Maren Morris might be heartbroken in her new hit single, “Rich,” but she’s laughing all the way to the bank.
Today, let’s dive into a few of the many reasons why this song is racking up the spins and royalties.
Read on.
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Keep it simple, songwriter.
This isn’t rocket science, ya’ll. I’ve heard this basic idea before. Heck, I’ve written this basic idea before- way back when I was just starting to write songs in the ’90’s. But it hasn’t been overdone. And the songwriters, Maren Morris, Laura Veltz, and Jessie Jo Dillon, keep it simple. They stay on point throughout the whole song. Every line speaks to money and/or the bad relationship. We don’t have to keep up with sub-plots, surprise twists or anything else.
They don’t make the listener work to figure out what Maren is talking about. Since the brain doesn’t have to work too hard, the heart has plenty of opportunity just to feel it. That’s a win. Oh, and it’s a universal idea- “you’ve hurt me so many times.” They don’t re-invent the wheel. But they sure do roll it well.
Unexpected language.
I’m not just talking about a country singer dropping “s—” and “a–” in a song. Although, that really does get your attention, for better or worse. But let’s go with the radio edit, which tones down the language.
Most of the unexpected language comes with an unexpected rhyme. I’m sure not used to hearing “Prada” in a country song. And then they rhyme it with “water.” Didn’t see that coming, but “yacht in the water” is perfectly on-theme. Now, you may be a perfect-rhyme purist, but I’m not. I like that they stretch it a little. It keeps my attention. But they aren’t done yet. “Mandarin,” “gambling” and “Marilyn” are all on-point and fresh, multi-syllable rhymes.
Also, notice how these “rich” examples are so specific. Instead of “I’d have a nice car, big house, etc.” they use “Benz,” “Prada,” “Mandarin,” etc. Not only does the specificity help the song stand out and feel current, it sets up those interesting rhymes.
And she mentions Diddy. In a country song. Sure didn’t see that coming.
Hooky heartache.
There’s a phrase around Nashville: “heartache with a beat.” This isn’t a fast song by any means, but it has a great groove and energy. The song is about a bad relationship, but it sure feels gooooood. Right off the bat, we get the vocal sing-a-long, hooky “La-a-a-a-a-di-das,” which repeat through the song. It’s fun and whimsical, so we know from the beginning that the song isn’t too serious. And the groove/feel as a whole doesn’t sound like anything else on country radio. It feels good, and it feels completely fresh. Win-win.
And the sarcasm fits this perfectly and really helps bring more smile factor to it.
I encourage you to dig deeper into YOUR songs. Can you write something simple that still does the unexpected? What can you do to bring something fresh to your language, rhymes, grooves and melodies? It’s not easy, but that’s the pro-level songwriting that turns your dimes into dollars.
If you want some guidance on how to write “market-smart” songs that artists want to record and audiences want to hear, I have something you should check out. It’s called, “Cut/able: Lessons In Market-Smart Songwriting,” and it’ll help you give your songs their best chance to get recorded.
Click here to take your songwriting to the next level.
God Bless and Enjoy the Journey,
Brent
Brent Baxter is a hit songwriter with cuts by Alan Jackson, Randy Travis, Lady Antebellum, Joe Nichols, Gord Bamford, Ruthie Collins, Ray Stevens and more. He’s written a top 5 hit in the US, a #1 in Canada, and a top 10 in Texas… so far. He also hosts a top-rated songwriting and music business podcast called, “The C.L.I.M.B.” which can be found on iTunes or your favorite podcast app.
