Song Spotlight #1 Better Boat

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For a songwriter…you learn by listening to tunes. And you try to understand them and take them apart and see what they're made of, and wonder if you can make one, too. Tom Waits

SONG SPOTLIGHT is a look at a killer example of great songwriting, lyrically and musically. We can all learn from a great song and the writer(s) behind it. You can, of course, in most cases hear the song on YouTube or your favorite music source, but we encourage you to support songwriters by actually buying the song. What a concept, right?

This week in the Spotlight is “Better Boat” written by Travis Meadows and Liz Rose, recorded by Kenny Chesney. Take a close look at this skillfully crafted lyric. What do you see that makes it work and hurt so well? My comments follow.

Better Boat

Songwriters: Travis Meadows & Liz Rose Artist: Kenny Chesney

I ain't lonely, but I spend a lot of time alone More than I'd like to, but I'm okay with staying home My how the last few months have changed I’m smilin’ more despite the pain

I breathe in, I breathe out Got friends to call who let me talk about What ain't working, what's still hurtin' All the things I feel like cussing out Now and then I let it go I ride the waves I can't control I'm learning how to build a better boat

I hate waiting, ain't no patience in these hands I'm not complaining, sometimes it's hard to change a man I think I'm stronger than I was, I let God do what he does

If it's working I don't know When I get done the thing may not float But I'm learning how to build a better boat

OBSERVATIONS

The most striking thing about this beautiful song is its honesty. It’s obviously a start-over song after a breakup in a relationship. One, maybe two people can relate to that, right? Not a rare topic for a song. But the image, the word picture or metaphor, is so fresh. I’m moving on by trying to build a better boat for whatever’s ahead. But the writers didn’t over work the boat thing – nothing about empty sails, broken rudder, lost anchor or compass, being shipwrecked or getting thrown overboard. In fact, there are only two other water references: “I ride waves I can’t control” and “the thing may not float.”

The rest of the lyric is just real speak. Unguarded emotional vulnerability. What can a songwriter learn from that? At least two things: Open a vein and let the hurt show. And find the right balance between poetry and straight talk.

Look at the rhyme scheme. If you are fairly new at songwriting, rhyming patterns are often referred to by assigning letters to the rhyming words. For instance, the pattern in verse one is: a a b b alone/home changed/pain.

The chorus rhyming pattern is: out/about, then an internal quick rhyme in line three, workin/hurtin; then back to “cussing out”. A lot of writers might think, “O, I shouldn’t’ use the word “out” again so soon.” Take away? Don’t make rules that limit creativity and right content. (Consider that a suggestion, not a rule; ) Maybe in this instance, the second use of “out” is reset sonically by the quick internal rhyme, working/hurtin and the fact that it’s used in such an honest line. “All the things I feel like cussing out.”

Then the last three chorus lines all rhyme: go/control/boat. Call that c c c. So, the chorus rhyme pattern is: a a b b a c c c.

Now, you might expect the second verse pattern to be the same as the first: a a b b and in most songs this is often the case. But not here. Look what Travis and Liz did. They added quick internal, ear-grabbing rhymes: Waiting/hands; complaining/man - a b a b - then another quick rhyme c c was/does. So the second verse pattern is: a b a b c c

Take away: You can’t count on cookie cutter criteria to create a unique song, or a cookie. (not even alliteration) So, color - and bake - outside the lines.

Finally, the three tag lines on the repeat chorus at the end continue the long O rhyme making five Os in a row: Go/control/know/float/boat. A standing O-vation for that ending.

There is one other very sophisticated thing about this song. I praised it’s honesty, but as you listen on down into the song, do you really believe the first line? “I ain’t lonely?” Me neither. The singer is getting better after the heartbreak, sure, “Smilin more despite the pain.” But not lonely? I’m not buying that totally. That denial is so endearing and makes the effort to start over – by building a better boat – even more valiant and poignant. So maybe the best thing about this song is that it’s so human.

What a great song, right? It can wreck and comfort anyone trying to set sail again after a breakup. Been there? Me, too.

And when you listen to it (and buy it) notice how conversational the melody is, just like the lyric. And how the production supports the mood of the whole song. No drums, percussion or even bass. No big string section to milk the emotion. No need. Main instrument is finger picking acoustic guitar. Very accessible, close up and personal. The song is the main engine and attraction. But let’s not forget what a great singer brings to a great song. Kenny Chesney’s warm vocal completes a powerful blend of music, lyric and artistry.

This is one of those songs you don’t just listen to once, especially if you are trying to start over and build a better boat for whatever lies ahead.

Kudos to Travis Meadows and Liz Rose. I’m not sure you could have built a better musical boat.