A lot of comedy songs are bad — their lyrics don’t rhyme, the melodies are repetitive, the jokes are tired — it takes a lot of skill to create a song that is both funny and musically sound. So what are the elements of a truly great comedy song? To find out, I analyzed some of the best songs out there to see what makes them exceptional.
White and Nerdy
Weird Al is one of the most famous comedy songwriters, and “White and Nerdy” is one the most popular songs in his canon (according to Spotify). On a surface level, the song works because it contrasts the coolness of rap with the nerdiness of the subject matter. Spitting bars about Captain Kirk is going to be funny because it feels like a mismatch of genres. But on a deeper level, the song feels like it hits harder than some of Weird Al’s other tracks because it feels more genuine to Weird Al himself. He cites it as his most autobiographical song, and the level of self-awareness (and self-mockery) makes it more compelling than his other raps like “Couch Potato” or “Amish Paradise”. Where those songs still utilize the same comedic technique of contrasting their structure (rap) with the subject matter (C-SPAN, churning butter), “White and Nerdy” stands out because it works on both a purely comedic level and a meta level.
This isn’t to suggest that every comedy song has to mock the singer to be successful, “White and Nerdy” in isolation is still impressive. Rap as a genre can be particularly hard to parody because often the tempo fast and the rhyming structure is complicated.
For example, where the below lyrics only have to rhyme on the last word:
Yo, I know pi out to a thousand places
Ain't got no grills but I still wear braces
The next verse has to include a hard-A sound on both the penultimate and ultimate word:
Once you see my sweet moves you're gonna stay amazed
My fingers movin' so fast I'll set the place ablaze
It takes skill to even physically get the words out, which is why a lot of comedy raps have a slightly slower pace, if not less words per verse. “White and Nerdy” is not only able to keep up with the intricate structure of “Ridin’”, it’s also able to do so while using the vocabulary and phrases of geeks.
Girl You Don’t Need Makeup
There have been many boy band parody songs but the ultimate one is“Girl You Don’t Need Makeup” from Inside Amy Schumer, with Bo Burnham’s “Repeat Stuff” as a close second. Where “Girl You Don’t Need Makeup” is focused on the micro-hypocrisy of boy bands telling girls they’re natural beauties and then walking it back, “Repeat Stuff” targets the macro-cycle of media (songs, magazines, advertisements) telling girls they’re perfect and flawed at the same time. But “Girl You Don’t Need Makeup” hits a key element of the bubblegum pop genre - it’s fun! There is a joyful, buoyancy evoked by overused corny pop chords that makes “Girl You Don’t Need Makeup” feel realistic to the genre as a whole.
Because “Girl You Don’t Need Makeup” has a pointed target, the song is able to utilize more specific examples to underscore its thesis:
I didn't know that your lashes were so stubby and pale
Just a little mascara and you'll look female
It even totally shifts its perspective in the last verse:
Girl, you do need makeup
Lots and lots of makeup
Think of a clown and then work your way back
“Girl You Don’t Need Makeup” feels cathartic because it’s not making fun of boy bands themselves, or boy band fans, it’s making fun of the larger social trends that drive romantic songs. Boy bands were not the only perpetrators of the “no makeup” hype, and “Girl You Don’t Need Makeup” is able to critique the idea in a clear and concise way.
Come Back Barack
“Come Back Barack”, which won an Emmy for Best Original Music and Lyrics in 2018, is one of the great political parody songs (though I will also shout out “Holy Shit (You’ve Got To Vote)1” as one of the great electoral parody songs). Musically, it’s a solid R&B track that hits all the requisite beats of an “I miss you” song, including key changes, speaking over a record, and tight harmonies. But what makes it stand apart from the other songs in the genre is that the satirical target isn’t what you would expect. A lot of political parody songs are about a politicians appearance (“Crush on Obama”) or their policy (“You’re A Mean One, Mr. Trump”), or a collection of political buzzwords (“12 Political Song Parodies In One Video”). “Come Back Barack” is one of the few songs that focuses on the public rather than the figurehead. Missing an ex, in this case, an ex-president, evokes certain tender emotions that contrast the typical sharpness of satire.
So come back, Barack (come on man, we out in the rain)
Don't leave us here alone (it's definitely too cold to be rained on)
At least pick up the phone (I mean, I know you busy with that library and everything)
The White House ain't a home (but Trump don’t even got a dog, man)
It’s not necessarily about going back to Obama-era policies, it’s about returning to a feeling. Political comedy in the Trump era had a lot of pieces that were good, but they all were hitting the same target, and hitting it with similar tools. Critiquing people in power is a key part of satire, but it was refreshing to see “Come Back Barack” take a different position and instead focus on the public’s nostalgia, approaching the political machine through a new and refreshing angle.
Country Song
“Country Song” is one of Bo Burnham’s best works (more thoughts on Bo Burnham here) both because it’s catchy and because it has a clear, pointed target. Like “Repeat Stuff”, it uses the tactic of showcasing the typical structure of a song and then revealing all the mechanisms behind it. “Country Song” is an argument against wealthy musicians lying about how down-to-earth they are in order to sell more records, and importantly, it’s hits the typical country song beats along the way. The lyrics are tight and give succinct examples of country music commercialization (“A Bud Light with the logo facing out”) while also cutting between typical American imagery and the structure behind those reference.
Dirt road, a cold beer
Blue jeans, a red pickup
Rural noun, simple adjective
The comedy checks out as well — Burnham is able to write set-ups and punchlines within the verses and the song, include and internal callback, continually heighten his thesis throughout the piece and land on the below line towards the end.
I got a tight grip on my demo's balls
Say the word "truck," they jizz in their overalls
It’s one of Burnham’s shorter songs, but it’s undoubtedly also one of his best.
I want to flag that Moby, who is featured in this video, has been accused of mischaracterizing his relationship with a young Natalie Portman