L'importance des "slogans" et des paroles
Lesson time: (8min 8sec)
Course preview
This lesson is part of the course Décroche un contrat !
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Lesson transcript:
The Importance of Slogans in Songwriting
More than just the name of the artist or the band itself, it's crucial to discuss the significance of incorporating slogans into your songs. The ability to articulate thoughts through lyrics is essential.
Here's what to consider:
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Start with Basics:
- It doesn't begin with a computer.
- It doesn't start with buying Pro Tools 8.1 or Ableton.
- It starts with a piece of paper or possibly a notebook and a pencil.
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Inspiration from Everyday Speech:
- A person I greatly respect, Peter Waterman, achieved massive success using everyday sentences in his titles.
- Examples include:
- "I Could Be So Lucky"
- "Better the Devil You Know"
- Examples include:
- A person I greatly respect, Peter Waterman, achieved massive success using everyday sentences in his titles.
These are phrases that people commonly use. For a pop songwriter, crafting accessible music is often more challenging than creating complex tunes.
Advice for Aspiring Songwriters:
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Observe Public Conversation:
- I always advise students and aspiring songwriters to take public transportation.
- Get on the tube or the bus.
- Carry a notebook and a pencil to jot down what you hear.
- I always advise students and aspiring songwriters to take public transportation.
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Collect Slogans:
- Paying attention to what people say allows you to gather slogans.
- A slogan is something that resonates with people, that captures their imagination.
Creative Naming Techniques:
- Titles and headlines are clever if they spark people's imaginations.
For instance, I once signed an artist at Decca purely because of his name. He was a talented songwriter who wrote for others, even for Rihanna.
- When I first heard about him, I asked, "What's his name?"
- "Gary Go," was the reply.
- "What do you mean? Like, 'Go, Gary, Go?'"
- Yes, exactly!
His name intrigued me because it showed a twisted sense of humor. I wanted to meet him immediately.
Additionally, when he played me his song titled "I'm So," it highlighted his original approach. This enticed me as someone who was running the A&R department at Decca Records.
Understanding Market Dynamics:
- It's essential not to feel compelled to follow the market trends.
- Think differently than the market; if you follow it, the market may not embrace you.
- The age-old lesson: if they can have you, they don't want you; if they can't have you, they desire you.
This concept extends to how one manages offers from record companies.
Song Titles Matter:
- Avoid clich? titles like "I Love You Baby"; they've been done too often.
One of the most significant records to illustrate this point is Giorgio Moroder and Donna Summer's "I Feel Love."
- This track achieved immense success not just because of its innovative production but also due to its impactful slogan.
- No record at the time sounded like that: it featured root notes played on an early sequencer, layered with a beautiful gospel voice.
The contrast of the gospel voice against the robotic beats created a compelling dynamic.
The Power of a Catchy Title:
- The song isn't titled "I'm in Love" or "I've Been in Love." It's called "I Feel Love."
- This simple phrase is magnetic; it sticks in your mind.
With such a title, it implies freedom and exploration, resonating deeply with listeners.
In 1977 or 1978, when this record was released through independent labels like Hansa in Germany and Casablanca in the States, it would have likely confounded the mainstream A&R representatives of major labels at the time. They may have not understood its unique appeal.
Conclusion: Creating memorable music often requires stepping away from traditional norms and embracing originality in both lyrics and titles. Focus on what resonates with everyday listeners and strive to incorporate that understanding into your songwriting process.
About the instructor

Charlie a débuté dans l'industrie musicale en tant qu'avocat fraîchement diplômé, organisant des concerts en faisant venir des artistes comme Iggy Pop et Patti Smith devant un public universitaire italien radical. Après avoir travaillé au célèbre Record Plant NYC et s'être imprégné de la scène house, il forme les Rapino Brothers avec Marco Sabiu, s'installe à Londres en 1990 et ne regarde plus jamais en arrière. Là-bas, ils marquent la décennie de leur empreinte en produisant et en enregistrant des disques. Après leur premier succès avec Love Me The Right Way de Kym Mazelle, ils orchestrent le premier tube de Take That et produisent, mixent et peaufinent de nombreux grands noms de la pop dans les années 1990, de Kylie à Primal Scream. En 1997, Charlie est le producteur « à l'antenne » de « Get Your Act Together » sur la BBC, suivi de « Full Frontal » sur Channel 4. De 1999 à 2004, il est A&R Director chez Sony Music International. Son énergie ne faiblit jamais. Au fil des années, il a partagé son temps entre le conseil en management pour Ennio Morricone, le conseil pour le magazine Rolling Stone, le travail sur des bandes originales et le conseil en production pour le cinéma et les jeux vidéo (y compris convaincre Iggy Pop de faire les voix off du jeu vidéo Driver 3), ainsi que la signature et la gestion d'artistes via son label en coentreprise avec Sony, Stud Records. Dans Get signed!, Charlie lève le voile sur des décennies d'expérience en production et en A&R pour te montrer exactement ce que les labels recherchent, comment façonner et présenter ton projet, et ce qu'il faut réellement pour se faire remarquer et décrocher un contrat. read more




