My findings will be based partly on facts and a lot of objectivity and subjectivity, and those songs found in violation will be subject to the full extent of songwriting law!

As a free song reference, I can click virtually anywhere and audition either the promotional video or hear the audio file. For this song, I visited AOL music to hear and analyze the single.  Like any other consumer, If I like what I hear I will purchase his CD to support and enjoy his music.
Most artist web sites provide lyrics as a courtesy for their fans.  So grab or write down the lyrics and follow along:

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                        “Im Still A Guy”
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Writers:
Brad Paisley, Kelley Lovelace, Lee Thomas Miller

                  Here are the first few lines:

When you see a deer
You see Bambi
And I see antlers up on the wall
When you see a lake
You think picnics
And I see a largemouth up under that log……
……..

To conduct my investigation, first I’ll run the song through the song checklist found at:
http://www.songwriteradvisor.com/songwriting-checklist.html  I will then point out good techniques used as well as possible flaws in the song’s construction.

Most importantly, at the conclusion I’ll list all the cool techniques we can all apply to improve our songwriting.

 
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1. Song Title
=============
As in many country tunes it appears the title came before any of the final lyrics in this song because of its purposeful lyrical structure totally based on the theme, “I’m Still A Guy.” **Picking the song title first is the best and easiest way to structure lyrics around the theme because it is always clear from the start!
   

I guess I’ll have to ask one of the writers if the title was picked first, but until then, let’s just use that assumption for the rest of this song investigation.
   

The meaning of the song’s title becomes abundantly clear after the first verse, and this works well for this song.  But another great strategy would be to delay the payoff of “I’m Still A Guy” until somewhere in the first chorus, or even the final verse or chorus!

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2. Song Form
=============
The song is in Verse-Verse-Chorus-Verse-Instrumental-Chorus-Verse (AABACBA).  Wow! Talk about an interesting song form!  This song form has been used before, but you can hear how interesting this song becomes when, after the third verse, the song goes into an instrumental instead of the usual chorus.
      
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3. Hook/Chorus
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The phrasing in the chorus starts with lead-in notes before the downbeat of the chorus (And I’ll pour out my heart…..).  This is usually the 2nd most powerful way to begin vocal phrasing in a chorus (right on the downbeat is usually the strongest)–but this depends on many variables such as song tempo, lyric structure of other sections, etc.
  

Notice the hook “I’m still a Guy” is NOT contained in the chorus.  It occurs in the end of each verse and ends up making the verses more memorable than the chorus.

========================== 
4. The Verses/Pre-choruses
==========================
The intro begins with a sweet acoustic guitar until the vocal starts in the first verse.  During the 4th bar of the first verse (And I see antlers up on that wall) an electric guitar plays an ascending riff into the third line (when you see a lake….) making the third line explode powerfully into the rest of that verse. 
   

The second verse builds even more momentum by incorporating a cool, busy, underlying electric guitar riff until the chorus strikes!  The song continues to build momentum into the first chorus and the first chorus has only slightly more intensity than the second verse. 

    ****If you were to play this song with a solo instrument, you’d start quietly for the first two lines, add intensity for the 3rd line by playing notes louder and perhaps adding more notes with your finger picking (guitar) or finger work (piano) for the rest of the two verses, and finally add even more intensity during
the chorus by playing straight chords.

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5. The Bridge
==============
The song doesn’t contain a bridge but it does have an instrumental part after the third verse, just as we’re expecting the second chorus, and it works well!  Let’s put this one into our neat little bag of tricks.

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 6. Point of View
=================
It’s hard to argue with the successful point of view used by Brad Paisley in this song, 1st person narrative. 
Paisley uses tongue-in-cheek humor about his perspective on how guys and girls have different views, something he’s already sung about before.
   

However, this song could also have been easily written in 3rd person—check this out:

{Chorus}
And he’ll pour out his heart
Hold your hand in the car
Write a love song that makes you cry…..

Also as an example, in 3rd person, the 1st verse would be:

When she sees a deer she sees Bambi
And he sees antlers up on the wall
When she sees a lake she thinks picnics
And he sees a largemouth up under that log

The point here is:
Always try your song in all three different points of view.  I actually think this song would be even funnier and more interesting if the writers would have chosen 3rd person narrative.  I’ll bet you these pros at least thought about it!

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7. Rewrite
===========
Like most country songs, “I’m Still A Guy” appears to be rewritten and polished to near-perfection.  There’s hardly a wasted word and the song moves logically forward. 
   

It’s hard to find country songs by major artists that are not super-polished, because the Nashville, TN music industry demands it!  There are so many great songwriters in country music and many industry pros swear the best songwriting in the world is right over there in that city called Nashville!  It’s easy for me to believe that based on the acts I’ve seen and heard performing at Music City.
   

I’m a firm believer that if you want to learn general songwriting principles these days, you should consider studying some of the best modern country songwriting and perhaps country songs that cross over into the pop arena. 

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 Verdict
 =======

Although this is not my favorite Paisley song it’s a strong one that points out a few helpful songwriting cues for all of us.  see LESSONS LEARNED below>>> 
   

It’s easy to see why this was such a monstrous hit.  Although it’s a great song, if you’re a devout country music fan, if you could have listened to the top ten country songs as of July 15, 2008 you probably would have heard what I heard–the top ten was a little below usual standards as far as quality. 

But this happens in every genre, and usually doesn’t last very long–there are simply too many great writers and artists in this genre!  
   

There have been no detectable songwriting crimes committed in this song, so Mr. Paisley, you don’t have to worry about an officer knocking on your door and confiscating your guitars and notepads via a search warrant.  Tell your co-writers to rest easy and write another one of your monster hits for our listening pleasure!

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Lessons Learned
===============

It’s hard to pick out any obvious flaws in this song’s
construction.     
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Here are techniques and cool tips we’ve learned from this song to improve our songwriting:
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1. Write a song by coming up with a clear-cut, deliberate title, referring to a person’s characteristic traits, and how they affect you.  An obvious hit that used this approach was Shania Twain’s single “You’re Still The One.”

2. Put your hook/song title at the end of each verse for a change and either include or exclude it from the chorus.

3. Vary your verbs, i.e., When you see a deer you SEE Bambi
                         when you see a lake you THINK picnic

4. Instead of going into the 2nd chorus after either the 2nd or third verse; go into another section such as an instrumental or a bridge. 

5. If you’re using humor in your song, use it throughout the song or in a consistent manner such as the next-to-last line of each verse or any other section you see fit.

6. Consider adding intensity during the middle or end of the first verse instead of the usual 2nd verse or prechorus.  

7. Remember to try all “points of view” either during your songwriting or during a rewrite.

The “Tune Sleuth” newsletter was recently discontinued in order to devote more time and energy to this blog, thus giving everyone more value for their readership. 

Tune Sleuth investigations will definitely always continue to be an integral part of this organization because you, the readers, have demanded it.  Thanks!

The following Tune Sleuth investigation was initially released on the “Tune Sleuth” newsletter in November 2008.  Enjoy!

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American Boy, sung by Estelle featuring Kanye West, is the subject of this “Tune Sleuth” investigation.
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Here’s the full report from the Tune Sleuth’s desk files:

Enjoy!

————————————————-

…………………….Tune Sleuth
 

   After receiving a confidential informant’s report that “American Boy” by Estelle was a song unlike anything out there on the charts in the current pop music world, I was intrigued and left with no choice but to investigate further to see if it could benefit our readers:

My findings will be based partly on facts and a lot of objectivity and subjectivity, and those songs found in violation will be subject to the full extent of songwriting law!

As a free song reference, I can click virtually anywhere and audition either the promotional video or hear the audio file. For this song, I payed for and downloaded the single from Amazon.com.  

************ I always try to lead by example when it comes to preserving copyright laws, so I can only provide a few lines at a time for educational purposes only.  Luckily, most artist web sites provide lyrics as a courtesy for their fans.  So grab or write down the lyrics and follow along:  

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                           “American Boy”
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Writers:
will.i.am
Estelle
Kanye West

===========

To conduct my investigation, first I’ll run the song through the song checklist found at:
http://www.songwriteradvisor.com/songwriting-checklist.html
I will then point out good techniques used as well as possible flaws in the song’s construction.

Most importantly, at the conclusion I’ll list all the cool techniques we can all apply to improve our songwriting.

=============
1. Song Title
=============
The song title was used at the end of each verse and chorus as well as at the end of Estelle’s breakdown before the last chorus.

Notice the title itself is unique enough to naturally draw much anticipation and attention every time it appears.

The title is also constructed with an adjective, “American “followed by a noun, “Boy.”

I can immediately think of a few potential titles with this method:

Crazy Ways………..I might use it for a  (Country) song
Silent Touch………”       “           ” (Rock) ”
Foolish Lies………”       “           ” (R&B)
Useless Words……..”       “           ” (Pop)

I wrote the “genres” so you can see my personal idea of the type of song which popped into my head based on the titles. Obviously, everyone would have a different opinion on what type of song to write based on the titles because all of us have different perspectives and influences!             
—————————————————————–
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2. Song Form
=============
The song form used in this one is:  rap-chorus-verse-chorus-verse-chorus-rap-breakdown-chorus

Wow! The writers appear to have just gone completely by “feel” in determining this song form.

The song form chosen here is but one of the ingredients used to make this song terrificly original, so take note!  This is a great example of taking the common verse-chorus form and twisting it to the feel of the song with absolute success.           
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3. Hook/Chorus
===============
The hook/chorus stands out as we anticipate Estelle singing the words “American Boy” at the end of every verse and chorus.  Placing the song’s title as a hook at the end of each verse has become common in today’s pop songwriting.  Ne-Yo’s “Closer” is a great example of this method.

“American Boy” uses a really cool, jazzy 4 bar sequence throughout the entirem song to give it an added contemporary feel.  Try the same sequence or a variation, or transpose it to a different key:

Emaj7  -  Cmaj7  -  Am7  -  Fmaj7
                   
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4. The Verses
============== 
The song starts out with a cool rap by Kanye West instead of the usual verse, immediately grabbing your attention with the lines, “Just another one champion sound me and Estelle about to get down.”  Notice in these lines we’re told what’s happening and what’s about to happen, two ideas to hold our curiosity!

You can use this concept in the first verse of a new song  in the first two lines, i.e.,
Your ways are making me lose my grip (what’s happening)
Reality’s about to strike me again(what’s about to happen)
After the first chorus, Estelle breaks into the actual 1st verse and keeps the 1st and 2nd verse fairly consistent until the end of the 2nd verse where she uses “staggered” phrasing on the lines, “Walkin that walk, Talk that slick talk.”  to make those lines stand out.   
—————————————————————–
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5. The Rap
==============
Kanye West takes us on a journey in the middle of the song with an extended rap.  As long as the section is, he keeps it interesting because of his amazing talent in varying his phrasing and calling attention to lines such as, “And you thought he was cute before. Look at this P Coat, Tell me he’s broke,” and “And
I’m feelin like Mike at his Baddest. The Pips at they Gladys.”

This is proof positive you may need to get a very talented rapper to write parts for your song in order to be this effective!
—————————————————————–   
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6. Point of View
=================
The writers successfully used “first person narrative” while focusing on Estelle saying, “Take ME on a trip…”     
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7. Rewrite
===========
I guarantee this song was rewritten and polished.  There are no wasted words, and the words are extremely hip and “cutting edge.”
—————————————————————–     

Verdict
=======

This song strays from the predictable norm we’re used to hearing in pop music today, and it does so with success!  I for one get sick and tired of hearing the same music on my car radio speakers; almost every song in each genre sounds the same!

The writers and producer of this song deserve a standing ovation for daring to be different.  This is my pick for the most memorable pop song by a female in 2008, so far!
           

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Lessons Learned                             
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Here are techniques and cool tips we’ve learned from this song to improve our songwriting:
—————————

1.  Use the song title as a hook at the end of your verses, at the end of your choruses, and at the end of a bridge or breakdown.

2.  To create a two-word song title, use an adjective followed by a noun, i.e., Crazy (adjective) Ways (noun)

3.  You can use a rap to open your song instead of a first verse, follow it with the chorus, then with a normally sung first verse.

4.  Take a simple verse-chorus song form and twist the heck out of it every once in a while!

5.  Use an interesting four chord sequence for an entire song.

6.  Use the following concept during your first two lines of the first verse to keep the listener interested:
a.  What’s happening
b.  What’s about to happen

7.  Pick out a line or two in the 2nd verse and stagger the phrasing to bring attention to those lines as Estelle did when she sang,”Walkin that walk, Talk that slick talk.”