyrically: Ben is the one who put the idea of not titling your songs to a hook into my head, many years before I started writing this blog. “Iceberg” is a great title to put this practice to use, because “just the tip of the iceberg” is a very cliched expression. Using this title, without lyrically alluding to that phrase, does wonders for the song as the listener. The song laments the things the narrator once did to a former lover–things he can’t let go of, things he should have said and done, centered around the hook, “I feel your pain, and I can’t forget.”
Melodically: Most of the song utilizes nothing more than an acoustic guitar and vocal, but after the solo, a distorted electric guitar comes in and plays throughout the last verse and chorus. There is also a haunting, siren-like echo that permeates throughout the intro and in between the verses of the song. This song is in Am and only has Am and F (i, VI) alternating throughout the song with dynamics distinguishing between the verses and chorusStructurally: This song follows a verse, chorus, verse, chorus, solo, verse, chorus, format. With the structure of the song as simple as it is, it allows for the siren sound in between verses to add an extra level of haunting. The verses are delivered in somewhat of a rambling manner, but still convey a calm delivery, which is contrasted with the booming chorus. When the distorted electric guitar comes in at the end, after the solo, it gives the song with the aforementioned structure just the emotional kick the listener needs.
Structurally: This song follows a verse, chorus, verse, chorus, solo, verse, chorus, format. With the structure of the song as simple as it is, it allows for the siren sound in between verses to add an extra level of haunting. The verses are delivered in somewhat of a rambling manner, but still convey a calm delivery, which is contrasted with the booming chorus. When the distorted electric guitar comes in at the end, after the solo, it gives the song with the aforementioned structure just the emotional kick the listener needs.
“Iceberg” is embedded below.
