You’re Not Entitled to That Title!
Background: In my last blog, we talked about taking a title from a book. In this blog, we’re going to look at the taking a previously existing song title and writing your own song with the same title. Ideas for songs are available for copyright, but song titles are fair game – as long as you take it in a different direction than its predecessor. On that note, there are thousands of songs called “Home” and thousands more called “Stay”. There are thousands of songs with Memphis in the title, and although some are worth talking about, I will not be covering those in this blog, instead focusing on relatively uncommon song titles and the two directions in which they went. My hope is to inspire you to come up with a third direction!
1A. “Teenage Dream” by Katy Perry
Lyrically: It might be just me, but whenever I look at wedding photos, it feels like the bride and groom have very unnatural-looking smiles on their faces. But that’s exactly the energy behind “Teenage Dream” by Katy Perry. Similar to Big Star’s “Thirteen,” which we will discuss in a later blog, there’s an appropriate child-like innocence to discovering love for the first time, and being spontaneous enough to live in the moment, while being naive enough to think it could last forever. I mentioned earlier about the wedding photo, and much of the first verse deals with a lot of stuff you hear about in the honeymoon stage of a marriage: “You think I’m pretty without any makeup on, you think I’m funny, when I tell the punchline wrong,” The pre-chorus says, “Let’s go all the way tonight,” and the chorus furthers that plea, saying, “You make me feel like I’m living a teenage dream” and the second verse talks about a road trip to California, where they got drunk on the beach. The simplicity of the lyrics matches the narrator being so young and wanting to stay young forever.
Melodically: The song uses Bb, F, Eb, Bb, F, and Bb, followed by Ebmaj7 and F, played four times to close out the verse. The Ebmaj7 and F chords also begin the pre-chorus, and get played through four times, and those same chords are played through 9 times in the chorus. With the song in Bb major, the verses use a I, V, IV, I, V, I, IV, V pattern, and the pre-chorus and chorus alternate between the IV and V chords, as does the bridge. Instrumentally, the song uses two different guitars, including a distorted one in the chorus, as well as drums and other programming.
Structurally: The song uses a verse, pre-chorus, chorus, verse, pre-chorus, chorus, bridge, chorus format. Notably, the first part of the verses use a V to IV walkdown and they end on a walk up from IV to V and are used in various parts of the song to convey various runs. For example, in the first verse, she mentions how he’ll forever be her valentine, as she walks from the IV to the V, while in the pre-chorus, she says, “Let’s go all the way tonight.” There’s a difference in her vocal delivery, that makes her go from sweet-sounding to urgent in the pre-chorus, before declaring how he makes her feel in the chorus.
“Teenage Dream” by Katy Perry is embedded below.
1B. “Teenage Dream” by Olivia Rodrigo
Lyrically: Upon deeper reflection, both Katy Perry and Olivia Rodrigo’s “Teenage Dream” are technically about expressing independence and making mistakes, Olivia’s version takes the title a step deeper in self-reflecting on how maybe that’s not such a good thing. She takes a similar approach to Dylan’s “Blowin’ in the Wind” in asking a bunch of questions she doesn’t have the answer to, such as “When am I gonna stop being wise beyond my years and just start being wise?” and in the second verse, “When are all my excuses of learning my lessons gonna start to feel sad?” In the chorus, she says, “I’ll blow out the candles, happy birthday to me. Got your whole life ahead of you, you’re only nineteen. But I’m sorry you’ve already seen all the best parts of me. I’m sorry that I could not be your teenage dream.” In other words, everyone around her has all these expectations for her to be this wise person for her age, but in reality, it’s just an act, because she’s having all these doubts about herself. This culminates in the coda where she sings, “They all say that it gets better, it gets better the more you grow, yeah they all say that it gets better, it gets better but what if I don’t?” The first track on Guts is called “All American Bi*ch” and in it, she talks about all the contrasts she’s expected to have (like being grateful when she cries, light as a feather and stiff as a board), and “Teenage Dream” is basically an apology for not living up to all the high expectations people had for her, due to the mistakes she made throughout the song themes on the album. And while much of Guts is spent living out what she thinks is a teenage dream (similar to the one discussed in the Katy Perry song), her come down to reality is explored in this song, and every time I hear it, I just want to give her a hug and tell her it’s going to be alright.
Melodically: The song is written in C major, and the main instrument is piano. For the intro, she uses G6, Am7, and F, a V, vi, IV pattern that gets played twice. The chorus then uses C, Am7, and F (with the F6 and Fmaj7 extensions used after the F each time after the first go around). This is a I, vi, IV pattern. The chorus then uses Em, F, C, as well as Dm and Fm (with the Emaug and Fm6 chords thrown in for flair). This is a iii, IV, I, ii, iv pattern. The coda uses C, Em, F/C, and Fm, a I, iii, IV, iv pattern that gets played four times, before ending on an outro of C, C/B, Am, and Ab (a I, vi, bVI pattern). In addition to the piano, there is bass and electric guitar, as well as cello.
Olivia Rodrigo’s “Teenage Dream” is embedded below.
1A. “Dead Flowers” by The Rolling Stones
Lyrically: “Dead Flowers” deals with the end of a relationship, as the narrator encourages his ex-girlfriend (or possibly current girlfriend who he just caught cheating), to send him dead flowers, as a symbol of their relationship. This is sung after it’s revealed in the first verse that she was talking to “Some rich folk that (she knows).” There are two uses of the title that strike me as particularly interesting. First, there’s the assertion in the chorus that she should send him dead flowers at his wedding. Of course, the flowers at weddings are normally in full bloom, representing life, rejuvenation, and all that crap, but here, it’s clear how the ex feels about the narrator, and he wants to stay consistent: don’t pretend you care about me, keep showing your true feelings, and clearly the narrator is broken up about it too, saying, “I’ll be in my basement with a needle and a spoon,” no doubt, so depressed that he’s taking up sewing. So when this person who broke his heart finally dies, he’ll return the favor and put dead flowers on her grave.
Melodically: The song uses D, A, and G in the intro and verses, with a Dsus2 thrown into the intro before the initial D chord. With the song written in D major, this is a I, V, IV pattern (interestingly also used in Katy Perry’s “Teenage Dream,” albeit in a different key). The pre-chorus uses A and D, the V and I chords, while the chorus uses G and D (with some Dsus4 and Dsus2 extensions played too), before ending on G, A, and D. This is a IV, I, IV, V, I pattern. Instrumentally, the song contains acoustic and electric guitar, as well as drums and bass. This is a Rolling Stones song that like “Wild Horses,” “Angie,” and “Country Honk,” and “Girl with Far Away Eyes” can be credited to the Stones’ involvement with Graham Parsons, who influenced them to experiment with country and the California Sound.
Structurally: The song contains a verse, pre-chorus, chorus, verse, pre-chorus, chorus, solo, pre-chorus, chorus format. Similar to many songs we have looked at, every bit of information necessary for us as listeners has been revealed after two verses, so adding in a bridge is unnecessary. But adding the pre-chorus back in after the chorus builds up that tension, while also feeling familiar and works very well. The contrast while she’s in a Cadillac and he’s in his basement is a very cool choice, and as the verses progress, we can see the regression of the narrator. It’s just the right amount of regression shown without getting over the top dark.
The Rolling Stones’ “Dead Flowers” is embedded below.
2B. “Dead Flowers” by Miranda Lambert
Lyrically: In Miranda Lambert’s take on this title, she immediately differentiates by her explicit mention of blooming flowers at the beginning of the relationship, as well as comparing herself (rather than the relationship as a whole) to the flowers. Her ex once told her she looked pretty, just like the flowers looked pretty. She then begins to mix similes by saying she feels like Christmas lights in January. Like the dead flowers, until you take them out, they’ll just sit there not doing anything (just like the relationship). As she drives away, the lights aren’t on, the flowers are still dead, and he doesn’t even notice – even through a hurricane and rainy days, he still thinks the weather (the relationship) is nice.
Melodically: The song is written in E major with the capo on the second fret. She alternates between the E and the A on guitar for the verses, which is a I, IV pattern. The chorus starts off on E and A, followed by Bm, B, A, and E (a I, IV, v, V, IV, I pattern). Instrumentally, it uses guitar, steel pedal, drums, and bass.
Structurally: The song uses a verse, chorus, verse, chorus, verse, chorus format. The first verse is twice as long as the second, and after the last chorus, she keeps repeating “Like dead flowers” until the song fades out. Mixed metaphors don’t alway work in songs, but they do incredibly well here. Using only the flower metaphor would have also been dead like the flowers, had she done that, but the use of the lights gives it an added kick, and as she’s driving away, she sees everything that doesn’t work – so the dead flowers were a microcosm of the rest of the things going wrong. I also love the visual of a rearview mirror in a song and it gives us a good visual as listeners to have that be the last thing discussed in the verses.
3A. “Save it For a Rainy Day” by the Jayhawks
Lyrically: “Save it For a Rainy Day '' is a song about not getting too bogged down by the sad times in life, being able to ask for help, and saving your sadness for when everything is coming crashing down. The narrator encourages the other character, Marina, to not look so sad, because “There’s another part to play.” But in the verses, the narrator paints the picture of someone whose “Pretty little hairdo don’t do what it used to,” before eventually concluding that “The burden that you carry is more than one soul should ever bear.” The second verse is one of those sets of lyrics that you just have to quote in its entirety to get the full feel: “You never make your mind up, like driving with your eyes shut. Rough around the edges, hopin’ someone will take you home. Waiting for a breakthrough, what will you set your mind to? We stood outside the Chinese restaurant in the Rain.” I love the visual of driving with your eyes shut, and I think a lot of Memphis drivers probably do that. But the last few lines, about waiting for a breakthrough and standing outside the Chinese restaurant in the rain, are a couple of my favorites. It feels like the Chinese restaurant line is kind of a non-sequitur, but when you’re waiting for a table at a restaurant, especially in the rain, it kind of feels like you’re waiting for a breakthrough as well. (Seinfeld spent a whole episode on this concept, so the Jayhawks are in good company).
Melodically: The song is written in the key of B major, and played with the capo on the fourth fret. The verses use B, C#m, E, and B, which is a I, ii, IV, I pattern. The chorus uses C#m, C, B, and F#, followed by Am, E, G#m, C#m, E, and B, which is a ii, II, I, V, vi, ii, IV, I progression. In addition to guitar, the song contains a harmonica solo. Also of note, the Jayhawks were crucial to the development of the alternative country sound that dominated many circles in the 90s, and although this song was released in 2003, there are still twinges of that sound that make it incredibly unique.
Structurally: The song uses a verse, chorus, verse, chorus, solo, chorus format. The relatively simple format of the narrative (again, getting out all the horrible things this person has gone through in the first two verses), allows for a bridge to be unnecessary and a smooth transition from the solo back into the chorus, a reminder that Marina should save her sadness for a rainy day.
The Jayhawks’ “Save it For a Rainy Day” is embedded below.
3B. “Save it For a Rainy Day” by Kenny Chesney
Lyrically: Kenny Chesney, true to his escapism brand, takes this opportunity to talk about a relationship gone wrong. He realizes that he could bemoan the fact that this person is no longer in his life, but then he realizes it’s too nice outside to not be out on his boat, also realizing that the beer is too cold for him to not drink it. He eventually concludes that he should save his sadness for a rainy day, when it’s okay to feel sad along with the weather. He concludes in the final verse that “There’ll be plenty of time for what ifs and whys and how I let you get away. But the lying in bed all stuck in my head is just gonna have to wait.” I relate to this escapism tune a little more than some of his other ones, because it has to do with relationships rather than the stresses of work or the world in general (though I love his “Beer in Mexico” and Fountains of Wayne’s “Mexican Wine” too, so don’t get me wrong there). It’s just a fun song.
Melodically: The song uses G, Em, and D, and C, D, and G throughout the intro and verses. With the song written in G major, this is a I, vi, V, IV, V, I pattern. The chorus then uses G, C, G, D, G, C, G, and C, D, G, before ending on G, Em, C, D, and G. This is a I, IV, I, V, I, IV, I, IV, V, I pattern, followed by a I, vi, IV, V, I pattern. The solo uses C, G, D, and G, which is a IV, I, V, I pattern. Instrumentally, the song contains electric and acoustic guitar, as well as mandolin and organ.
Structurally: The song uses a verse, chorus, verse, chorus, solo, verse, chorus pattern. The last verse is interesting, because as you glance at the lyrics without any vocals, it actually could function as a bridge. It takes you to that different place of the things you have to deal with once you’re forced to go back to reality, and would have transitioned nicely back into the chorus. But it still works very well as a verse, and that’s worth noting as you’re writing–maybe you can move parts of your song around and call it something else, while still getting the same message across.
Kenny Chesney’s “Save it For a Rainy Day” is embedded below.
4A. “Return to Sender” by Elvis Presley
Lyrically: “Return to Sender” is a song about a person who keeps writing apology letters to a former flame, but each time he does, the letters keep coming back to him. There are some interesting lyric choices that add to the mystery behind the song, beyond what one might think while reading the title. Upon first glance, I would think the letter would be returned to him because she doesn’t live there anymore, but the phrase in the chorus that keeps getting repeated is “No such person, no such zone,” probably meaning that his love interest changed her name so he couldn’t find her, but also implies that wherever he thought she lived was actually all in his imagination. However, in the third verse, he becomes determined to get the letter to her in person to see what’s going on (telling her in the last chorus that “return to sender” is on the envelope and asking her why).
Melodically: The song is written in the key of Eb major and uses the chords Eb, Am, Dm7, and G7 for the intro and verses. However, each verse ends on the C, rather than the G7 from the intro. This is a I, iv, vii pattern, while ending on the III chord in the verses. The chorus then uses an F, G7 pattern, a II, III pattern that gets played three times, followed by C and C7 (variations on the VI chord) before returning to the F, G7 pattern once and ending on the D7 and G7 (the I and the III). Instrumentally, the song uses a saxophone, drums, and bass.
Structurally: The song uses a verse, chorus, verse, chorus, verse, chorus, format. Like many songs from the early days of rock ‘n’ roll, there’s a simplicity to the structure that doesn’t get too bogged down in the details. The musical counterpoint is interesting in this song, because there’s a resolve through the ending on the III chord, but the uncertainty of the lyrics (getting in touch with one’s ex) is anything but resolved.
Elvis’ “Return to Sender” is embedded below.
4B. “Return to Sender” by Alexis Jade
Lyrically: Alexis’ first song she ever recorded was written about a relationship that felt very one-sided. She wasn’t getting what she needed out of it, but couldn’t express that feeling in conversation. She compares herself to the mail her love interest has: “Just like the bills you refuse to pay, I’ll just sit, collect dust from another long day.” In one of my earlier blogs, I talked about metaphors, and mentioned how songwriters can sometimes get too caught up in the metaphor to say what they need to. In this song, Alexis does a great job of setting that scene, and lets us paint some of the rest of the picture. Sometimes I have a habit of letting envelopes pile up on my kitchen table or desk, and sometimes I’m just so tired from life that I’m unmotivated to file them anywhere or throw them away. So by the time she gets to the end of the chorus, “Too bad the truth is, no matter what you say, you’ve given up,” we can already see that in our heads without her having to tell us all the way she’s like those unopened envelopes. I also find it to be an interesting lyrical change from the beginning to the end of the song. At the beginning, she says, “I feel like a letter on your kitchen table. Return to sender written on the label.” At the end, she says “Return to sender scratched out on the label.” To me, when it’s written on the label, that’s the love interest in question not taking personal responsibility. When it’s scratched out, that means he’s actively trying to be better. I also want to point out as a stray observation, the use or lack thereof of rhyming in the chorus. There’s a standalone line that says, “There’s no golden ticket” and it goes back to what I was saying earlier about the importance of getting out what needs to be said and not being bogged down by structure or theme. Everything about the song flows very nicely, but the chorus has that little twist, while also having a line that lives rent-free in my head simply due to how it’s delivered (no pun intended): “Too bad the truth is, no matter what you say, you’ve given up.” Her vocal runs (how it’s sung), paired with what is sung is just masterfully done.
Melodically: The song is written in D Mixolydian and uses Cadd9 and G, while the verses use just the Cadd9. This is a bVII, IV pattern in the intro and just a bVII in the verses. The pre-chorus then uses Am and D (the v and I chords, forming a perfect cadence), while the chorus uses G, Am, C, and D (a IV, v, bVII, I pattern, played twice). The solo uses Em and Am, a ii, v pattern played twice, before ending on the C (the bVII), while the outro, a partial singing of the first verse again, goes back to the Cadd9 and G (the bVII and IV chords). Interestingly, Alexis was trying to play the G chord when she accidentally discovered the Cadd9, which she says is now a staple of her guitar playing. It fits super well in this song! Instrumentally, the song uses acoustic guitar, slide guitar, bass, and drums.
Structurally: The song uses a verse, pre-chorus, chorus, verse, pre-chorus, chorus, solo, chorus, ending format. Though Alexis had no idea about the Elvis tune of the same name when she wrote the song, she actually used a lot of the same structural choices Otis Blackwell and Winfield Scott did when writing the former. There’s a simplicity to the verses of just two lines, and there’s a tension that comes from the VII chord that lets us know this was a quick glimpse, but then flows perfectly into the perfect cadence mentioned above, while the chorus utilizes a plagal cadence (IV to I), that gives us a feeling of closure. The pre-chorus is a great choice in this song, both in terms of how it’s used and the chords in it. Coming out of the simplicity of the verses, the switch to a minor chord gives our ears something new while returning to the tonic chord immediately after, and utilizing the walk down from the VII chord in the verse to the V to the I in the pre-chorus is just fabulous.
Alexis Jade’s “Return to Sender” is embedded below.
In closing, I want to thank Alexis for her openness about the process behind this song. I had been thinking about doing a blog like this for awhile, and had “Teenage Dream” in mind. Then I heard Alexis do her song recently and explain about the Elvis song, and I was off and running. This blog’s objective is to make everyone reading it a better songwriter by figuring out what works about each song, and in writing about this song in particular, I could feel myself getting better as a writer, by seeing all the melodic, lyrical, and structural tricks she used in the song. I hope the same happens for you!
