New Original Song - You Don't Love Me

Lose the autotune!!!

I wanna hear it without the autotune because it could have some substance to it. Even if you can't sing, it's still better to sound out of tune rather than autotuned.
 
Lose the autotune!!!

I wanna hear it without the autotune because it could have some substance to it. Even if you can't sing, it's still better to sound out of tune rather than autotuned.
Hi Stoner Bill,

Appreciate the feedback. That said, I'm a trained singer. There is not much AT on that. Obviously the engineer who worked on that track did some pitch correction because this is final release record but there's not really all that much. If you look on my Soundcloud...for my Partynextdoor song cover of "Over Here"...that's what autotune on my voice sounds like. Major difference!

Also I'm not sure if sounding out of tune is really ideal on any recording I would not agree with that but again, I appreciate what you are saying.
 
Obviously the engineer who worked on that track did some pitch correction because this is final release record but there's not really all that much.

Fire them! LOL Don't do that I'm kidding!

I'm just preferential to raw vocal talent without any modifications (I could just be closed minded). In all honesty though, the only time I've really accepted ANY autotune on vocals is Akon and Young Jeezy's "Put On", and it took a long time for me to get used to Akon's... I could tell there was talent in your voice but I'm just not a fan of the sound autotune makes on vocals. For me personally, it sticks out no matter how little is used.
 
Fire them! LOL Don't do that I'm kidding!

I'm just preferential to raw vocal talent without any modifications (I could just be closed minded). In all honesty though, the only time I've really accepted ANY autotune on vocals is Akon and Young Jeezy's "Put On", and it took a long time for me to get used to Akon's... I could tell there was talent in your voice but I'm just not a fan of the sound autotune makes on vocals. For me personally, it sticks out no matter how little is used.
"Fire them!" Hahaha I can't even - too funny! Good sense of humor. Even so, I couldn't imagine life without an audio engineer...I remember the first time...and the 2nd, 3rd, 4th, 50th time I tried to understand how to EQ and compress effectively...and then somehow connect all this with side-chain bussed reverbs and delays...I felt like...I was going insane. Plus the number of times you have to re-listen to the same song to do that job...geez haha shout out to all the engineers out there who have the tolerance for that!

And nah, I don't consider your opinion close-minded at all - in fact I totally understand it (and even if I did not you are entitled to an opinion just like anyone else so if anyone were to say you were close minded for having an opinion...give them a mirror haha). That said, I get the sense you must really enjoy live performance as well, which I also appreciate. Trying to incorporate more of those have had good experiences with it thus far and I see the value of it also. So yeah, totally understand what you're saying!

Can't remember the last time I heard a new Akon single now that you mention it...definitely a unique talent...unmistakable voice!
 
Engineering is... well... it's one of those things that the only way to really understand it is by doing it over and over and OVER and... well yeah. Hell, I still feel like I'm guessing half the time. Trial and Error is a B* but that's the only real way to learn. Pick up a few tricks, apply them, and then hope you come across somebody, or something, that can point out how it isn't at the level it should be and what needs to be changed. Then the trouble of going back to your earlier projects and remastering them... finding new better ways to do things... re-remaster... it does get daunting even for engineers but that's where you gotta have a passion for it. :D
My girl doesn't sit around me for too long when I'm making music mainly because she can't listen to the same thing repeatedly for all that long. Play it back, change one note, play it back, change two notes, play it back...

I don't think I would have a problem with AT if it weren't for everyone using it... it just makes everyone sound the same... Half the time I don't know if I'm listening to Kyle, Lil Yachty, or a new T-Pain... I do however get using for effect (i.e. "Put On' by Young Jeezy, or to flare up a segment of the lyrics that need the most attention)... but for the whole thing? One of the "rules" for hip-hop is that the music has to change-up. I feel that the vocals should also adhere to the same respect.
I used to think the same way about Trap music, and to my surprise, it hit the point that producers start spinning it different ways. I have the same hopes for AT to do the same... Hell, I'll use AT if it hits that point. But at the moment I can't really give it much credit.

As for live performance... that all depends on the energy coming from the artist. For example, Serj Tankian from System of a Down, (and this bleeds into my point on out of tune vocals) has a HORRIBLE voice when he's live. But the energy he brings is just astounding. As far as him being completely out of tune... SOAD is a classic case of changing the music to work with the vocalist to tie everything together. Put him on anything else and it would sound pretty trashy, but with SOAD, his vocal style just fit perfectly.

And I think Akon is too wrapped up in the industry to really release anything much as an artist lol. xD~~

On a different note... I've listened to this song about four times now (ignoring the AT of course) and the beat is definitely on point. There is heart in the lyrics. As an R&B track it's got everything it needs. I think it could benefit from a freestyle verse on the second chorus to sink the power in (pulling a page from the early 2000's). In today's market, you need to get a crew behind you and push the promotion on this, and it could probably hit the charts fairly decently... Even though I don't like AT, I'll spread it!
 
Engineering is... well... it's one of those things that the only way to really understand it is by doing it over and over and OVER and... well yeah. Hell, I still feel like I'm guessing half the time. Trial and Error is a B* but that's the only real way to learn. Pick up a few tricks, apply them, and then hope you come across somebody, or something, that can point out how it isn't at the level it should be and what needs to be changed. Then the trouble of going back to your earlier projects and remastering them... finding new better ways to do things... re-remaster... it does get daunting even for engineers but that's where you gotta have a passion for it. :D
My girl doesn't sit around me for too long when I'm making music mainly because she can't listen to the same thing repeatedly for all that long. Play it back, change one note, play it back, change two notes, play it back...

Yeah I have such a high appreciation for engineering. I always actually wondered why we have an industry standard to say "Prod. X" person in song titles or album artworks but we don't have anything like that to recognize engineers. I definitely don't have the passion for engineering enough to go through those things that you described and that I've tried to put myself through at one time haha.

I don't think I would have a problem with AT if it weren't for everyone using it... it just makes everyone sound the same... Half the time I don't know if I'm listening to Kyle, Lil Yachty, or a new T-Pain... I do however get using for effect (i.e. "Put On' by Young Jeezy, or to flare up a segment of the lyrics that need the most attention)... but for the whole thing? One of the "rules" for hip-hop is that the music has to change-up. I feel that the vocals should also adhere to the same respect.
I used to think the same way about Trap music, and to my surprise, it hit the point that producers start spinning it different ways. I have the same hopes for AT to do the same... Hell, I'll use AT if it hits that point. But at the moment I can't really give it much credit.

Yeah I totally see your perspective. I think honestly, we're in a time where in R&B, Pop, and New Wave genres of music perfect pitch is what we have become so accustomed to expecting that there is pressure to have perfection through everything even where we are naturally imperfect beings. The lack of imperfections in singing now due to wanting to deliver an industry standard product honestly may contribute to what you're saying about everyone sounding the same. Because you're right, pitch correcting over everything can eliminate subtleties like vibratos, straightening out those notes when they naturally should waver as a vibrato should. That's why ideally an engineer should only correct the notes that are notably out of tune but...honestly...that takes a lot of time...I don't know how many actually bother to do that in the end.

I also think a big part of the reason why a lot of artists sound the same nowadays is b/c there is a huge thing now of trying to latch on to a "sound" that is selling and breakthrough with it...hoping that once you do and subsequently become accepted into mainstream after showing you can deliver the desired sound people are craving, that you can introduce people to your own more unique sound you actually want to deliver to differentiate yourself. Somewhat of a "give people what they're used to first then guide them to something new once the believe in you" mentality. Just my opinion based on the patterns I see, and I have to remain cognizant of things like this.

As for live performance... that all depends on the energy coming from the artist. For example, Serj Tankian from System of a Down, (and this bleeds into my point on out of tune vocals) has a HORRIBLE voice when he's live. But the energy he brings is just astounding. As far as him being completely out of tune... SOAD is a classic case of changing the music to work with the vocalist to tie everything together. Put him on anything else and it would sound pretty trashy, but with SOAD, his vocal style just fit perfectly.
Interesting you say this. Fetty Wap does this for me too. Now, Fetty can sing to be honest, he really can, but on record you can tell he's not thinking about pitching or technique at all he's just going for full energy and it's so palpable. Yeah once you find the right groove you can make it work.

And I think Akon is too wrapped up in the industry to really release anything much as an artist lol. xD~~
He also I think is responsible for many artists who have since broken through like Lady Gaga way back when so I think he's collecting a lot of royalty checks...and just chillin' out. Pretty sure he was doing some charity work with bringing light back to Africa too but for sure his sound has been missed.


On a different note... I've listened to this song about four times now (ignoring the AT of course) and the beat is definitely on point. There is heart in the lyrics. As an R&B track it's got everything it needs. I think it could benefit from a freestyle verse on the second chorus to sink the power in (pulling a page from the early 2000's). In today's market, you need to get a crew behind you and push the promotion on this, and it could probably hit the charts fairly decently... Even though I don't like AT, I'll spread it!
Thanks for the feedback. Pretty cool how many points we've touched on in this discussion. With the beat do you think the beat is too overpowering relative to the vocal? Should the vocals have been more in your face in your opinion or was the balance where it needed to be for you? With regards to the freestyle comment, do you mean freestyling over top of the chorus and panning these things all over the place to create energy or did you mean literally replacing the second chorus with completely new lyrics?

I appreciate your kind words at the end there as well. I definitely need to learn more about promotion and marketing. I often find myself stuck in the mindset of wanting to record or create anytime I'm doing music rather than promotion. My passion is on the creation/recording/performing side of things not the marketing side of things or other sides of things like engineering as I've mentioned. I enjoy working on album artwork concepts as well but overall, I need to maybe become more multi-dimensional as an independent artist. You kind of have to wear all the hats to an extent, even the ones that might not fit the way your favorite hats do at times.
 
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For an R&B track the balance was right where it needed to be... it's not like hip hop or rock music where the vocals have to be in your face for the full effect. It's about sounding smooth not harsh.

For the freestyle... There's a trick that I've always looked for when somebody raps over a chorus, which I think would really dominate the market in this area. I did this karaoke once. There was this guy doing a remix version of a song that was more a clubbing style and a buddy of mine told the host to hand me a mic so I could freestyle with the dude singing. It wasn't my performance so I didn't want to steal the show from him. I had to figure out how to rap in pieces instead of just go straight through it. Now we did this through the whole song so it was a lot harder than I think it should have been. But when we hit the chorus it just fell in perfectly.
The chorus of the song was just a couple of lines repeated and my chorus bit was a speed rap (Twista style). We had almost a duel with the chorus, where both of us had a prominent stance in the song. I think that approach was what really sealed the deal for everyone. We got a standing ovation from everyone who was there.

The technique that has become one of my favorite things to hear on R&B/Rap collabs, is when the two parts trigger each other... I'm going spitball it for this song:

(you don't love me)
It's all that I can think of.
(you don't love me)
Sittin, waitin, staring through the window thinking
(but you don't love me)
where did this love go
(but you don't love me)
But you don't love me anymore (whoah)
(You don't love me)
I can't tell you how it feels
(you don't love me)
I just want to keep it real
(you don't love me)
All the things I couldn't say
(but you don't love me)
You took my love and walked away

And then let the freestyle go through the down break, keeping the humming as a background vocal and have the last bar of the rap raise tension for the vocal drop at the end.
 
In fact I'm just gonna let you have this if you wanna use it for after the last chorus:

I was gonna marry you
though all the things you put me through
for you my heart was always true
but in the end I'm done with you
don't start no shit
don't give me lip
don't throw a fit
just cool your trip
you better quit
before I flip
just take a hit
get a grip
you make me lie
awake at night
the shit you pull
it just ain't right
why don't you go fly a kite
cause all you wanna do is fight
for you my heart is only cold
how could you try and act so bold
now your worse
or so I'm told
I'll live my life on a heart of gold
 
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Thanks for this. Is there a point where you feel going over top of a chorus or beat like that can be distasteful or not necessary? Or is it just a feel thing you'll just know when a song chorus should be left alone or have more added over top of it?
 
It's usually just an "at the moment" feeling... most usually create different variations of the same project and mix and match them until they find the right fit... music creation is a puzzle, just create the pieces and see how they fit together.

A chorus is just a section of the song that remains the same no matter where or how many times it appears in the song. Standard number being 3 times. Sometimes the Chorus will appear 6-9 times depending on the structure.
Usually, and this is in all genres of music, the chorus is where the beat takes a break and the lead instrument, or vocals, gets it's "solo" moment.

The Chorus should either be the hype or the rest in the song. If the song has a lot of elements then the chorus should be minimal. And Vise Versa. A good example in hip hop/rap is Twista... He's a speed rapper, so all of his songs have a lot of vocal work. When he does his chorus's, they are usually minimal in content compared to the rest of what he's says. He also uses the chorus to show of his wordplay skills, usually consisting of multi-syllabic rhymes and how many words he can use with the same scheme.

A chorus has one other job, which is to hammer the point of what the song is about, like in your track.

MY #1 band is Demon Hunter. They are a Christian Death Metal Band. In my opinion, they consistently have some of the best chorus' ever done in all of music. Check out the song "I Am A Stone". It's a very melodic, slow, song (which is amazing coming from a group that is very brutal in their heavier songs). This song has one of the best chorus' ever done throughout history (again, in my opinion). They take emotional content and, through the chorus, output so much energy that completely seals the awesomeness of the song. This is pretty much my go-to track when analyzing how to do emotional beats that have a lot of hype.
They also do a lot of crossover songs which mix roaring with gospel choir. ("Not Ready To Die", "Not I", "Fading Away"). Plus you can actually understand them xD.

As far as going over the chorus being detrimental:
Don't do it if there is a clear cut point that needs to be said.
DEFINITELY DON'T do it if the chorus already fills in the dead air. (i.e. rap chorus')

There is always an alternative route:
"Heartless" by Kanye West
He fills in the chorus "dead air" with the 'oooeee effect'. The oooeee effect is when a vocalist isn't saying anything but is humming loudly in a vocal manner ("Please Don't Leave Me" by P!nk)
 
Hey SB,

I def see the chorus mainly as having the hammer-the-point-home purpose. I usually write the hook first then make the verses after that. Always seems to work out better for me that way because I know the point I'm trying to make and then my verses can just reinforce that point...gives the verses more directionality.

Gonna check some songs out by that band...Christian Death Metal just doesn't compute in my mind...I can see why that might attract attention haha. Stands out for sure...which is ideal to separate your sound from the rest of the pack.

And based on your last point it seems for a lot of R&B songs going over the chorus would not be ideal because most seem to have a point they are trying to make, and make very strongly...I can understand rap though where like you said before often times those choruses are for hype and rest.

That said...isn't dead air valuable? Sometimes when you hear a beat just break...for a couple of seconds...or just silence on a track, before a transition I think there is value to that...if implemented in a surprising/catch-you-off guard kind of way.

And for sure humming and making weird ad-libby noises is something I agree can be great to do...don't worry I'm right there with you on the oooeee...some of the songs I've written have a ton of weird vowels stuck together into some sound that is so far from being a real word that yeah...totally allows me to relate to what you're saying there. Cool.
 
For a song like this you don't want to cut out the chorus. Filling in the blanks is more suited towards songs where there is little being said in the chorus but needs to be spread out for 'x' amount of bars. Which is why I said only for the second chorus. I personally believe dead air should be used very sparingly. Like in Jazz, moments of silence are used to force the audience to process the information before continuing the story. In EDM genres, the dead air is intentional to cause anticipation. In R&B, Rap, Country, and Rock, there really shouldn't be dead air. Instead artists use rests for those purposes. Most genres stem from Blues and Classical which have very few rules that can actually be broken effectively.

Now take what makes a song fit a certain genre. R&B comes from Blues. So for it to be an R&B(Rhythm and Blues) song, each bar is done to a 4/4 count beat but to a 3/4 count rhythm causing every 12th count to match up. This is what separates Blues from Jazz(4/4 by 4/4). Trap generally follows this tone automatically which is why it has become so popular for modern R&B.

The lyrical content plays a part in it, though very small, but the VOCAL STYLE doesn't change the style of music. I've heard all different vocal styles cross into other genres. I once heard a person roaring on a Boom Bap song. It's still Boom Bap. Check out Ice-T's band Body Count. It's a Metal group... Ice-T is still rapping in their songs. Granted he's not "speed rapping" or "flow rapping", but he's not singing either. So putting a freestyle on an R&B song doesn't make it a rap. It just makes that portion of the song a "spoken word" verse.

When you break down what makes a vocal style fit into a certain genre is all about the criteria it meets. Prime example: Poetry vs. Rapping. keeping a rhyme scheme while speaking doesn't automatically make it a 'rap'. In the same regard, speaking on beat without a rhyme scheme doesn't make it 'not rap'. If you listen to Bizzy Bone, he sings a lot. By paraphrased definition, singing is elongating words into a melodic form. That doesn't mean you can't sing and rap simultaneously.

The problem with music these days, and it doesn't matter the genre, is that there are so many artists coming out that want to label themselves as something different (usually for publicity) than what they actually are. So there are so many different genres that shouldn't exist, but they do. Dubstep being one of them. Dubstep has been around since the 80's, it was just called something different. There was only one thing that separated it from techno(which was what EDM was called before dubstep) was a particular sound being used. Trap, in itself a genre all in it's own, because it follows a different schematic than general hip hop. Since it was derived from hip hop, it's a sub-genre of hip hop. It's the same correlation between R&B and Blues. R&B has the time signatures of blues (4/4) but at the same the has the rhythmic patterns of hip hop (3/4).

I had a point to all this but I got lost in thought LOL.

I generally have the opposite problem when writing. I'm a poet so I'm not very good with hooks. Or chorus' for that matter. So I'll usually just rip out part of one of the verses, use it for the hook/chorus, then rewrite that section of the verse.
 
For a song like this you don't want to cut out the chorus. Filling in the blanks is more suited towards songs where there is little being said in the chorus but needs to be spread out for 'x' amount of bars. Which is why I said only for the second chorus. I personally believe dead air should be used very sparingly. Like in Jazz, moments of silence are used to force the audience to process the information before continuing the story. In EDM genres, the dead air is intentional to cause anticipation. In R&B, Rap, Country, and Rock, there really shouldn't be dead air. Instead artists use rests for those purposes. Most genres stem from Blues and Classical which have very few rules that can actually be broken effectively.
When you say little being said are you speaking literally in terms of the amount of words jammed into the chorus or do you mean in terms of substance/depth as in little being said in terms of the importance of the song theme? Also from what I'm understanding you do not see the value of beats cutting out and silence in R&B songs to build tension or do a climax? Or just for a switch up?

Now take what makes a song fit a certain genre. R&B comes from Blues. So for it to be an R&B(Rhythm and Blues) song, each bar is done to a 4/4 count beat but to a 3/4 count rhythm causing every 12th count to match up. This is what separates Blues from Jazz(4/4 by 4/4). Trap generally follows this tone automatically which is why it has become so popular for modern R&B.
Definitely understand this I know a bit about the 12-bar blues concept from my music background. Trap is a sub-genre of Hip-Hop not R&B though...but you're saying it follows R&B rules of being 4/4 by 3/4? Also from an artist perspective, is it that important to keep this in mind or is it more for the producer to be knowledgeable of that?

The lyrical content plays a part in it, though very small, but the VOCAL STYLE doesn't change the style of music. I've heard all different vocal styles cross into other genres. I once heard a person roaring on a Boom Bap song. It's still Boom Bap. Check out Ice-T's band Body Count. It's a Metal group... Ice-T is still rapping in their songs. Granted he's not "speed rapping" or "flow rapping", but he's not singing either. So putting a freestyle on an R&B song doesn't make it a rap. It just makes that portion of the song a "spoken word" verse.
Spoken word would imply something is more like slam poetry though would it not? As in the rhyme scheme becomes less important whereas in rap for the most prat there is still rhyming? This has been my understanding...you would disagree?

When you break down what makes a vocal style fit into a certain genre is all about the criteria it meets. Prime example: Poetry vs. Rapping. keeping a rhyme scheme while speaking doesn't automatically make it a 'rap'. In the same regard, speaking on beat without a rhyme scheme doesn't make it 'not rap'. If you listen to Bizzy Bone, he sings a lot. By paraphrased definition, singing is elongating words into a melodic form. That doesn't mean you can't sing and rap simultaneously.
This makes sense for sure. I think that's why we have a lot of self-proclaimed "genreless" artists out there now because they are constantly blurring the line between singing and rapping so you cannot really tell if X artist is really a singer or really a rapper...I think it's good for music...less boxes to confine ourselves to the better in my books.

The problem with music these days, and it doesn't matter the genre, is that there are so many artists coming out that want to label themselves as something different (usually for publicity) than what they actually are. So there are so many different genres that shouldn't exist, but they do. Dubstep being one of them. Dubstep has been around since the 80's, it was just called something different. There was only one thing that separated it from techno(which was what EDM was called before dubstep) was a particular sound being used. Trap, in itself a genre all in it's own, because it follows a different schematic than general hip hop. Since it was derived from hip hop, it's a sub-genre of hip hop. It's the same correlation between R&B and Blues. R&B has the time signatures of blues (4/4) but at the same the has the rhythmic patterns of hip hop (3/4).
This is kind of harkens back to the prior point. Is it really that bad that artists would rather not be confined to a box? I understand that in theory one might say to be honest X artist is really a hip-hop artist...just a sub-genre of hip-hop artist...but if an artist wants to make up their own genre like Swavey, trapsoul, EDM-infused hip-hop, or something...if that's what gives them the drive to innovate creatively, the idea that they are so unique even in reality they truly are just a subgenre but not willing to acknowledge that, then in my opinion I think it's still good because the music and creativity is more important than the label that may otherwise make an artist feel like they are just "one of the rest"...I don't know if that makes sense but basically I'm saying here that if an artist would rather call themselves something other than what they really are by textbook definition because it helps their ego feel better...enough to inspire increased creativity...it's good to me.

I had a point to all this but I got lost in thought LOL.

I generally have the opposite problem when writing. I'm a poet so I'm not very good with hooks. Or chorus' for that matter. So I'll usually just rip out part of one of the verses, use it for the hook/chorus, then rewrite that section of the verse.
I used to try to write from verse 1 to the end in a linear fashion but I find, like you, that if I do that...I end up just writing through and never really getting a solid hook because I just keep writing...linearly...like a poem, rather than a song that in most instances has a recurring section (hook) because in reality, stories should be linear, and we're trying to tell stories, but in songs of today, the readers of our stories (listeners) do expect that recurring theme to come back every 45 seconds or so to keep them with us. So I write hooks first now to say "this is the core of what I'm saying...if you don't pay attention to anything I'm saying in the verse at least pay attention to this" haha...that's why often my choruses of now I will opt to just repeat a phrase over and over...such as "You don't love me"...so by the end just maybe the point will get across...that someone doesn't love this person...and they're not happy about it from the sounds of it lol
 
Yes I mean literally how many words are being used. I've always believed that you can use less words to say more... I am a poet after all lol...
Which comes to the spoken word... I refer to spoken word like in the song "Everybody is Free to Wear Sunscreen" by Baz Lurhmann... Slam poetry is kind of a touchy subject for me since I was practically raised on it... I could go on all day about the rules of slam poetry and how it requires you to break every "standard" poetic rule, such as "take that 8 line stanza you just wrote and condense it down to 8 words".........
If you listen to somebody like Vinnie Paz, Ill Bill, or D12, they have rare moments in their verses where the have a couple lines that don't rhyme in between rhyme schemes. This is where rapping break the rules of "requiring a rhyme scheme". When it comes to writing (of any kind), the #1 principle is knowing how and when to break the rules. This is what differentiates a good writer from a great one.

I personally have never classified Trap music to be hip hop, but to be R&B (as far as non-lyrically). Based under the same terms as 'add a kick and snare beat to Soundscape and now label it as IDM... It's marketing.

As far as silence goes... I encourage people to do it... just sparingly... there's a time to use it and a time to not.

As far as the box goes... NO... artists should not try to stay inside the box. But there's a difference between going outside the box and creating something new. Taking a hip hop beat and adding a French Horn or a Sitar is going outside the box... but that doesn't mean you've created a new genre of music. Take for example, Wu Tang. They went WAY outside the box with their music. But they didn't try labeling themselves as anything but hip hop/rap... T.I. took hip hop down to the basic structure and changed the structure, thus creating Trap. I personally would qualify Trap as it's own main genre of music because they differences between Trap and Hip Hop are equivalent to the differences between Hip Hop and R&B. The same differences apply to Trap vs. R&B. If you could map out how the Parent-Genres sit according to basic structure it would look something like this:

(can't do circular lol)
Jazz - Blues - R&B - {Trap} - Hip Hop - Rap - Rock - {Bluegrass} - Country - Gospel - Classical - Big Band - Jazz
*{Inserted based on structure for 2D purposes}

(Pop and EDM are not included in this because Pop covers ALL genres and EDM is on a different ball field-----> like brown, white, and black in the primary color chart)


When using only one line for a chorus/hook: F* Laffy Taffy, F* Birthday Cake, and F* that new joint that goes "why the hell my ex calling"
Other than those three songs, I don't have a problem with repeating one line for a hook xD
 
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