where the rhyme needs to come into play. The trick, and there’s always a trick, is find the
right words that not only rhyme, but also make sense within the context of the song’s
concept. And, not all songs even need to rhyme. Breakfast at Tiffany’s doesn’t rhyme.
Neither does Strawberry Fields Forever. For that matter, 10,000 Maniac’s These Are
Days doesn’t have a chorus. Rules were meant to be broken, so it would seem.
What’s next?
A title is always a good idea. Several lyricists start with the title and go from there. For
others, the title becomes apparent after the song is completed or at least partially com-
pleted. Often, the sheer emotional value of the melody will help to determine a title. Give
this some time. In as much as it’s said that a book shouldn’t be judged by its cover, it of-
ten is and it’s reflected in the sales numbers. In a similar vein, the title of a song can help
sales. Does it immediately connect with an audience? Can they relate to it? Can they put
themselves into the title and, ultimately, the song? Bryan Admas’ Summer of ‘ 69 did that
for me. That was the time of my youthful follies, the girl I was totally in love with and all
the crazy nonsense my band mates and I managed to instigate. The rest of the song sim-
ply confirmed all that for me. For me, Summer of ’ 69 said it all. And to think, it started
out as the “B” side of a single. Other titles that captured me are Death Cab for Cutie’s I’ll
Follow You Into the Dark, Floyd’s Comfortably Numb and, at the time, Alice Cooper’s I’m
Eighteen. Now that you’ve had a brief tour into my warped psyche, let’s move on.
With a melody in hand and a title, it’s time to get to work. And, make no mistake, it is
work. Your lyrics need to be compelling, tell a story and work with the melody and com-