Book Em, Danno
Background: In my very first blog for MSA, I talked about a Bee Gees song called “For Whom the Bell Tolls.” This is one of two Bee Gees songs that shares a name with a Hemingway novel. This got me thinking: What other songs are out there that share a title with a book? In compiling this blog, I had two rules: Rule 1, the book cannot be a biography or autobiography about the singer or band member. Rule 2, the song does not necessarily have to have the exact similarities with the book. As I talked about in a previous blog, you can write a song about an existing literary character. Here, there are thematic similarities, but not necessarily a perfect match with the book’s characters and events. Though one does wonder if “War and Peace” would have been as successful, had it been published under its original name, “War, What is it Good For?”
“Islands in the Stream” by Dolly Parton and Kenny Rogers (written by Barry, Robin, and Maurice Gibb)
Background: Although we know the song in its current adult contemporary form, it was originally written in an R&B style for Marvin Gaye or Diana Ross. The Bee Gees worked as producers throughout the 80s, which was Barry’s intuition to continue in the industry after the backlash from Saturday Night Fever. The result here with Kenny Rogers was writing and producing the entire parent album, Eyes That See in the Dark.
Lyrically: “Islands in the Stream” is a ballad that talks about a couple being on an island, separated from anyone else that might get in the way of their love. Just like our earlier blog discussion on metaphors, “Islands” does not get bogged down by the location, though there are a few lines that discuss it, such as “Sail away with me to another world.” There is also an interesting twist to the metaphor in the second verse, with the lyric, “Everything means nothing when you’ve got no one.” When I think of being on an island, I think of being alone. And while the chorus ends with, “And we rely on each other,” this provides another contrast, since the title is plural: “Islands in the Stream,” not “Island in the Stream.” And yet somehow the two islands become one and don’t let anything come between them. This song is 41 years old, as of 2024, but as of press time in 2024, this is not the year for the real thing for Minnesota Mike.
Note: The plot to Hemingway’s novel of the same name is linked below, in case you want to do some contrasting. Link Here.
Melodically: The song is written in C major, but when Dolly Parton comes in, the song switches to G# major. Chord wise, on guitar, the song uses C, F, and C, played twice as the intro. It then switches to C, C, F, C, F, C, a pattern that gets played twice in the first verse. The pre-chorus uses FM7, Fm, and C, while the chorus uses C, F, Dm, C, F, Dm, and C. The second verse, with the aforementioned key change, uses Ab and Db, which gets repeated 3 times, before ending on G#. Verse 2 also stays on the G# for 2 bars at the beginning. In addition to the key change for the second verse, the second pre-chorus shifts to C#M7, C#m, and G# (G# getting played for two bars at the end). The bridge uses C#, E, and G#, which gets played twice.
Structurally: The song uses a verse, pre-chorus, chorus, verse, pre-chorus, chorus, bridge, chorus, chorus format. This being an example song, rather than a story song, a detailed bridge isn’t completely necessary for us to sail away to another place the song is trying to go, hence its simplicity, and a double chorus at the end. No new information is needed after the second verse. However, the key change in the second verse gives us something different to listen to, and that key remains for the rest of the song. If you listen to the Bee Gees version of the song, it is written in C. Without the key change, the thing that makes our ears perk up is the difference between Barry and Robin’s voices from the first verse to the second.
You don’t need a fine-tooth comb to locate “Islands in the Stream.” I have embedded a link to both the Kenny Rogers/Dolly Parton version and the Bee Gees version, as well as the plot to Hemingway’s novel of the same name.
https://en.wikipedia.org/wiki/Islands_in_the_Stream_(novel)
2. “Brave New World” by Styx
Lyrically: The song sees the main character looking around from afar at the people in his city. As they live their lives, he looks for one person in particular, implied to be a former lover. As he looks, he ponders what his place is in the titular brave new world. In the bridge, it is revealed that he used to rule the world, but now everyone lives as if he never existed
Melodically: The song is written in B minor, with the melody staying on the Bsus4 for the entirety of the verses, while the pre-chorus uses E5, F#5, G5, A5, and Bsus4, with the second line doing the same, minus the Bsus4. This is a IV, V, VI, VII, I, IV, V, VI, VII progression. The chorus then uses E, B, G, D, G, D, G, D, E, B, G, D, G, D, G, D, E, B, G, D, G, D, G, D, which is a IV, I, VI, III, VI, III, VI, III, IV, I, VI, III, VI, III, VI, III, IV, I, VI, III, VI, III, VI, III pattern. The bridge then uses CM7, A6, and Bsus4, the II, VII, and I chords. The instrumental interlude uses A6, GM7, and F#, which are the VII, VI, and V chords. Instrumentally, it features electric guitar, bass, mandolin, and drums.
Structurally: The song starts with a vocal intro of “The lines are drawn in the sand across the caress of time,” which gets repeated twice. This is followed by a verse, chorus, pre-chorus, chorus, verse, pre-chorus, chorus, bridge, pre-chorus, chorus, verse format. Off the top of my head, I can’t think of a whole lot of songs that use both a pre-chorus and a bridge, as the pre-chorus tends to get repeated in lieu of a bridge. “Makes Me Wonder” by Maroon 5 follows the same format, and it’s equally as effective without becoming long-winded.
“Brave New World” is embedded below. Give Dennis DeYoung the same love he gives himself and take a listen. Also linked is the plot to the Aldous Huxley book of the same name.
https://en.wikipedia.org/wiki/Brave_New_World
3. “Tempest” by Bob Dylan
Background: When Dylan released his 35th studio album, Tempest, there were rumors circling around that it could be his final studio album, since it was also Shakespeare’s final play. Dylan said that was ridiculous, because Shakespeare’s final play was called The Tempest, and his album was just called Tempest. But spare me your pickiness about the absence of a definite article. This song was definitely inspired by the Shakespeare play, that he no doubt wrote after he finished speaking to some French girl in the alley.
Lyrically: The song tells the tale of a ship called Tempest, and how it went down on one of its voyages. Unlike other songs about shipwrecks, such as “The Wreck of the Edmund Fitzgerald,” there is nothing in the beginning of the song that indicates trouble. The sky was clear, and even into the third verse, “The lights were holding steady, gliding over the foam,” but then it alludes to the death of the passengers with the line, “The lords and the ladies were headed for their eternal home.” Then all of a sudden, there’s a shift in the mood. The orchestra on the ship was suddenly playing “Songs of faded love.” The second through seventh verses contain contrasts of what people were doing while the ship was sinking (everyone was going about their business like normal), but for the remaining stanzas, it discusses everything going wrong on the ship.
Melodically/Structurally: The song uses the same chord progression throughout the song: G, C, C, G, D, G. In addition to guitar, the song contains violin, drums, bass, harmonica, and piano. The song is written in G. Structurally, the song contains 45 verses and clocks in at 13:54. As Dylan has shown in many of his earlier compositions, a chorus isn’t always necessary to make a good song. In fact, he is often able to get his point across with just verses. When he recorded his song, “Highlands” for Time Out of Mind, the producer told him it sounded great, but asked if he had a shorter version. “That was the shorter version,” he said after finishing recording his 16 minute epic that closes out the aforementioned album. I’m so happy he was able to widdle this one down to 45 verses, and recognize a chorus would have been overkill, and unnecessary to get the point across!
“Tempest” is embedded below, as is the plot to the Shakespeare play of the same name.
https://en.wikipedia.org/wiki/The_Tempest
4. “Love and War” by Brad Paisley (featuring John Fogerty)
Lyrically: The title track to Brad Paisley’s 2017 album evokes the same emotions as his 2003 single “Whiskey Lullaby.” But, like when Adam Schlesinger wrote “Hackensack” with a somber melody and funny lyrics, this song has an upbeat melody contrasted with sad lyrics. The musical counterpoint is strong. This tune tells the tale of someone who lost a leg while fighting in the Vietnam War. Not only that, but he found out that his girlfriend had left him once he got back from combat. In the second verse, it is revealed that he still has nightmares from the war, and realizes when he wakes up, he has a different type of nightmare to deal with: He may be in his bed, but as the song states, “He’s still not home.” The rest of the song deals with not only the fallout from his relationship, but also the lack of support from U.S. citizens, who performatively support the troops, without doing any of the work to actually take care of them when they get home. The chorus says, “They say all is fair in love and war, but it ain’t true, it’s wrong. They send you off to die for them, forget about you when you don’t.” It evokes many themes from the Fogerty-penned “Fortunate Son,” hence why Fogerty is featured on the track. The song also has hints of “Sam Stone” and “Your Flag Decal Won’t Get You Into Heaven Anymore” by John Prine.
Melodically: The intro, verses, and chorus use A, G, D, and A. The bridge uses E, D, A, and E, while the solo gets played over the A, G, D, A pattern. Instrumentally, the song contains electric guitar, bass, and drums.
Structurally: The song uses a verse, chorus, interlude, verse, chorus, bridge, solo, verse, chorus, chorus, chorus, outro format. “Love and War” is a hybrid song, telling a story and giving a few examples of how much life has beaten down this soldier. Having the realization that “all is fair in love and war” is a load of crap needs some sort of emphasis, so it wouldn’t function as a hook at the end of a verse. Putting it in a booming chorus works wonders, and the instrumentals in between the verses give it the level of tension it deserves.
Note: This song shares a title with a book by John Jakes. The plot is linked below, as is the song.
https://en.wikipedia.org/wiki/North_and_South_(trilogy)#Love_and_War_(1984)
