August 2014 - Drum Track Month Voting & Comments

August - drum tracks. Patrick's thoughts.
Firstly yes, thank you to Karl for providing a well recorded and very usable drum track. It would be interesting to hear what Karl imagined the song to be in his head.
I've also always liked the way Karl puts names in bold. So as it's his month, I'm going to do that too.

1 Woman in Black - Rob G, Col and Tim.
I'm reminded of something from Woodstock, Santana, or Hendrix, but the vocals bring it back to being british. Hang on ! we're in the woods, flutes and classical guitar, unusual…. I like the aggressive take on it, some of the playing is a bit loose on the timing side esp. 028, 01.22, 02.37, and I'm not convinced all the guitars are in tune…but I do like the organ sounds.

2 3 little pigs had a sister Tim and Julie
I like the interweaving ideas of the intro, harmonies and heavy bass riffage, trouble is, at times the timing is very loose esp 021and 1.21. The bass part tends to be quite ahead of the drums.
Witty lyrics, reminds me of a Monty Python Eric Idle pastiche, and I can imagine a dark video with pig outfits. I like the work you've put in with the words, and piecing together Karl's different sections.

3 Waiting for a drummer Stephen Clarke
Once again, we're back at Woodstock, no bad thing. I like Stephen's double track vocal treatment, and the Jimmy Page style riff, I can imagine a cocksure Robert Plant having a go at this one. Amazing that this is the same drum track as the others, as it sounds so different. These first three make me a little nostalgic for that Gibson driven rock with short curly black guitar leads.

4 Killing time Colin Steward
Nice funky rhodes ? clav ? opening, the wicky wacky scratching is a nice surprise, so lots going on in the opening few bars. I like the way you've picked up the groovy element of Karl's track. Nice that you've experimented with some other sounds other than the traditional. The spoken voice section is also a nice surprise. Possibly there's a couple too many ingredients for it to all sit together, but it shows a positive enthusiasm to the challenge.

5 Kingdom Come Mike Gosling
You've used the big cymbal crashes to good effect with the intro, gives it grandeur. As with all Mike's songs the result is very satisfying, I think this is because he has a knack for writing a memorable, and simple chorus. This may sound like faint praise but it's not, as that in my experience is very hard to do. I thought it reminded me of Strict Time, the old Elvis Costello song, but it's not really that similar, just in feel perhaps.

6 In the meantime Tim and Glynn
Lovely guitar sound for the intro. I like the sparse instrumentation, not sure if there's some vocal tuning issues in places, i think when there's a lower one they fight a bit. Nice dynamics to bring it right down to piano drums and voice for the second verse. There's a lovely melancholy to it all, and an intelligent use of quiet and space in the arrangement. Again it's interesting how different a take on the drum track this is to Mike's.

7 Mine
listening to it again I can see it's a pretty slim idea.
I picked four bits from Karl's track, chopped them up a bit, and used them to build the song around quickly.
I wanted the sound of it to be all about the drums, so it's an attempt to make a song from noises and drum kit. I sped up the end bit for the key change.
All the sounds other than drums are mainly Omnisphere.

8 Eddie Custard Auntie Olivia
Similar to Mike's this reminded me of something Elvis Costello wrote with the Attractions. The bass player tends to rush a little with the lead guitarist. There's a lovely joyous revelling in his own chordal and harmonic possibilities 0.30. Eddie always manages to surprise the ear where he goes with his melodies.
The instruments all hang together nicely and give a lush sound. Interesting that Eddie has used the crash cymbal bit for his chorus, and Mike used it for his intro.
Reminds me also of a Ray Davies Village Green era Kinks song. The lyrics made me laugh, but being Eddies brother I may be closer than most to the goings on in uncle Frank and Auntie Olivia's house. Eye watering I can tell you.

9 Turn, turn, turn Phil Sanderson and Rob Warner
The timing on the piano intro could be improved, the guitar parts could be thinned out to work better together, there seems to be lots going on all the time so there's little difference between the sections of the song. The guitar sounds are all quite similar and have a lot of reverb (?) so they battle a bit to be heard. Underneath it all is the germ of an interesting song, with good phrasing and a strong vocal performance from Rob.

Woman in Black    Rob G, Col and Tim
Love the heavy riff, the feedback, the psychedelic chord changes and the no holds barred vocal. Funny how quite a few of us travelled back to the late 60s early 70s this month. I have to admit I laughed at the sudden Ritchie Blackmore medieval bit, but in a good way, it was fun. Prog rock, but much more listenable than it was in the 70s.

3 Little Pigs  Tim and Julie
Another nice funky riff, and full marks for fitting the song around the drum track as it is. The fuzz guitar in the background is doing some nice subtle stuff, and I love the menacing way Lou Reed is telling us a dark fairy tale about pigs that he'd rather be eating.

Waiting 4 a drummer
It wasn't really about a drummer – it was meant to be a love song. Rule one – give your song a sensible title. With almost everyone else going 70s, I just wish I'd gone all out and added a cowbell in the bridge.

Killing Time  Colin Steward
Prog rock with scratching, interesting. I like that recurring riff, like something out of a 70s film, very catchy. Again, full marks for shaping the song around the drums – even the last cymbal crash that I cut off. And especially well done on getting Steve Jobs to do a cameo vocal. Apparently he rarely does that kind of thing. It fits in well and contrasts nicely with the other vocals.

Kingdom Come   Mike Gosling
Yes, very authentic summery Bo Diddley song, and I love the relaxed feel about the writing and the playing. Sometimes it's great to take three chords and just let them flow. Reminded me of a sort of bouncier Still Haven't Found What I'm Looking For. Very catchy chorus, with a nice sign-off to anchor it in our brains.

In the Meantime  Tim and Glynn
Spooky beginning, laying down a sort of Radiohead atmosphere, so the song takes a little time to get going, but that unrushed feel is a good thing and it suits the theme of the song. I like the bareness of the mix, the vocals backed by a subtle but effective guitar riff, the clever but not overdone way the instrumentation develops. Very nice.

Nothing Is a Waste of Time   Patrick D
Great 70s crime show theme tune riff to start, then a brilliantly worked shock when the piano kicks in. I like the John Lennon chorus, sort of 'nothing's going to change my world' with much better harmonies, it really sticks in the mind.

Aunt Olivia   Eddie Custard
What's yellow and dangerous? A Custard song about an aunt who plays tennis in the nude. I love the story, the chord changes in the chorus and the bridge, and the way the guitar solos go mental while staying very controlled. There's a kind of urgency about it that carries it along really well. Beatles crossed with Elvis Costello and Billy Bragg, but totally Custard.


Turn Turn Turn    Phil Sanderson and Rob Warner
Spacey prog rock, with a nice Peter Gabriel feel to the vocals that seem to float on a sea of guitar. I like the way that it's the vocals that provide the rhythmic riffs and follow the drum track while the guitars sort of go abstract in the background, with that total meltdown at the end. Sci fi rock.

Another really interesting month for songs. The use of a pre-recorded drum track
certainly doesn't seem to have stunted the creativity and imagination evident in
the songs. I really enjoyed the challenge of working to a finished drum track (thanks Karl)
and it definitely made me structure the song differently.

1 Woman In Black - You boys sound as if you had great fun creating this. There's a whole lot
of early seventies rock in here - Deep Purple (Gillan screams; Richie guitar; Jon Lord organ), but
also the vocal performance reminds me of Jack Bruce. I'm not sure that the song (stripped of 70's
excess) is the strongest one here, but the prog rock works great - the change to acoustic guitar
and flute is unexpected and yet perfectly sensible in the context of this song. The Arthur Brown like
scream / laughs at the end is very disturbing.

2 3 Little Pigs - And so Tim delivers a Lou Reed - inspired update of the Three Pigs tale.
There are some tremendous lyrics in here - "You should smarten up a bit and get yourself
three wives" is my favourite. On first listen I wasn't sure that was very PC, but as the tale
it was clear that the tale had a strong feminist streak. The instrumentation worked for me
as it showcased the vocals and lyrics.

3 Waiting 4 A Drummer - A good garage rock sound to this - I'm not sure you did get out of
the sixties with this Stephen (it has quite a Nuggets - feel to it!). A good riff holds it all together
and the "waiting" hook is good. Not sure that the middle 8 worked though - it didn't feel different
enough in instrumentation to give the lift you normally hope for from a middle 8.

4 Killing Time - What a great sound that funky clavinet is - it's such a distinctive sound that you're
immediately transported to the Stevie Wonder world of Superstition, so it was good to introduce
other elements (the scratching) to give it a different feel. Good use of the distorted / radio voice 
for the first vocals and an excellent contrast to use Steve Jobs. I thought the keyboards sound for the
chorus could have been punchier (it was a bit too 80's for me), but the overall groove was fab - 
a bit like an Alabama 3 track (Sopranos theme). The Steve Jobs line about not letting the "noise of
other people's opinions drown out your inner voice" is great advice - so please ignore the above criticisms!

6 In The Meantime - The signature sound of Tim and Glynn with the echo laden guitars / piano / female
vocals works a treat with Karl's drums here. Whereas most of us went with the slightly funky nature of
the drum part, Tim and Glynn stuck what they do best and it really works. The sparse verse with just
drums, piano and vocal is very, very nice. Now, a bit of criticism / a suggestion.
I think the Glynn doing her own backing vocals doesn't always work as well as it could.
I think it would be interesting (and possibly better)  if the backing vocals came from Tim
(or another male voice). Having said that, this is definitely my favourite T and G song so far - well done.

7 Nothing Is Ever A Waste Of Time - A great sentiment and a good basis for a song. A really good start with
that hypnotic bass keyboard riff. The gutsy lead vocal is great (giving the two Robs a real run for their money).
The abrupt change into the chorus works really well - although I'm not sure that the music style isn't
too different. As opposed to some of Patrick's previous songs this had a slight feel of cutting and
pasting about it - I can't believe I'm criticising a Patrick song - I'll stop right there.

8 Aunt Olivia - I love the sound - it reminds me of a few American bands that I like - in particular with
it's great lyrics it brings to mind a band called Okkervil River (recommended album Stage Names).
Sorry, back to the song. The lyrics are really fantastic - fave lines - "going to bed in threes",
"daughter's gone and joined the communists" and or so many others. Musically the change to the
chorus is great and Eddie has used the cymbal drum pattern for the chorus which works really well.
Great song.

9 Turn Turn Turn - From the first few guitar notes I thought we were entering the My Bloody Valentine
/ Shoegazing world, but Rob's vocal and the piano part soon moved us into a whole other place.
I think the hook for the chorus is very strong (the vocals and harmonies work very well).
I think the verse could be more dynamic as the wall of guitars is rather to the detriment of the
drum dynamics. I think the song is an interesting collision of styles, but I'm not sure it's wholly successful. 

Conclusion: Another really good batch of songs and another good choice of a theme for the month.

First of all some thank yous - Rob for letting my drum track idea get an outing, Mike for recording and engineering it so well, and everyone for the kind comments.
What surprised me was how many songs had picked up on the groovy feel of the rhythm, especially as it was sort of based on the drum part at the end of Fix You by Coldplay - not an especially groovy song!
I didn't have any expectations of what might be written, but was just hoping that enough of you would - want to / be able to / be inspired to - write something to what I had played. I needn't have worried.

For those interested, I did have a structure in my head and some of you have gone pretty much with it, or at least have left the part mostly un-edited.
What was recorded is my drum kit played in one take (not the first, I hasten to add!) and I played to a click to (try to) stay in time. I didn't quite get it perfect so sorry for those hoping to use a sequencer.
My drums are Mapex Meridian Birch, cymbals are Paiste and my sticks are ... er, I can't remember what sticks I used! (Cue: drummers jokes).

Here are my thoughts -

Woman In Black - Rob, Col & Tim
What an exciting opener. I know Tim mentioned this is the sort of thing I might have steered clear of in the past, but I rather like it. It's obvious that it was a lot of fun to play and record and, as in Tim's song from last month, the sudden change of pace and style is very brave. The flute and guitar together sound great.

3 Little Pigs Had A Sister - Tim sans Julie
Tim has a nice way of melding rock and funk riffs and this is another good example. The telephone vocal effect is back, but unlike last time, I think it sounds and works better here. Like Rob, I'm not very good at listening to the lyrics but, following others comments, have been making more of an effort, and these made me smile several times. Colin mentioned the twangy bass and I agree there needs to be more warmth to the sound and the vocals could be higher in the mix.

Waiting For A Drummer - Stephen Clarke
Nice guitar hook and I found the structure interesting - one that wandered away from what I might have expected. The sound is a bit thin but that doesn't bother me too much as the song is still catchy.

Killing Time - Colin Steward
This is one of my favourites. Unusual and good choice of sounds, funky, 80's sounding chorus. I like the way you treated Rob's voice for verse 1 which kind of throws the listener off a bit - just as the inspired Steve Jobs middle 8 does. I also like the extra percussion part which gives it a funkier groove. Some good lyrics here too - "broken records, ticking clocks" all link to the sounds.
A lot of thought and effort has gone into this, and for me, that work has paid off - it's great.

Kingdom Come - Mike Gosling
So, even though Mike recorded me playing, he said nothing at all about the part until it was finished and he tried playing along to it. The only addition I made was a tambourine part on the intro, final chorus and outro which I added only after everything else was finished. I am very happy with the result of Mike's efforts - a very catchy, happy summer pop song.

In The Meantime - Tim & Glynn
The best from Tim & Glynn so far. This is just the sort of sound I love - everything sits so well together, not least that lovely guitar part played with exactly the right sound. I like the breakdown at the start of verse 2 where the snare is replace with the rim and just the piano remains - a really good example of keeping it simple. The chorus's played over the ride cymbal part sound heavenly, and the "counting" lyrics leading to the unresolved "In the meantime ..." works a treat. Nice understated bass line too. Wonder who'll be getting one of my votes this month?

Nothing Is A Waste Of Time - Patrick Duffin
I like the chopped-up feel of this, even if the start and end are really abrupt. I am a fan of a chorus that "comes down", so liked it's use here. The chorus is great, with trademark Patrick vocals, but for me the rougher John Lennon / Liam Gallagher vocal sound is even better, and something I would like to hear Patrick use more often. The cabasa is a nice addition too. Superbly executed, as ever.

Eddie Custard - Auntie Olivia
Big, indie sound for this. It has elements of Oasis, Beattles, The Kinks. This closely follows the structure I imagined for the drum part, which is perhaps why it feels so familiar to me. Excellent triumphant chorus's and ending.

Turn, Turn, Turn - Phil Sanderson & Rob Warner
There are some interesting things going on here - I like the piano riff and the way it works with Robs vocal line in the chorus's, but find so many guitar layers a bit much, to be honest. Perhaps that's because I couldn't hear the drum as much on this as the others!


Next month promises to be interesting! Time to vote.

Woman in Black - Rob G, Tim, Col

This certainly sounds like a band effort. From the off it sounds as though it’s being played by long-haired, seventies-loving musos. I absolutely LOVE the moog sound. There are some really great moments in this. As I mentioned, the moog, Rob’s vocal and the ‘breakdown’ to classical guitar and flute (that last one was really inspired and I felt as though I was being transported back to Genesis circa 1973!) Having said that, this (at times) felt as though it was a little thrown together and I think it would have benefitted from being thought about a little more deeply in a melodic sense.


3 Little Pigs - Tim (and NOT Julie)

I really liked this on first listening (and on second and third too!) Tim and I grew up together so our influences are ever-so-slightly entwined. So the guitar (and the overall sound) was, to me, like wrapping myself in a comfortable security blanket of early seventies Top of the Pops as Tim recreated something akin to the early Alice Cooper Band sound. And his Lou Reed vocal is great. I know that Tim can be (and I say this with love) an odd mix of self-effacement, (slight) insecurity and bombastic belief which gives me an intriguing insight when listening to his compositions. I often seem to use the word ‘believable’ and Tim’s compositions, for all his (slight) insecurities, are becoming more and more believable. And what I love is that he seems to be growing in stature and seems to listen to everyone’s comments and takes them on board (so maybe he’s not that bombastic!) I loved his telling of the story. Very assured. Great.

Waiting4aDrummer - Stephen Clarke

When Stephen says ‘a trip back to 1975’ he really means it. I heard a Gerry Rafferty track on the radio yesterday and I said to my wife that I loved his laid-back approach to singing. It was easy on the ear. Effortless. All of these observations apply to Stephen’s song this month (actually, most months.) My first ‘contact’ with a song is normally the melody (not the backing or lyrics - they sometimes make an impact further down the line) and I listen with half a critical ear and half an intrigued ear as I think ‘how did he/she come up with that?’ Or ‘he’s just singing “Yeaahhh” over four bars. I would never do that but perhaps I should.’ I have so much to learn from accomplished songwriters and I count Stephen as one of those.

At this stage of the listening process, I’m already thinking ‘sh*t, I KNOW I’m going to want more votes!’


Killing Time - Colin S

It starts like a Stevie Wonder track (“very superstitious…”) I didn’t like the distorted guitar in the intro and throughout (was it slightly out of tune?) But I loved the vocal on this. You had really thought about it (I loved the ‘radio’ effect and the falsetto “…care to..”) However, I felt that the verse was much stronger than the chorus which was a little unsatisfying somehow. The Steve Jobs bit was a nice touch but on first listening I thought he said “…don’t be trapped by dogging!!” Eh???)

When one listens to this track, there is SO MUCH in there. Lots and lots of layers. Tiny things. I enjoyed it very much.


Kingdom Come - Mike G

Knowing where Mike was (production-wise) six years ago, his recordings now are nothing short of miraculous. And also, at a concert we both performed at in 2007, he wouldn’t even let himself have a mic such was the state of his self-esteem vocally. So it’s fitting that this song has a religious overtone because Mike continually strides across this ‘club’ with a God-like presence!! I LOVED the brass (but always have loved brass on everything.) And I thought this was tastefully done. I asked Patrick D about his brass a few weeks ago and he said he used Garritan. Is that the same for you, Mike?

But it’s not just the brass. The drums (on which the song was based) ‘chug’ the song along nicely (although, they sound completely different to anybody else’s handling of them.) The Hammond organ is perfectly played and weighted and everything just gels and melds together beautifully. It’s so simple and yet builds nicely.

Having said that, the vocal, and the use of the words ‘thy kingdom come’ somehow start to grate a little. And after a couple of listens I found myself continuing to marvel at the backing and not enjoying the melody. It’s hard to explain why, but I suspect that it’s because the feel of this number is so derivative and so recognisable that it feels as though it should tick certain boxes and (on some levels) it doesn’t.


In the meantime - Tim & Glyn

I love the opening phased/reverb guitar chords, very Chris Isaaks. When Glynn started singing (beautifully, of course. Her tail must be up now that Kate Bush has made a reappearance!) I thought ‘Well, this is remarkable. This is a melody sent from heaven for the Lucas/Hughes’ team. This is ‘Yesterday.’ This is ‘Eleanor Rigby.’’ But the more I listened the more I thought, ‘I’m sure I’ve heard this before.’ So I kept listening to the opening phrases again and again until it struck me that it’s a bit (quite a bit) similar to ‘Change’ by ’Tears for Fears.’

But ignoring this blatant plagiarism, it is, for me, Tim & Glynn’s finest recording to date. It holds together really well and sounds very ‘band-like.’ This mix is great with Glynn’s vocal very much to the fore. And I think I really like her vocal in the lower register almost being used as another instrument because her tone is lovely. It’ll be tough, but maybe you should sack Simon as your ‘finisher!’ Well done, my favourite T&G production so far.


Nothing is a waste of time - Patrick D

Like Mike, Patrick is one of the Gods of this ‘club.’ And like Tim W, I agree that Patrick’s voice has been a revelation and he sings absolutely brilliantly on this song. This, to me, is an absolute masterclass in…everything!! The abrupt ‘stops’ with the bizarre chord choice; the verse vocal; the sound. It’s the whole bloody thing! Brilliant. In case you’re in doubt, Patrick D goes to the top of the leaderboard here. There’s nothing more to say.


Aunt Olivia - Eddie Custard

As anyone who knows me will know, I am not heavily into lyrics. I love ‘feel’ and ‘melody’ and if the lyrics are anything other than irksome or awkward, I will not notice them (that’s a terrible admission but explains why my lyrics are normally so forgettable.) Eddie gave us a synopsis to his song which (for me) was a master-stroke. Before I’d listened to a note, I was imagining Eddie adopting a ‘Jake Thackary’ Yorkshire accent and practicing his double-entendres (for the record, I absolutely LOVE Jake Thackary.) Even if I’d adopted my usual position (of not listening to the lyrics) I’d have considered this a cut above almost everything else because the performance was great and the melody was perfect. This was like ‘Squeeze.’ It was like ‘Elvis Costello.’ Like Tim and Glynn, I was convinced that Eddie had plagiarised a well-known past hit. But unlike Tim & Glynn, I can’t pin that particular charge on him, he’s just gone and written a brilliant song. This is a hit in any era. Brilliant. Well done.


Turn, turn, turn - Me & Phil

I sort of said it all in the notes but would add my grateful thanks to Phil for allowing me to hijack his song in a transparent attempt to have a presence in August. I think that with a slightly more careful and considered arrangement (and perhaps revisiting some of the melody…and most of the lyrics!!!) we may have had a hit on our hands. Phil’s prolific so if we all run out of time writing a song one month, see Phil. He’ll have a song available for everyone!!

I agree. A fantastic song.

Yes, excellent song Eddie, a worthy winner - and thanks for the tennis photos.