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Nobody wins the pools. There is no such thing as a fast buck. Nobody gets rich quick. El Dorado will never be found. Wealth is a slow build, an attitude to life.

Secondly they will be encouraged — even pressurised — into adopting life-styles that will eat through whatever is left of the vast sums that have been quoted at us in no time at all.

Unless they are able to sustain or repeat at regular intervals their quoted financial luck they will soon be back to a no money situation.

Money, as often quoted, is not the root of all evil. We do know WHAT the root of all evil is. That is to be explained in one of our future manuals and if we were to tell you the answer now you would not bother trying to have a Number One.

We do not expect this chapter on money to have fulfilled in any direct, practical way in making the Number One slot but it might have helped dispel any illusions you might have had.

Our age will be remembered in the future as a period in history when banks went to ridiculous and unparalleled lengths to compete with each other to win the allegiances of the young and account free.

If future historians were to base their research on what young Britain was like in the late eighties solely on the substance of bank adverts, you would definitely be rated as the most despicable types since we were kicked out of the Garden.

So please, if you do take any notice of the bank and money ads — forget it. That said, we are afraid you are going to need a bank account and the better the relationship you can develop with your bank the easier things will be.

Our relationships with banks have always been fraught with difficulties. Banks are in the business of making money by lending it. The more they lend the more they make.

They want us, the punter, to become addicted for life to the false sense of security it gives us.

Banks will go to extremes thinking up new and ingenious ways of getting us to borrow money from them. First and foremost they want us to get into property: They would always prefer to lend more money so as to help pay off the interest on the earlier loans.

They have only done this, not because they like being nicer, but to seduce you into coming in and borrowing more money.

If for some reason you already have some property or have a family who are foolish enough to indulge your wilder whims and provide you with collateral you will be at a disadvantage.

So it is best to go in there skint and with no securities. Of course there is no point in asking to borrow any money.

Would you let them have the money? If this lad were to start brandishing a copy of this publication by The Timelords, you would advise him that he had been had and should get a refund on the book instantly before going out to look for an available vacancy on a youth training scheme.

As we said in the introductory chapter having no money sharpens the wits. Forces you never to make the wrong decision.

There is no safety net to catch you when you fall. If you already have an account with a bank make the appointment with the manger or his assistant.

Open a current account and make that appointment. The appointment should be for some time that week. Just tell them you are setting up a small, independent record label — no big plans yet, just aiming to put out the one single and see how it goes.

Tell him there will be a couple of times when you will have to issue cheques before others have come in. You will let him know beforehand.

The most important thing is to get a rapport going with him; attempt to keep him in touch with what is happening over the next few weeks.

The small business accounts are his baby chicks and he loves to watch them grow. If you were to go in and try and convince him of world domination plans he could only be disappointed with whatever results you had.

It is necessary that he should feel part of it all when everything starts to take off. It will be then that you will need his serious help.

See if he has any records worth borrowing. More importantly, tell him what you are up to and see if he has any great ideas worth using.

It is a little known fact but when it comes to creative ideas the majority of people are creative geniuses.

Your mate is bound to be one of them. We guess a couple of libraries could be filled with the reasons why they never attempt it. Before you do whatever it is you do before you go to sleep, see what group names are beginning to float up mates are also a great source of group names.

The history of pop music has been littered with all sorts of unlikely people plucked from obscurity and chucked on top of the heap.

Pop music would be thrown out of the Showbiz Ball if it could not provide its full quota of rags-to-riches stories.

The other side of the same coin is that it is because of the down trodden and working class background that the smart middle class machine was able to unwittingly, maybe, but ruthlessly all the same exploit these raw and gullible talents to the full.

With each new generation in pop music there comes along some sort of revolution where supposedly the kids are able to get up and do it for themselves: Of course, the kids do very little for themselves.

They might believe they are. Their public are encouraged to believe they are. All that is happening is that the new young, waving fields of corn are allowed to grow full and ripe before a very strange combined harvester will come along and pick the few lucky ears of corn while the rest of the field cheer, whither and die.

A new harvest is always needed. The DJ, with his pair of Technics and box of records can make it to the top with a little help from a sample machine, squiggly bass line and beat box.

Yet again this was interpreted as the masses finally liberating the means of making music from all the undesirables and now terminally unhip.

These records were reportedly made for very little money. No massive record company advances. No front covers in the rock papers.

No loyal following built up over months of solid touring. They have all been released by what is commonly known as Indie record labels however, this is not the place to define indie.

Since the rise of the indie label in the days of post-punk they have provided a healthy means for no hopers, outsiders and terminally angry types to unload their angst.

They have also proved rich hunting grounds for the major record companies looking for fresh meat. The indie record companies were cottage industries fuelled by enthusiasm, passion and belief.

Some grew, became strong and established international links, whilst others withered and died. The strong ones were able to provide plafforms for the artists who were able to build up large and loyal followings to develop and prosper, even have moderate hit single success.

It was always understood that it was only the major record companies that had the infrastructure, the money, the efficiency, the might, the power and the means of persuasion to take singles all the way to THE TOP.

Like the giants of Fleet Street weighed down by ancient union agreements and strapped to out of date means of production, the major record companies are beginning to look like lumbering dinosaurs.

Over the past ten years anybody with overtly commercial material would never have considered using the indie network.

Everybody with an eye on the Top Spot knew that the indie scene was for the spotty and marginal and people who celebrated the glories of being spotty and marginal.

The majors were secure in their knowledge of this. All through these years, alongside the scratchy and austere indie labels, has grown what might be termed the independent service industries, providing services that previously only the majors could command: All of these independent service industries are now highly organised and competing to cut deals with YOU the much sought after client.

Each of these individual services will have a section dedicated to their own peculiar practices. However efficient and organised these service industries became, they could only do so much with the spotty and marginal.

It was a turning point. That record not only became Number One in the UK it became an international smash. It was as if having a Number One single was the last bastion of the majors.

Certain cynics will point fingers and whinge that the indies of today will be just the majors of tomorrow. The manipulation of this control will become a very important creative form of expression in itself.

Of course there is a place for the major record company in the future as there is still a place for brass bands, large national orchestras and Andrew Lloyd Webber musicals.

The precise function the major record companies will play in the music business as we turn the corner into the 21 st century is something we are not going to bother guessing at.

One thing they and we suppose all major international companies are good at is moving the goal posts; probably because they owned them in the first place.

As more and more creators of music begin to realise that it is possible to make records themselves and steer those records in whatever direction they want, at the same time as retaining all the copyright in the product thus a bigger chunk of the action, the attractiveness of signing your soul and its products away from now to eternity well at least fifty years after the day you die will become to look rather silly.

Nothing to do with ideology, just straight forward business sense. Twenty five years ago no unknown artist signing to a major record company would dare demand the right to only record their own material.

The success of the Beatles changed that. In the past ten years it has become the trend for the writer of songs to retain the copyright of their work and either just get the publishers to administrate it, or have their own accountants do the lot.

If the rise of the UK indie label can be seen as a positive offspring of punk sensibilities, a very negative one was the cult of the very big advance.

This can be traced back to the supposed situationalist shenanigans of Malcolm McClaren. The idea that the major record companies were some how being ripped off and some clever scam was being pulled was totally false.

The four living ex-members of the band have nothing left except fading memories of their glory days, like fuddled old soldiers; a front man trapped by his own cynicism and a corpse forever young.

While the record companies and publishers involved are still getting bigger and stronger and the employees are busy negotiating their next rise over the expense account lunch.

Another point that we can throw in at this juncture is that down through the history of pop music the cult of the svengali figure has often risen.

Svengalis might be very interesting characters but invariably make bad businessmen. They spend too much of their time cultivating their own image and coping with their own creative urges.

We repeat, it has only been possible since the beginning of to single-handedly achieve what this manual is all about.

The myth of the major label deal is totally blown. Their might and power is too slow moving. Their seduction techniques threadbare and dated.

The barn door cannot be closed. While the new technology might be the downfall of any kinds of standards in the world of television, in both printing and music the future is ours.

Just after 1 pm Tuesday telephone the studio that you have booked and tell them you are going to need someone who can programme, ideally a programmer who can play the keyboards.

Every studio can get one for you. This programmer is going to be the person who will provide sample, originate, compute, even play all the music you will need on your record.

We are afraid they will not be included in the price of the studio, but the studio manager should be able to sort out the going rate for you and cut the deal with him.

Get him booked for the full five days. Have a spot of lunch and read the following chapter. It will allay any doubts you might have in your talents as a hit song writer and explains the Golden Rules.

Between now and next Monday morning you are going to have to come up with the goods. Those goods are out there waiting for you to find before the others get there.

It all becomes empty and meaningless. Lieber and Stoller could walk into a studio tomorrow and have a world wide Number One in three months if they were so motivated.

The basic Golden Rules as far as they apply to writing a debut single that can go to Number One in the U. Charts are as follows: Do not attempt the impossible by trying to work the whole thing out before you go into the studio.

Do not try and sit down and write a complete song. Songs that have been written in such a way and reached Number One can only be done by the true song writing genius and be delivered by artists with such forceful convincing passion that the world HAS TO listen.

If they are any longer Radio One daytime DJs will start fading early or talking over the end, when the chorus is finally being hammered home — the most important part of any record.

Thirdly, it must consist of an intro, a verse, a chorus, second verse, a second chorus, a breakdown section, back into a double length chorus and outro.

You will need some, but not many. It is going to be a construction job, fitting bits together. You will have to find the Frankenstein in you to make it work.

Your magpie instincts must come to the fore. If you think this just sounds like a recipe for some horrific monster, be reassured by us, all music can only be the sum or part total of what has gone before.

Every Number One song ever written is only made up from bits from other songs. There is no lost chord.

No extra notes to the scale or hidden beats to the bar. There is no point in searching for originality. In the past, most writers of songs spent months in their lonely rooms strumming their guitars or bands in rehearsals have ground their way through endless riffs before arriving at the song that takes them to the very top.

Of course, most of them would be mortally upset to be told that all they were doing was leaving it to chance before they stumbled across the tried and tested.

They have to believe it is through this sojourn they arrive at the grail; the great and original song that the world will be unable to resist.

The Techno sound of Detroit, the most totally linear programmed music ever, lacking any human musicianship in its execution reeks of sweat, sex and desire.

The creators of that music just press a few buttons and out comes — a million years of pain and lust. We await the day with relish that somebody dares to make a dance record that consists of nothing more than an electronically programmed bass drum beat that continues playing the fours monotonously for eight minutes.

Then, when somebody else brings one out using exactly the same bass drum sound and at the same beats per minute B. There is no doubt, one will be better than the other.

What we are basically saying is, if you have anything in you, anything unique, what others might term as originality, it will come through whatever the component parts used in your future Number One are made up from.

Creators of music who desperately search originality usually end up with music that has none because no room for their spirit has been left to get through.

The complete history of the blues is based on one chord structure, hundreds of thousands of songs using the same three basic chords in the same pattern.

We know that the finished record contains as much of us in it as if we had spent three months locked away somewhere trying to create our master-work.

The people who bought the record and who probably do not give a blot about the inner souls of Rockman Rock or King Boy D knew they were getting a record of supreme originality.

Even if you were to, you have not got the time to take the trial and error route. The simplest thing to do would be to flick through your copy of the Guinness Book of Hits, find a smash from a previous era and do a cover of it, dressing it up in the clothes of today.

Every year there is at least a couple of artists who get their debut Number One this way. From the eighties we have already had:. There are, however, the negative facts in taking this route.

Using an already proven song can give you a false sense of security when you are in the studio recording.

You can end up under the illusion that the song is such a classic that whatever you do, the song itself will be able to carry it through.

You tend to loose your objectivity in the production of your version. The all important radio producers hate nothing more than a classic song covered badly.

The classic oldy, while fulfilling all the Golden Rules in pop, might have a lyrical content that may only ever relate to one period in pop history.

Unless there is a revival of the zeitgeist of times past where the lyric in some way makes sense again, these songs should be stayed well clear of.

Sometimes, almost the opposite can happen. The other negative in doing a cover version is you loose all the writing credit.

That means you will earn no publishing money on the record, however many it sells. There is no denying that in picking the right smash from the past and recording it well will result in a sure fire success.

That decision was made long before you ever thought of having a Number One. If there is not a cover that takes your fancy the trick is to construct your song out of disguised, modified and enhanced parts of previous smashes, so that when those Radio One producers, T.

We obviously took the middle route in not doing a straight cover, but in doing the above so blatantly that we had to give away the majority of our publishing thus losing a sizeable chunk of the readies.

The first of the component parts you are going to need to find is the irresistible dance floor groove. It is basically the drum and bass patterns and all the other musical sounds on the record that are neither hummable or singalongable to.

Groove is the underlying sex element of the record and we are afraid for U. It upsets our subliminal national moral code. We can cope with smut but not grind.

Of course, there are the odd exceptions. In the same way that our sexual fantasies change and develop, sometimes double back over a period of months, so do our dance floor tastes in groove.

Black American records have always been the most reliable source of dance groove. These records down through the years have inevitably laid so much emphasis on the altar of groove and so very little into fulfilling the other Golden Rules that they very rarely break through into the U.

Top Ten, let alone making the Number One spot. A by-product of this situation is that gangsters of the groove from Bo Diddley on down believe they have been ripped off, not only by the business but by all the artists that have followed on from them.

If the copyright laws had been in the hands of blacks of African descent, at least eighty per cent would have gone to the creators of the groove, the remainder split between the lyrics and the melody.

If perchance you are reading this and you are both black and a lawyer, make a name for yourself. The unknown track the DJ plays that gets both the biggest response on the floor and has you joining the throng will have the groove you are looking for.

Either try and get the name of the track that night, or at least remember some stand out feature of the record. If you are lucky to have a specialist dance shop near you they should have this record you are after.

Pure dance music, if it has any lyrical content at all, will only deal in the emotions experienced within the four walls of a club late at night; basically desire and, more importantly, that area which is beyond desire at the very centre of the Human Psyche.

Everything else is meaningless. Any creator of pure dance music that is attempting to communicate any other subject should be treated with deep suspicion.

With a danger of getting too carried away on our own pretensions we state that it is through dance music and dancing we are able to get momentarily back to the Garden.

Of course, in the clear light of day this is all very silly. Of course drugs are something we cannot be seen to advocate, but we understand that a certain very expensive narcotic makes this a lot clearer.

There is an army of eager, young media types out there doing the research for you and writing it all up in any one of the competing youth-orientated journals.

We of course used the Glitter beat, which was more by accident than design. It being the most clubfooted white beat going, it goes against the grain of what we are advising above.

Except on very rare occasions all pop music is rhythmically based on having four beats to the bar. You naturally tap your toe to the beat and every time you tap your toe four times is one bar, you naturally clap your hands or snap your fingers on every second beat twice every bar.

The speed of modern records is measured by the amount of beats per minute BPM there are in any given record. This enables any musicians who may play on a track to keep in perfect time.

In bygone times records might have speeded up and slowed down throughout the performance thus an accurate BPM could not be quoted.

Heavy acid sessions the exception. Rap records traditionally vary between 90 and , but in an attempt to stay with the current Summer 88 domination of House, are speeding up.

In doing this rap has lost some of its slow, mean and cool strut feel. LL Cool J or Rakim would never be seen dead trying to rap at BPM but those whose commercial instincts are more important than their home boy cool may attempt it to keep their hit single profile high.

The vast majority of regular club goers will not be able to dance to it and still look cool. Their love traumas and balls of confusion of hate and bile all rush by at some immeasurable blur of a BPM.

As we have already mentioned, the Golden Rule for a classic Number One single is intro, verse one, chorus one, verse two, chorus two, breakdown section, double chorus, outro.

Each of these sections will be made up of bars in groupings of multiples of four. So you might have an intro containing four bars, a verse sixteen bars and a chorus eight bars.

At times the first verses can be double length verses, or the second chorus a double length. These sort of decisions are not going to have to be finally made until you reach the mixing stage of the record, when the engineer will have to start editing the whole track to make it work in the most concise and exciting way possible within three minutes and thirty seconds.

Hopefully, at sometime over the remaining days of the week, you will have been able to get out to a club and found the groove you need, been able to buy it on vinyl and get it home.

They begin to believe if they are not continually going to clubs they will miss out on something.

The only thing that they do miss out on is themselves. Once in a club you have to leave your mind outside. The next thing you have got to have is a chorus.

It is the most important element in a hit single because it is the part that most people carry around with them in their head, when there is no radio to be heard, no video on TV.

If you have difficulty in forming a tune in your head or you feel a bit inhibited, flick through your copy of the Guinness Book of Hits and pick any Top Five record that takes your fancy and see if you can sing the chorus of it along to the track.

That one usually works and should get you going in the right direction but there are hundreds to choose from. The lyrics for the chorus must never deal with anything but the most basic of human emotions.

The cliches are the cliches because they deal with the emotional topics we all feel. No records are bought in vast quantities because the lyrics are intellectually clever or deal in strange and new ideas.

In fact, the lyrics can be quite meaningless in a literal sense but still have a great emotional pull. An obvious example of this was the chorus of our own record:.

Gibberish of course, but every lad in the country under a certain age related instinctively to what it was about.

The ones slightly older needed a couple of pints inside them to clear away the mind debris left by the passing years before it made sense.

As for girls and our chorus, we think they must have seen it as pure crap. A fact that must have limited to zero our chances of staying at The Top for more than one week.

Their most successful records will kick into the chorus with a line which encapsulates the entire emotional meaning of the song. This will obviously be used as the title.

As soon as Rick Astley hit the first line of the chorus on his debut single it was all over — the Number One position was guaranteed:. It says it all.

Then to follow that line with:. As soon as they had those lyrics written they must have known they could have taken out a block booking on the Number One slot.

Then within the next twelve months to have written the chorus:. Out of context, as meaningless to lads as our own Doctor Who chorus was to girls but in those three lines there are for many more meaning than in the complete collected works of Morrisey.

Stock Aitkin and Waterman are able to spot a phrase, not actually a catchphrase, but a line that the nation will know exactly what is been talked about and then use it perfectly:.

They are ridiculed by much of the media and only have their royalty statements for comfort. History will put them up there with Spectre and the boys.

The year that the pair of us spent working with Stock Aitkin and Waterman pulled into focus what we had learned about pop music throughout the rest of our lives.

Michael Jackson may be the biggest singing star in the world. If he would like to make amends on this front he should start co-writing with the SAW team or read this manual.

He has quite a bit to learn about the opening line of a chorus. We have just taken a coffee break from writing this lot and while in the cafe have come up with the ultimate Stock Aitkin and Waterman chorus never written.

Either use it for yourselves or we will go and blow what last vestiges of credibility we have and do it ourselves. We can see it now: Morrisey has undoubtedly come up with some of the wittiest titles of the decade.

However, with titles like these he will always be guaranteed a non Top Five placing. We had the title before we made the record.

Us trying to be witty- clever must have lost us a-few all important sales. Do not attempt writing chorus lyrics that deal in regret, jealousy, hatred or any other negative emotions.

These require a vocal performer of great depth to put it over well: Just remember there is a difference between bland cliche and cliche and only you can tell the difference in the context of the song you are constructing.

So make sure you find a title that can be used as the opening line in your chorus and that the chorus is no longer than eight bars.

You must be worrying by now how you, or if not you, who on earth is going to front this record!

If you already think you are a great singer and a well happening front person, then we have a problem. It means you will have the sort of ego that will render it totally impossible for you to be objective about everything else that has got to be done.

Singers have historically made the worst producers of their own work. The reason for this is simply that singers have to become so emotionally involved in their performance it cancels out any sort of over view.

At the very least they need a musical partner that can give them some direction. If a singer was able to have this calculated view of their own work the end product would undoubtedly come over as cold and empty.

If you do not have ambitions to sing it looks like you are in luck, as we have entered a period of pop history where singing as a focal point to communicate the emotional content of a Number One hit single is not necessary.

The potential of this is something that seems to have been forgotten since the Beatles took their place on the world stage back in Yet again we have to thank the advent of DJ style records for helping rediscover this fact.

Singing throughout has always just provided a distraction from the main event — what is happening on the dance floor and not on the stage.

The balance is to have a vocal chorus with instrumental verses. This will be the form that a sizeable percentage of chart music will take for some time to come, long after the novelty of scratching and blatant sampling has worn off.

With debut records that become big hits it will be even more noticeable. A debut record on becoming a hit relies totally on its novelty quality.

There is no fan base rushing out to buy it. A quality singer might sell platinum albums and go on to have an incredibly successful long term career but the sound of their voice would have never got their debut single to Number One.

We are sure if you check your Guinness Book of Hits you will find dozens more. The vocals for the chorus of your record are going to be easy enough to sort out.

They need no individual distinctive qualities whatsoever. When you get into the studio they will be able to book a couple of backing singers for you.

All studios are in touch with numerous local singers desperate to do any sessions they can; you only have to decide whether to have male, female or a mixture of both.

That cuts out having to pay proper session singers. Nobody would dare ask to be paid for having a laugh, acting the lad — buy them a pint and they will be well happy.

Singers — good or bad — are invariably a problem. They not only make incredibly bad time keepers which can lead to disasterous consequences when you are facing a jam-packed schedule during the period when your record has entered the Top 30 but not yet made Number One, they also tend to confuse their role as singer of songs with that of would-be world leaders.

For the majority of people the sound of the vocals and the words that are being sung throughout the verses just merge into the over all sound of the track.

The words that are being sung could be any old gibberish, only the words to the chorus have any real importance. So unless you want to risk everything on some bizarre tale you have to tell, stick with us.

When it comes to TV. This is not because what is coming out of their mouths is of any great importance, it is just the easy option tradition of the medium.

In fact most singers on Top of the Pops make complete prats of themselves. This last example is usually done in such a disparaging and sexist way that it hardly inspires any real admiration.

That said, you will need an act to go on TV. People will need some sort of human focal point to relate to. When you get your three minutes of prime time TV.

The first half of saw numerous D. Its novelty value soon wore off. We will sort out the problem of getting a nation-grabbing act together in a later chapter, once you have the track written and recorded.

The type of devotion inspired amongst pubescent teenage girls for a certain singer or band takes effect on the second or third single.

The hype machine is usually only smelling the scent by the second single and can then only shift into top gear on the third one.

Using the basic groove you have decided upon you are now going to have to choose a bass line that will work as the basis for the whole song, or at least the verse sections.

In days gone by it was provided by the bass guitar player, now it is all played by the programmed keyboards.

Even if you want it to sound like a real bass guitar, a sampled sound of a bass guitar will be used, then programmed. The groove might already have a killer bass line in there, making the whole thing happen and to remove it and exchange it for another might destroy what you have already got.

There are plenty of monster bass lines out there to try. You will know them, they are the ones that you can almost hum. The great thing about bass lines is that they are in public domain.

Michael Jackson, who we cited earlier on for not being that adept at coming up with the killer Number One hit choruses, CAN come up with the bass lines.

That song, on his own admission, took him into the mega strataspheres where his myth now reigns. It had been featured in numerous dance tracks by various artists before him.

Jackson and Quincy must have been hanging out around the pool table in their air conditioned dimmed light atmosphere, L. Without making that decision back in there would have been no Pepsi Cola sponsored jamboree in We are not trying to deny any of the very real talent that Jackson has, just trying to emphasise the possible importance of the killer bass line.

For them the whole movement of the song is destroyed for the sake of some nursery rhyme element they would rather see dumped. Somehow these two important elements are going to have to be made to work together without the power of the chorus or the propulsion of verse bass riff being destroyed.

By the end of the chorus you must feel like nothing is desired more than to slide back down into the vice-like grip of the bass line.

Some groove merchants have a talent for getting it all their own way by coming up with a bass riff that never shifts from the beginning of the song until the end: For a song to sound like this and work away from the confines of the dance floor, it is going to have to be a real mutha of a riff.

There must be some pretty insistent action going on on top of it to keep the casual radio listener interested. For the time being the only decision you are going to need to make about the verse is going to be making this decision on which bass riff is to be used with the other elements in the groove track.

The classic thing to do is have an instrumental version of the chorus. Sometimes a record might have a full blown vocal chorus in the intro, but this is usually considered giving it all away too soon.

The other regular intro used is created at the mixing stage of the record, where different elements can be thrown in until the whole track is happening.

This is something you can leave to the engineer who is doing your mixing; they are usually full of creative ideas on how to start a record off.

They usually like to hear a bit of atmospherics — they tend to think it denotes class. If he comes up with anything good, use it. This is a route that we originally took but at a later stage, on the advice of our radio plugger, we stuck a weirded out version of the chorus on the intro.

They are for the more musically mature. If one happens it will happen in the studio. Your programmer might come up with an idea for one that helps take the song from the bass riff of the verse up into the celebration of the chorus.

Just remember that if somebody else who is directly involved in the making of your record provides you with chords for a bridge he has every right to expect a cut in the publishing.

Not that giving away some of the action should deter you from using whatever is going to turn your recording into a Number one. Just account for its length in bars when you map out the structure of the song.

Use the bass riff from the verse or some enticing variant on it that the programmer can come up with. In years gone by this was the part of the song that would feature a solo.

Nowadays, solos either get in the way or have to be fabulously stunning at the same time as being able to fit in with the studio sculpting that is going on around it.

Having some guitarist give you his interpretation of what a really good guitar solo should sound like is totally out of the question. Guitar solos only work in modern pop records when they are over the top things full of hideous histrionics and lacking in any emotional depth whatsoever.

This type of guitar solo is one of the very few things that heavy metal has given back to Top Ten chart music.

So unless you have a mate that can play just like Eddie — forget it. The tried and tested guest soloists of the late eighties are: Untried possibilities that might create some interest would be Jimmy Page or Junior Walker.

In the end it only provides the D. They would entertain themselves by introducing a different chord structure at this point with a refreshing new melody.

This technique still has its charms but you can leave it to the people who take a pride in writing songs for the sake of their craft.

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