Fix what’s wrong, but don’t rewrite what the artist wrote. Stick to the official released version — album booklet, label site, verified lyric video, etc. If you’re guessing, pause and double-check.
Respect the structure
Songs have rhythm. Pages do too. Leave line breaks where they belong. Don’t smash things together or add extra empty space just for looks.
Punctuation counts (but vibe-editing doesn’t)
Correct typos? Yes. Re-punctuating a whole verse because it ‘looks better’? Probably not. Keep capitalization and punctuation close to the official source.
Don’t mix versions
If you’re editing the explicit version, keep it explicit. If it’s the clean version, keep it clean. No mashups.
Let the lyrics be lyrics
This isn’t the place for interpretations, memories, stories, or trivia — that’s what comments are for. Keep metadata, translations, and bracketed stage directions out unless they’re officially part of the song.
Edit lightly
If two lines are wrong… fix the two lines. No need to bulldoze the whole page. Think ‘surgical,’ not ‘remix.’
When in doubt, ask the crowd
Not sure what they’re singing in that fuzzy bridge? Drop a question in the comments and let the music nerds swarm. Someone always knows.
Summers' 'Behind My Camel', notorious for winning a Grammy for the best instrumental composition, might or might not have deserved it, but where else will you encounter such a tremendous synth/guitar interlocking pattern? Of course, Andy's synth-processed guitar riff can get monotonous, but come on, it's less than three minutes long, and I have learned to treat these things as they deserve after listening to Brian Eno (Andy obviously listened to Brian Eno as well - and to Robert Fripp, too, to both of whom he owes a little something. He later collaborated with Fripp, by the way).
[George Starostin]
Add your song meanings, interpretations, facts, memories & more to the community.
Summers' 'Behind My Camel', notorious for winning a Grammy for the best instrumental composition, might or might not have deserved it, but where else will you encounter such a tremendous synth/guitar interlocking pattern? Of course, Andy's synth-processed guitar riff can get monotonous, but come on, it's less than three minutes long, and I have learned to treat these things as they deserve after listening to Brian Eno (Andy obviously listened to Brian Eno as well - and to Robert Fripp, too, to both of whom he owes a little something. He later collaborated with Fripp, by the way). [George Starostin]
Ya, nothin' much about the lyrich here :). I heard the song though, and it reminds me of the desert soooo much. It would have been odd otherwise.
It nicely captures in sound the smell of being behind a camel.