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Post by Rob W on Jan 6, 2015 21:24:54 GMT
OK. Finally, the first vote of the new year. To mirror the three parts of the symphony (and because there are so many entries) I thought I'd give you three votes. Also, for those early listeners, due to an administrational cock-up, I mistakenly put Mike's song in as Tim and Glyn's song. It should all be correct now. If this happens again (and it's bound to) don't hesitate to contact me because it's a relatively easy fix.
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Post by eddiecustard on Jan 8, 2015 17:09:54 GMT
Some good stuff here - I found it very difficult to choose a top three.
Patrick Duffin – The Reel Inn
Oh my cod, what a good piece of music this is. Smooth as silk. I didn’t have enough fingers to work out the time signature, but at a guess it’s 15/7. Bravo for trying to write a sexy symphony about a fish restaurant.
I like the line about ‘gold in the cracks of the pavement’, and the recurring motif on the electric piano (?) works beautifully. My favourite bit is the section that begins ‘There’s a wooden shack with a neon light’, where the harmony singing and the bass line are superb.
The second bit with the references to sushi and tutti frutti and the line ‘I need something that fills me head to toe’ evokes Lenny Henry’s Theopholus P Wildebeest. At various points elsewhere there is some lovely funk, and my head filled up with 70s flares, Afro haircuts and even Prefab Sprout. During this cold spell it felt good to be transported to a warm summer’s evening in Greece.
Stephen Clarke - Infinite Symphony.
Great that you’ve written a punk symphony. This is very welcome because it’s a genre that hasn’t really featured on the website so far. Is the reprise a suggestion that we all turn back into kids in the long run? (Maybe I’m reading too much into it).
I like the urgency and rawness of it, and of course the humour, which has become a regular feature. It’s a great idea to squash an entire life into 90 seconds, and eliminates the need for any flabbiness. I got my stopwatch out and found that the section on love lasts a whopping five seconds. I can’t help thinking though that you could have cut it down to four without any loss of impetus. ‘Love’ has the excellently delivered line of ‘Eyes that meet across a crowded room’ and nothing else, which stays true to the brevity and directness of punk. This deft interlude stands out and works well as a bridge to the other sections. I like the harmonics (?) in the background on this part. Allegro Panico is my favourite bit, where adulthood is characterised only by a rapid fire guitar solo with an economy of notes. This section packs a punch and takes the song upwards. Very natural, pulsating and refreshing.
Colin Parish – Symphony/Cacophony
You’re getting some terrific sounds out of Garage Band – in your hands it’s a box of tricks. Those cascading notes on the sitar (?) work to very good effect and the arrangement is right on the button again. The bass/double bass sounds crystal clear – almost like it’s with me in the same room. The first section feels quite brooding and even a little unsettling. Because of that I worried that the bloke might find it tough to get a snog, but part three is the standout – it’s a lovely, hypnotic, dreamy piece of work with some really nice piano chords. There’s a warm glow to this bit – a great way to finish.
Phil Sanderson – Symphonies
Half an hour of absorbing stuff - in turns exciting, soulful, sleepy and powerful. Symphony 2 is really good, but Symphony 3 is where your class shines through.
Symphony 1.
Some swirling organ and the trademark 12-string guitar form the backbone of this. You’ve gone for ambience and mood and this would work well as an alternative film soundtrack for The Beach. It’s difficult to bring variation when there’s only one chord in the first section, but there is colour with the little piano lines hovering in the background. The second part has more urgency and the frantic guitar playing adds a sense of foreboding that you’re expert in creating. I prefer the third section. The distorted guitar brings energy.
Symphony 2.
Really good. Music to listen to while having a hot bath. I’m not sure your piano playing has featured much before now, but it works really well here. There are ten minutes of trippy, blissed out playing which drift along beautifully. I picture this used in a film during the scenes when a lonely person wanders through an autumnal park. It’s melancholy but also has some great melodic lines.
I like the very high piano bits early on, and the little runs are good. To me this much better than Symphony 1 because it’s more inventive and tugs at the heartstrings. Section one really stands out as the best three or four minutes you’ve put on the website.
Section Two is more of the same, which is a very good thing. I think some people may argue that the three sections are too alike in tone and feel but that doesn’t really bother me. I felt like nodding off at the end, and I mean that as a compliment because it’s all about creating a relaxing, meditative, peaceful mood. You’re really on the up with this following the excellent Santa’s Got it Coming last month.
Symphony 3
Terrific stuff, Phil.
Pips Symphony 2 because of the variation in sounds and atmosphere through the sections. The first section is like a companion piece to Symphony 2 with its plaintive piano and strings. Impressive.
Just as I’d reached for the hot water tap and some extra Radox section two arrived at 2.20 with a threatening guitar sound snaking in from the fires of hell. I braced myself for the apocalypse but things didn’t quite go as I’d expected. Within a few seconds a glorious mesh of distorted guitar sounds powered in. There’s a sumptuous tune here with the merging of the two guitars and the synth. I’ve felt at times in the past that the some of your instruments have suffocated others but that’s not the case here – you’ve got it spot on. A mesmerising section.
Part three – back with the quiet stuff and the piano, this time much more plaintive at the beginning. I started wondering how much of this is improvised – whether you work out most of it in advance or you’re just noodling along and seeing what comes out. After a few listens I decided that a lot of careful planning has probably gone in. Either way, you’ve produced something really top quality with Symphony 3. This is a departure from your previous stuff, in that it’s more wistful. I suppose that is partly down to having the piano as the main instrument rather than the guitar. I picture you staying up for three nights in a row and frothing at the mouth trying to complete all this like some mad genius. Haven’t you got kids to teach?
Tim and Julie Warner – One Night
Well done – brilliant. It’s brimming with ideas right from the first classical guitar flourish through to the awakening in the middle of the night and the ringing of the alarm clock at the end.
It’s a smart idea to detail the activities of a single night in bed. Each section has much to admire. The first bit is a great tune and I was sorry to hear it end. Your talent with lyrics is on show again in that bit, with the nice section about the books you’re both reading and the terrific line of ‘you are the comfort I never find within.’
The dream sequence of being in a school assembly with your trousers missing and the staff kissing made me laugh. Julie’s surreal lines about a decision between taking a dog or pig (if I heard it right) add to the disorientation of the dream. (By the way, your pigs have also been haunting my own dreams).
I like the return of the classical guitar in the third section when you wake up in the night with all kinds of thoughts fizzing round your head. This is a really interesting bit. Has he got an idea for a great novel or song that will make him famous? I like the fade out as the narrator’s head is a jumble and he drops back to sleep without writing his idea down, while fantasising about adoration he will get on chat shows with Graham Norton and Melvyn Bragg.
The classical guitar sounds very good throughout – at times it feels like something Alan-a-Dale would perform for the Merry Men in Sherwood Forest. As usual you’re searching for the quirky details of everyday life, and you do it with invention and flair. Another major success.
Mike Gosling - The Cloud of Unknowing
I like it that you’re not afraid to take aim at the big subjects, and this is a counterpoint to the everyday topics elsewhere this month such as a night in bed and a visit to a fish restaurant.
Like Phil’s, it’s very meditative and relaxing and I picture it going down well at a yoga class, though it might be a bit cosmic for fans of pop music. This narrator’s voice has nice burr, which adds to the calming effect created by the instruments. I thought it may be your own voice until I read your notes.
I like the pipe sounds and the buzzed up guitar that come in at around the 2.45 mark. The production, playing and arranging is exemplary as always.
Rob Warner - The Run
I was eager to hear this after reading your blurb - writing about running is an excellent, offbeat idea that lends itself to a lot of musical variations. The toughness of running is evoked in the first section with the sound of feet pounding, heavy breathing and nice piano. The sparse strings give it a bit of quality. There’s desperation in your voice which helps the listener appreciate the challenges this runner will face. You’ve said before you don’t pay much attention to lyrics but your clever words here are key to the mood and capturing the intense physical struggles and self-doubt of runners who face ‘mile on mile’ of road ahead of them. I think this is one of your best lyrics. The third section with the introduction of drums and synths give a sense of forward momentum experienced by the runners in the race, although at the end there is relief (‘At least I’m alive’) as much as triumphalism – good lyrics again. Overall, very impressive.
Tim and Glyn – Looking at the Horizon
Your sequence of melodic gems continues. This contains three very good bits of music stitched together expertly. (Actually, it feels like a fluid song with distinct sections). All three could be extended into songs in their own right, so that’s an indication of the strength of the different parts. You’re making a habit of producing killer chord changes and there’s another one here with the shift into the second section at the line which I think is ‘perhaps your life is running away with you.’
There’s a really good hovering harmony vocal on ‘you are the sunshine.’
The singing is very good again although I think the vocals should have been slightly higher in the mix at the beginning. There’s nice guitar work throughout, especially the echoing jangles near the end of the first section. The combination of piano, bass and voice is really sharp at the end. My ears aren’t what they were and there are some sections of lyrics that I can’t hear too well. But I did pick up some evocative imagery about ‘broken glass on the floor’ and a character perhaps looking too far into the future instead of dealing with current problems. I may have that completely wrong though. Overall, a triumph – your melodies and playing are always excellent.
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Post by patrickd on Jan 12, 2015 21:43:32 GMT
Patrick's Thoughts on December's Symphonies. Well done everyone.
Stephen Clarke - Infinite Symphony - a punkier edge than before, with a touch of the Buzzcocks, a symphony about symphonies, I like the jump into the different section "eye's that meet" . The whole song feels like one big chorus, which is an achievement.
Colin Parish - Symphony/Cacophony Atmospheric start, nice contrasting treatment of the vocals, i like the sparse interwoven lines of Guitar and percussion. Reminds me of Avalon period Roxy Music, which I love, I can imagine Brian Ferry crooning this one with his smoky quiff. Into a more Japan/Gabriel strict beat, don't know whether this complements the first section, or takes it to a different place. The re introduction of the vocals is very welcome after the industrial middle section, pleasing to go into major key for the affirmation 'she kissed me". Interesting change of direction after the mirth of Colin's Christmas song.
Eddie Custard - Underwater World - Sprightly groove, reminiscent of Dodgy - "Good Enough". Sound's very jolly. Nice drums and break into the Brian Wilson esque harmonies, then into another nice change of direction with fuzzy guitar, I like the return of the aquatic guitar at the end. Unusual change of direction for Custard, with good choice of lead guitar sounds to the fore, and the absence of his cast of bizarre characters. I like it, and it justifies it's place on the album
Phil Sanderson 1 - i like the atmosphere of this, Phil would conjour up nice soundtrack music to an American Indie film. In the second section we're into more David Lynch territory with the most distorted guitar of all time solo, very menacing, with the beat clanking away behind. I'm not sure the third section takes us anywhere different, but it's all still ambient and interesting.
Phil Sanderson 2 - As with 1, I can imagine this providing a very effective soundtrack to a film about misunderstood people in America. There's a nice melancholia about it with some well played piano. After all of Phil's experimental soundscapes it's nice to be reminded that he can still write a good tune too. Maybe just a bit too long.
Phil Sanderson 3 - Again some sweet piano playing, an underused skill of Phil's, all nice and clear, not afraid to let the spaces hang there. With the right kind of vocal/lyric this could be really nice section. The middle section makes me want to hide my children, but then it gathers some melody and harmony with some effective synth washes. The sounds complement each other well, It's a grand minor key swirling tempest of of a section. The return of the piano for the last section is welcome after the preceding turbulence. As with previous work of Phil's it's a journey, and he does take you somewhere. Perhaps it feels a little long as the tempos of the sections are all quite similar.
Tim and Julie - One Night
Yes indeed, lovely Lou Reedy start, great guitar playing and nice arrangement with the double bass and brush drums. It feels a bit like a freudian analysis session with the female vocal after the missing trousers section. I like the vocal with nylon guitar combination, reminds me of Jaques Brel again. Profoundly unusual, unsettling, and suitably dreamlike given the subject matter. The alarm at the end is clever and made me laugh, although could it be a heart monitor ?
Mike Gosling - The cloud of unknowing
Unusual combination of the dulcimer ? and spoken word start. Found the words a bit hard to follow, effective underpinning of the words with the sparse instrumentation for the first bit. Found it a bit hard to concentrate on the words with the pipe/distortion guitar section.
Rob Warner - The Run
Effective panting/percussion start, I like that. Sweet melody to follow. Alarms to change section, reminds me of an updated "Day in the Life". The second section is a surprising contemplation of mortality, which is a bit of a shock, but changes the mood well. I like the sprightly drum groove for the last section, creates nicely the anticipation of the finish line. Rob creates the inner universe and loneliness of the long distance runner well, and credit is due for the originality of his theme. I can't think of another song which describes the psychological feelings of participating in sport. Running especially does feel like you're dying at times. Well done
Tim and Glynn - Looking at the horizon
I like the sparse arrangement, let's you hear the vocal well, the underlying sadness comes through well. All the strengths of a Tim and Glynn production are here; nice guitar solo, a band feel, bluesy David Lynch feel, and sweet voice. The slow section goes nicely with the other, as a big brake is applied to the whole arrangement, beautiful singing and lovely compassionate vamping behind the voice for this bit.
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Post by timwarner on Jan 12, 2015 22:41:27 GMT
Patrick the reel inn
Love this but, is it a symphony? Does it really matter? The opening piano figure is delightfully odd but it works itself out at the end of the phrase. After about a minute there is a change that the develops into a fantastic Steely Dan style bit that I love. Another great guitar solo. Then it's all over a bit quickly. It's a great song that is well performed and recorded. I'm not sure it's a symphony but I'm glad I got to hear it.
Steven Clark infinite symphony
I like it when the bass thunders in, for me, that when the punk vibe really kicks in. When it comes in, the lead guitar sounds great. I particularly like the very brief quiet section. It's all good but it's a bit too short to have got the separate ideas to feel like there were separate. I would have liked to have had more time to absorb the different section which, I suppose, would take it away from the punk and push it towards prog (which is possibly where I ended up).
Colin Parish symphony/cacophony
Trance like start with a contemplative feel to it all, that grows In complexity. The second movement is a slightly more beat driven version which grows nicely from the original. she kissed me is a very optimistic sounding part and why shouldn't it be, under the circumstances? I really like the moods set up in all the parts, it seems like a good use of instruments. It says with me. Well done.
Eddie Custard under water world
Bright start. Could be used in a children's program, it's so bright and breezy. Then come the lyrics (does the same line repeated count as 'lyrics'?). I like it when the guitar cuts in and there a bit of military snare. Then there's the reprise with bubbly effect. All really strong melodies and some more good playing. I would have liked more words, though.
Phil Sanderson symphony 1
Trade mark 12 string riffage. You know straight away its a Phil tune. Then there's the drum loop that starts up and chugs away and remains almost unchanged into the second movement, but the guitar gets a bit more zany before fading out. Complete change for the final movement with 4 to the floor pulse. The lack of an easily definable melody makes this easier as background music while doing something else, it's not something that demands concentration.
Phil Sanderson symphony 2
This is much easier than symphony 1. Simple melody cleanly played and with plenty of space. It's sets a lovely peaceful mood and is great to listen to. The break into the second movement is not too abrupt and the strings are lovely. Is it just calmer because there are no drums? Not sure but, in the past you seem to have a problem with drums and omitting percussion completely really works well on this. The last movement is a great finish to a lovely piece. Sparse arrangement has really worked well.
Phil Sanderson symphony 3
You're so anti-lyrics you don't even name your music anymore! Another simple start to this made slightly richer by the doubling on strings. Weird start the the second movement and then it gets a bit 'Steve Hackett on speed' but with a drum machine. Like much of symphony 1, there is no melody line that really grabs my attention so it could almost be ambient music. Back to piano in the last movement, but this time with a more complex theme going on (or it may just be noodling around), with some really nice atmospheric stuff in the background (after the helicopter landed).
Mike Gosling the cloud of unknowing
Ooh, not what I expected at all. It's a bit like one of Phil's symphonies at first. Then there a big boom from some kind of bass drum and percussion and that thought shattered. It's a bit reminiscent of some of the music Peter Gabriel did for the last temptation of Christ (or I may have a terrible memory). The God stuff bothers me slightly so I'm glad I read the sleeve notes and realised it was a character and you hadn't turned into Billy Graham.
Rob Warner The run
It seems we share an alarm clock. Simple arrangements are really all your voice needs and I really like the first movement. The somber second movement is perhaps a bit too sparse but I suppose the contrast to the last sections is greater for it. The last extinct really chugs along and nicely conveys racing. You give up and revert to some more obvious rhymes in this section, but I think you got away with it. The coda is a really nice finish.
If you have been effected by any of the issues raised in this song then why the hell are you still running? I'm sure there's a helpline for you somewhere!
Tim and Glyn looking at the horizon
Promising start with nice sounds and chords. Voice is as good as ever. Lovely guitar break. Again! The instrumentation builds well, I do love a swirly organ. It's great when it all gives up and becomes just piano and I really love the descending chords phrase at 3.30. Certainly Julie's favourite this month
I've just read this all back and it seems the iPad is limiting my typing as well as my attempts at recording songs (GarageBand doesn't come with anything similar to a spell checker so the errors are more obvious and less puzzling).
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Post by stephen on Jan 15, 2015 16:29:03 GMT
Patrick Duffin Reel Inn
You're on a highway to halibut. Cool and funky, this could be out of a musical, a transition scene on the soundtrack album between two singles. Like all of us, in order to produce a symphony, you had to make the music linear, avoiding the temptation to return to a "chorus" or another "verse", which is a shame, because I wanted the first section for example to come back again. Maybe that way I'd have been able to work out what on earth the rhythm was.
Colin Parish Symphony Cacophony
Starts out a bit like the Cocteau Twins, then goes classical – I like the way you've broken up the melody with cacophony, but not gone so far that you drown out your haunting tune. The second movement could easily be one of the contemporary classical pieces I've heard, except it's too melodic. You could re-structure this and make it a dreamy love song for next month, and win.
Eddie Custard Underwater World
Great bassline in that opening section, leading into a neat hook (lucky Jules Verne is out of copyright), and I love the way it segs into one of your signature mental-but-controlled guitar breaks. The bubbly ending is great – very funny. Again, I wished the first section would return, but I suppose that would have made it a "song". As it is, you've written three excellent TV theme tunes.
Phil Sanderson Symphony 1
I love the way you explore sounds, rhythms and riffs in such a Floydesque way. It feels improvised and carefully planned at the same time, especially in the solo electric guitar section. You've taken our symphonic mission to heart more than anyone else, I think.
Phil Sanderson Symphony 2
Beautifully reflective, more of a concerto but who's counting. Again, you've taken the time to develop your themes and let them breathe. Adele should be singing over the first movement. Is that backwards cello in the second movement? The third should be on a meditation CD, it lets your brain roam around picking out ideas, like the music itself does.
Phil Sanderson Symphony 3
Great structure here – you break the mould and let the guitar out of its cage, as if you've been brewing up energy during the relative calm of the earlier pieces, setting up a very satisfying return to the meditative mood for the ending. In fact these three symphonies could be three movements of one work, a regular-length symphony.
Tim & Julie Warner One Night
Brilliant examination of the whole theme of sleep with some nice humorous touches. I love the cough at the start – exactly what the audience does at a symphonic concert. Very clever lyrics too, which is paradoxical when you're talking about a symphony, but then this more of a mini-opera. I laughed at the trousers-missing dream and the life-changing idea when you're waking up, and the alarm clock is the perfect ending.
Mike Gosling The Cloud of Unknowing
Most of us stepped outside the usual symphonic model, and this is the most striking example. After listening to Tim and Julie's just before, this sounded like another dream, a wise voice in my head passing on a message that I only half-understand. I especially enjoyed the guitar/sax(?) combination that starts just before 3 minutes - the distorted guitar is really well controlled but just anarchic enough to grab the attention and lift us out of the hypnotic effect of the voice.
Rob Warner The Run
A sort of Day in the Life on the hoof. I like the abrupt changes of mood and rhythm, especially the funky section leading into the final "at least I'm alive". I also admire the way you bring out a melody then don't repeat it – again, late period Beatles-esque. Great vocals, too, Peter Gabriel should start getting worried.
Tim & Glyn Looking at the Horizon
The most song-like of the symphonies. Catchy, atmospheric opening, then it really takes off with "you are the sunshine". It's good the way the different sections are marked by a drum fill that sends us in a new direction. Very nice vocals throughout, especially at the end, and I like the metallic bass sound. Overall, it works really well as a musical entity, because it's really melodic and it all flows seamlessly from one "movement" to the next, keeping us constantly moving forwards.
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Post by Rob W on Jan 18, 2015 11:58:20 GMT
December - Symphony Review
Patrick Duffin - The Reel Inn
This is absolutely fantastic! It is, quite simply, the type of song that I would love to be able to write and perform, but never will. I would die young and happy if I’d written this.
I’m sure there are those that may say ‘but it’s basically a rip-off of the types of song made famous on the ’Kamikiriad’ album by Donald Fagan’. And those same nay-sayers may also point to this being a symphony at all. Both of those criticisms would not be laughed out of court IF this were not of such an astonishingly high standard.
He is, and remains, the class of the field (and if you pen an album of these songs and then tour them around the country, I promise that I will be in the front row.)
The boy’s a genius.
Stephen Clarke - Infinite Symphony
Even though Stephen occupies the unenviable position of going after Patrick in the order, he covers himself in glory with this ‘symphony-ditty’. I like to listen to these things several times before passing comment or judgement and in the case of this song, you have to because it’s over so quickly!
The sound made me feel quite nostalgic in that the instrumentation was very simple and direct and the quality (of the recording) was circa 1984 (a Tascam 144 Portastudio.)
Like others, I like the idea that the symphony idea has been addressed, lyrically, head-on and that ‘we all write our history’ in our very own life-symphony. Though there IS a middle section, I’m not sure that this is what I strictly call a symphony (I must actually look up the dictionary definition) but if I can overlook it for Patrick D I can definitely overlook it for Stephen.
Colin Parish - Symphony/Cacophony
I loved the sound of this from the off and this, I would argue, is Colin’s best effort to date. I was transfixed by the opening part (including what sounded like a very convincing Paco De Lucia impersonation on the guitar - tell that was programmed!!) I loved the way in the second movement it really feels as though there’s a band and band leader just ‘feeling’ their way into a very hypnotic and ever-changing piece of music. By the time we get to the third section, we can forgive (I think) the repeat of ‘act one’ with different lyrics. This is absolutely my favourite of Colin’s thus far.
Eddie Custard - Underwaterworld
This is feel good from the start and I wondered if Eddie had decided to be truly ‘Prog Rock’ and have a complete section of instrumental for the opening part of the symphony. And he did!! It’s brilliantly executed and the ’20,000 leagues under the sea’ when it arrives sounds so polished. The instrumentation in general is absolutely top-rate (particularly the underwater guitar!!)
The overall effect is very, very pleasing and I get a sense that Eddie may also have been a fan of Steely Dan/Donal Fagan (which I have no problem with as I am also a huge fan.) Fantastic! And the sound of the overall recording from Eddie seems to be getting better and better.
Phil Sanderson - Symphony #1
Tim told me at the last Cross Country that this month’s set of entries from Phil could be listened to intently or listened to as a background to life. Seeing as there was so much, I decided to take the latter approach and set it playing as I did the ironing! I think this was terrific advice from Tim as this was terrific listening (in fact, I think it improved my ironing technique!) I loved the transition from first movement to second as it felt very definite as though he’d thought it all through. Then, in the second movement, he totally ‘shreds’, man!!! This is not just prog rock, this is STADIUM prog rock and the ⅞ section at the end would have had the denim clad greabos punching the air and demanding a guest appearance by Dave Brock! This was great but, for me was overshadowed by…
Phil Sanderson - Symphony #2
The start of this is the best sound I’ve heard come from Phil’s ‘stuttering’ computer. The piano is beautiful. This could be in any film score (for some reason I thought of ‘Local Hero’.) The first movement is enchanting. The second continues the theme but sounds more intimate with the orchestral strings giving way to the sound of a quartet. Then, into the third movement, we’re sort of back in ‘deep space’ and some of the progressions are really inspiring. It all sounds beautiful (it’s also a bit Philip Glass in places - though I prefer this.) Weeks ago, Phil mentioned that Symphony #2 didn’t have lyrics or a vocal, intimating that he’d be happy if I could provide both but I really don’t think it needs it (though it would be really interesting to try!) I really think that this is a major piece of work from Phil.
Phil Sanderson - Symphony #3
Quite a Celtic start (I half expected a harmonium to play the melody and then Sting’s breathy vocal to do one of those annoying, fake-sounding vocal performances but thankfully Sting must have been unavailable!)
The transition into the second movement would have gone down a storm at the Rainbow!! It’s very Pink Floyd and I absolutely love it. Then, when the smoke clears, there’s Phil/Gilmour standing on top of a stack of speakers with a single spotlight and once again we’re treated to a shredding lesson…on an acoustic guitar, let’s not forget!!
I really like this type of thing. It’s sort of what I grew up listening to so it does strike a chord. However, since I was young, I’ve had children and I can’t help but feel the need for everything to be over in a more concise way and at times this one, more than the other Symphonies in your collection, felt a little over long and perhaps self-indulgent (not that there’s ANYTHING wrong in being self-indulgent.
Overall, I think Phil took the symphony idea to what I would consider to be its proper conclusion. Everything appeared to have three distinct movements and I was blown away by some of the playing and instrumentation. Well done.
Tim & Julie - One Night
Humour goes a long way in life and in a song, and lyrically/comically this is very good (I particularly like the ‘I can’t touch enough of your skin, You are the comfort I can never find within’ - and by happy coincidence, it rhymes as well!)
The bit when you awaken and need the loo is a bit ‘Southern Jake Thackery’ and I really, really related to the thought that you have had a earth-shattering idea that is so brilliant it will change your life and yet the bed is SO warm. I can also relate to the (mistaken) idea that you can somehow hold the purity of this idea using your ‘strong’ mind until the morning!! (You can’t!)
As far as the instrumentation is concerned, I got a sense that you were struggling slightly in the second section, hence the single guitar beating out the seconds whilst copying the vocal melody. Perhaps it was sparse by design?
It was, as ever, a great effort and thoroughly enjoyable (you and Stephen Clarke together could write possibly the best ‘funny’ lyrics in the world. It would be like putting The Wurzels and The Baron Knights put together!)
Mike Gosling - The Cloud of Unknowing
I loved some of the instrumentation in this. It was typical/vintage Mike from the 80s but, being brutally honest, I was lukewarm at best on the whole concept. My attention span is worryingly short at the best of times but I drifted off very quickly and the words just didn’t sink in (though I love the title.) Perhaps this would have been less impenetrable for me if there had been an actor’s voice in the lead role? I hope you’re feeling better after your bout of flu because we need you fighting fit and at the top of your game for next month!
Tim & Glyn -
This is, for me, Glyn’s best vocal performance. One could just fall back into her husky delivery.
There was a slightly disconcerting ‘doubling’ effect on the drums near the start but I’m happy to say it didn’t appear to happen again (those sort of things really bother me!)
I really enjoyed the melody and some of the chord choices and progressions. I suppose one has to ask the question; is this a symphony or just a song with a verse, a chorus and another bit? As with Patrick D, who cares? When it sounds this good it can be completely forgiven. I absolutely loved the vocal, particularly in the quiet section. Fantastic. This one definitely gets a vote from me.
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Post by philsanderson on Jan 18, 2015 19:59:45 GMT
Patrick Duffin: The Reel Inn
As smooth as a slippery eel! Loved the rhythm at the beginning, then the move into the second section is perfect. A song to lighten the dark mood of January. The playing and production throughout is second to none. It is short, so I just put it on repeat play each time – and each time I can find something else great to admire. As noted there are echoes of Donald Fagin ...but I’d have to say that you do it ‘reely’ better!
Steven Clark: Infinite Symphony
Trademark guitar and understated rhythm section- the sections are each perfectly formed – including the 5 second section! I especially like the reprise of the opening towards the end : it rounds the symphony off perfectly. I get transported briefly into early Jethro Tull at one point (at about 46s), then get swiftly dragged back into mid 70s punk.
Colin Parish: Symphony/Cacophony
I absolutely love the first movement – the different instruments and vocal seem to drift over each other almost trance-like: it’s so well judged and recorded. Part two builds up effectively, seeming to creep up on you- and when you get to the end of it you are (on first listening at least ) surprised by the ‘kissed me’ section. There is a delightfully retro, yet completely modern feel to this. Your production on this symphony is fantastic from first note to last.
When I played this again after a ‘few days off’ was struck by how much this piece is like being in a dream: maybe a daydream. ( so did the kiss really happen??) It’s a love song a month early! Like Patrick’s song it made me think of warmer and lighter days. ( As you may gather, I’m as anti winter as anyone could ever be, so a hint of warmer, brighter weather is welcome )
Eddie Custard: Underwater World
Love the jaunty opening with the piano one of the highlights and the brass beautifully judged ( it’s given me a ‘brass’ challenge for a future month? ) The vocals are accomplished as ever, although I miss your usual brilliant lyrics this month – something I always look forward to! There was a hint Steely Dan in this song, too – no bad thing, mind! I didn’t realise how short this was until looking at the time on the mp3 player on about the third listening. You have really packed in a set of high quality ideas within your 2.31! I wonder how much you influence you get from the likes of Caravan / Hatfield and the North – the latter, together with ‘National Health’ absolutely inspire me, , although my music bears little or no resemblance in either quality or content to the above. Yours oozes quality. ( ooh err...)
Just listened to song again and have to comment about the immaculate production level. In awe.
Tim/Julie : One Night
There are no hard and fast rules with Symphonic form in my book – for every standardly constructed symphony there is another one out there with a ‘twist’. This ‘twisty’ one has a wonderfully original quality, love the lyrics and change between sections and also within the sections. When is the video being made? Get Rob to make a film to go with this – it deserves to be seen as well as heard! I like the opening section less than the rest, but this is a minor point as the rest of the symphony is completely sublime. The use of the classical guitar is, as always, so welcome. I’ve added classical / Spanish guitar to my challenge list for future – if I can’t play what I plan, then I’ll be knocking at your door( I can offer piano in exchange...)
Mike Gosling: The Cloud of Unknowing
Excellent instrumentation, playing and choice of sounds throughout. I found that after first listening I was able to blank out the voice and focus on the wonderful timbre of the music you created. When the voice ceases and the music can speak for itself at about 5 mins it becomes uplifting and I didn’t want it to end then. It’s not that the voice wasn’t good, it’s just that the music, in my opinion, was strong enough to stand on its own. Nb wouldn’t mind a copy of this as an instrumental, Mike.
Rob Warner: The Run
This is going to make running with you difficult in future... or it could make it easy to wind you up by continually asking you if you are boxed in and trapped.... Are you not breathing too hard, Rob? .... at least you’re alive etc. I’ve got to somehow redress the imbalance caused by two straight Rob victories in our unofficial head to head challenge. On the other hand I’m going to be hearing this symphony in my head as we run and realise that you are just so talented, then drop out of the race, hang up my shoes and probably never sing ever again either. It’s a very slick and heartfelt piece of music, stunningly well sung from first note to last.
By the by, on first listening I sort of imagined Peter Gabriel doing the running – an unlikely image – almost ridiculous. ( maybe I’ll imagine you as PG in next race and use that ‘ridiculous’ image to help me beat you.
I love the bit at about 1.25 ( I like it all, mind ) The third section is very different from anything you’ve put on the SWC so far, and it’s a grower. On first listening I thought whoops for about four bars, then the vocal tune kicks in and WOW.
Tim and Glyn: Looking at the Horizon
I have to say that from the moment I first heard this I was hooked, drawn in and played the song again ‘how many times’!! Piano /vocal section is a treasure and a great contrast to the previous – it all ends too soon, even after the full 4.31, so it always gets a repeat. You can hear the signs of bad cold / bad throat – I suppose it gives the vocal an even more husky feel than usual. ( I had absolutely no voice when I recorded which in hindsight was a blessing ) Someone else has commented that some of the lyrics are a little indistinct at times – who cares? The vocal is probably my favourite one of yours so far. The section at about 3.24 onwards is up there with one of the best things I’ve ever heard. Enough said!
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tandg
Junior Member
Posts: 67 
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Post by tandg on Jan 18, 2015 21:59:47 GMT
Patrick Duffin - The Reel Inn
Beautifully done – this is really smooth stuff. I get Steely Dan (particularly in the second section) and Prefab Sprout in the ‘watching the gold’ harmonies and best of all I get the summer! You make all this sound completely effortless and yet the offbeat rhythm, the changes of instrumentation and the multiple harmonies make this a real pleasure to listen to.
Stephen Clarke - Infinite Symphony
I love the feel of this – the sense of fun works really well with the punk(ish) style the quirky changes of pace and the simple brevity of it all. The guitars are really well played and I enjoyed the solo section in particular. It is very short, so I listen to it several times. Infinite symphony indeed!
Colin Parish – Symphony/cacophony
The first section is just about my favourite part of any of the sections of any of the songs this week. The straight-in ‘don’t be shy’ is unexpected and immediately grabs the attention. The section is repetitive and yet unpredictable (how did you manage that?) and the whole song is brim full of experimentation and bursting with ideas. It’s not an unchallenging piece to listen to and that encourages me to keep listening. Keep experimenting – this is great.
Eddie Custard – Underwater World
At the beginning I wasn’t quite sure about the feel of the song until the piano burst in, which was lovely and then the harmonies on “20,000 leagues under the sea” and it was right up there with your usual high standard. Great guitar sound in the second part and I particularly liked the way it sort of breaks into the choppy chords at the end of the section. The underwater guitar completely changes the mood and I was left wanting a lot more, which is a good thing as I then listened to it straight off 2 more times before sampling any other songs. I always really enjoy your songs and this adds a new variety to the sounds and feel – a cult hit maybe?
Phil Sanderson
You may have seen my comments in the forum about multiple entries, indicating that I found it quite daunting to try to do justice to your 3 entries. What I want to stress is that I’m completely blown away by the inventiveness, the breadth and the quality of these three pieces of work. How you possibly find time for anything else other than writing and recording I can’t imagine.
Symphony 1
The first section is wonderful – melodic, restrained, interesting and with really lovely piano playing. I love your note selection and I could listen happily to an extended version of this. I thought the second and third sections were interesting but looser and they sounded much more improvised to me (which is interesting because other comments have indicated different interpretations of which sections are tight and which are looser).
Symphony 2
I sometimes think that you produce songs that are fascinating to listen to but not always comfortable. This is simply beautiful – Glyn’s favourite piece of the month – your piano playing is wonderful (I’m not sure what your recording set-up is but the mixing and sounds are great too). The string/pad/washy sound behind the piano keeps it flowing. After the first section, I sort of expected the middle section to break into something wilder but if anything it was even more controlled – like the piano was playing a vocal part The last part is wistful and evocative and I just know that I’ll be listening to this piece over and over again.
Symphony 3
This seemed looser and a real epic – the film to accompany the music would have to be enormous in scope to do it justice! The middle section is a monster piece in its own right. The transition to the piano at the end is beautiful – I love your note selection and again the playing is really good. The whole piece is so much better than it has any right to be; it feels like you have really expressed yourself through these pieces. Hugely impressed (if a little overwhelmed).
Tim & Julie – One Night
Wonderfully inventive – you’ve taken a really good idea of the stages of one night’s sleep and absolutely nailed it. Who needs concept albums when you can have concept songs? This would have been easy to get horribly wrong but your timing changes, the different voices and the changes between them and some great acoustic guitar playing lift this to a level well above the novelty song it could so easily have been. Its funny, warm and really well delivered by both of you.
Mike Gosling – The Cloud of Unknowing
I think like some of the others, I was troubled by the voice-over. It’s no wonder the music on voice-over pieces is usually dull and monotonous – I found it impossible to listen to what you were saying (not altogether sure I wanted to hear it) because the music is too interesting and I really wanted to hear an instrumental version because the choice of sounds is great and I really liked the feel of it all. The pipe sound and the distorted guitar is lovely with the feint drum throughout. I suspect that someone trying just to listen to the words would be equally perplexed and demand a remix!
Rob Warner
Opening sounds personal and confessional and I love the running/breathing rhythm. The restrained cello sound is particularly lovely. It felt very visual – I guess the very direct lyrics and the story that runs from beginning to end makes it feel like a song from a musical. The sense of nervousness in the middle section (I hope it’s not really that bad) came through really well. I thought transition to the last section worked as the sound opened out with much more reverb on the voice after the very dry vocal sound in the middle. I like the dance vibe at the end – I’m glad you survived too!
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Karl
Junior Member
Posts: 72
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Post by Karl on Jan 19, 2015 7:54:50 GMT
My new years resolution was not to be late to the "comments / voting" party, as all the good comments will have been used up by the time I got there.
So you can see how well I've done with that! - I'm so late that Rob has extended the voting deadline for me and another couple of late arrivals - thank you.
I do need time and repeated listens with so much new material before I feel happy to cast my vote, especially this month as there were several longer pieces.
I'm not going to comment on all of the pieces this month (I am late for work already!), but have just cast my vote. I hope this is acceptable, Rob.
Highlights though, include the first section of Patrick's The Reel Inn, the accomplished and lush soundscape of Colin's Symphony / Cacophony which reminded me of one of my favourite bands, Elbow, the 2nd of Phil's 3 epics, Tim's monthly inventive offering, some of the sounds in Mike's poem piece, and Rob's excellent running symphony.
I'm determined to get here sooner next month!
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Post by Colin Steward on Jan 19, 2015 13:56:39 GMT
Must admit I was expecting a lot more ‘proggy’ stuff from this task. Maybe it’s a reflection of my age! I really did make a start with this task but couldn’t think what to write about. I even wrote a piano fugue for part two for God’s sake! I was getting a bit Emerson, Lake and Palmer with the whole thing. One day I’ll finish something!!
Patrick – The Reel Inn
It’s a very summery song for December, but a nice antidote to winter. Second part is very Steeley Dan. Patrick’s usual high quality delivery both technically and musically.
Stephen Clarke – Infinite Symphony
Very short and punky, I think I would have liked the first section to be a least twice as long.
Colin Parish – Symphony/Cacophony
I like this. I like the way the vocals weave around each other. It’s very listenable. Part 2 has an increasing mood coming in which is great. Would work well as film music.
Eddie Custard – Underwater World
Now if I thought I could get away with so few lyrics I wouldn’t have missed 4 months of tasks! That’s my fault for not thinking I could get away with it. I like your vocal harmony and the general recording is clear and, as usual, you do write a great tune. For me the first part was all a bit ‘Bargain Hunt’, ‘Flog It’ daytime telly.
Phil Sanderson – Sympony 1
Always like the 12 string and lots of reverb – all very atmospheric and Pink Floyd. I did expect the bass drum in the last part to eventually develop into a bigger drum part.
Phil Sanderson – Symphony 2
I do really like this a lot. Very restful and ambient – Vangelis sounding. I understand why you didn’t record any vocal and this one in particular really wouldn’t be better from having any added. It’s one of my favourites.
Phil Sanderson – Symphony 3
Where do you find the time? I like the clear piano though not so keen on the repetitive notes as if it’s almost a guide track for vocal. If that were simplified it would be a fine instrumental. Nicely developed other string section stuff to. All well thought out.
Tim and Julie – One Night
It’s great. Love the vocal melody on part one. Quirky and funny. I like the ‘sleep’ passages, it really evokes the idea of drifting away into sleep and sounds quite primal. Also love the ‘…inside my head, when I’m in bed’ lyric. All really nicely played classical guitar too. Alarm clock at the end is laugh out loud funny. Great stuff, Tim.
Mike Gosling – The Cloud of Unknowing
If only I had a speaking voice like that – women must love you! It’s different to your usual but very inventive and transport you to another place for a while. Could there be a better compliment about music than that? Very well recording – nice and clear.
Rob Warner – The Run
Who borrowed who’s alarm clock? Not being a runner it’s not easy to identify with it but I do get it. Can imagine the first part accompanying a Nike advert. As the song progresses it does evoke a race with the almost club anthem towards the end.
Tim and Glyn – Looking at the Horizon
This is more poppy than most and musically reminds me a little of Kate Bush in places. Very nice guitar break – excellently played. Like Tim W I like that descending chord phrase.
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Post by colinallcars on Jan 19, 2015 22:25:16 GMT
What an amazing collection of songs/tunes this month! A great task has generated some beautiful music and certainly put me out of my comfort zone.
Patrick Duffin
Gorgeous summer sound. Beautiful harmonies and time signature(s?). Just beautiful. Three distinct movements, funky middle section, with a touch of Steely Dan. Lovely. I was going to do a lot of fish puns but decided this is not the plaice.
Stephen Clarke
Nice punky sound and a symphony in 1.31 is quite an achievement. Strangely unnerving middle section - eyes that meet across a crowded room? I’d probably look away…. really nice guitar and bass playing.
Eddie Custard
Joyful upbeat and you can almost smell the seaside. With their fishy themes Eddie should form a duo with Patrick Duffin (my spellchecker wants me to write Puffin!) - sole music from the Salmon and Garfunkle of our little group!! Beautiful harmonies in the sung part - sounds very prog rock, especially with that 17/7 time signature. You could sell that underwater guitar pedal to the lead singer of Merillion. And a great sudden, unexpected endi..
Phil Sanderson
No 1
Lovely haunting guitar as usual - I've never heard anyone get such an amazing sound out of a 12 string before. Keeps me guessing where the melody is and then where it is going. Is the piano playing the melody? Dreamy first movement subtly flows into second. Took me back to my bedroom circa 1975 - Yes and Caravan and Rick Wakeman and all that.
No2
Beautiful opening section - more dreaminess and subtlety. Great musicianship and very evocative, emotional. Third movement is my favourite. So very different from your guitar playing, less layered and more controlled, maybe, but you still paint pictures with sound.
No3
The cello is probably my favourite instrument and you have used its strength and warmth to good effect here. Your cacophony is more cacophonous that mine! Love the way the guitar solo comes in and restores order and melody. I like the uncertainty of the last movement.
Tim and Julie
A night to remember. Lovely lyrics, clever idea and musically very inventive. Love the dream sequence - others here have written dreamy music but your’ve captured the madness of taking the pic this time. How often have I solved a problem in the night only to forget the solution in the morning!!!!! What could possibly go wrong…… and the alarm always comes too soon! A truly universal experience.
Mike gosling
That voice is so smooth - I could listen to it for hours. The text is mesmerising and the music beautifully complements the spaced out message. ‘Nothing is more precious than time’ - how true. were there three movements? I only heard two. Another dreamy sequence to send me off - not to sleep but into a reverie.
Rob Warner.
Your voice is outstanding but channeling Peter Gabriel shouldn’t be allowed! It’s funny that this probably means more to me that it does to you … I’m a runner who’s being investigated for chest pain, which is interesting…. At least I’m alive….
Tim and Glynn
Great catchy tune and an easy driving beat. I love the ‘You are the sunshine’ refrain - you could develop this section into a great pop song. Really nice - Fleetwood Mac meets Blondie.
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Post by mikegosling on Jan 21, 2015 11:23:19 GMT
Many apologies for arriving at the party just as everybody is leaving (perhaps I can help with the clearing up).
I'm afraid I seem to have lost a month here and I've only just had a chance to listen through the symphonies.
Like Karl, I will vote and only comment on the highlights of the month (of which there were many).
Highlights: Patrick's song in toto - especially the Walter Becker solo; Stephen's concept and witty lyrics;
"Dont be shy" from Colin - one of best bit of music this month; "20,000 leagues" section in Eddie's symphony;
Phil - Symphony #2 - the piano playing is marvellous; The melody to the first section of Tim and Julie's song and the
whole concept; Parts I, II and the coda to Rob's song (even the strings sound like Peter Gabriel!); The wonderful Fleetwood Mac feel to Tim/Glyn's song and the tremendous last section - my favourite song this month.
Sorry for the brevity - I promise to make an earlier start on next month's tunes.
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Post by Rob W on Jan 21, 2015 14:06:32 GMT
With Mike's votes now in, I'm happy to close the poll and would like to congratulate Phil on a job well done with his 'Symphony #2'. A worthy winner. Feel the love...and write something romantic for next month's 'Love' theme.
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Post by mikegosling on Jan 21, 2015 15:03:48 GMT
My congratulations to Phil - well done - I enjoyed your piano playing immensely.
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Post by eddiecustard on Jan 21, 2015 16:01:52 GMT
Well done, Phil.
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Post by timwarner on Jan 21, 2015 19:55:30 GMT
Well done Phil. I enjoyed that immensely.
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Post by colinallcars on Jan 21, 2015 21:54:02 GMT
A great task and well done Phil.
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Karl
Junior Member
Posts: 72
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Post by Karl on Jan 22, 2015 16:32:18 GMT
Congratulations Phil - Beautifully played.
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Post by Patrick on Jan 22, 2015 17:14:23 GMT
Well done Phil, nice one
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Post by Patrick on Jan 22, 2015 18:04:52 GMT
On an unrelated matter, if anyones at a loose end next weekend, a band I'm in are playing at Colchester Soundhouse on Saturday evening the 31st. Steely Dan esque melodies from The 1957 Tailfin Fiasco awaits....
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tandg
Junior Member
Posts: 67
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Post by tandg on Jan 22, 2015 21:15:02 GMT
Really well done Phil - and very well deserved.
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Post by stephen on Jan 22, 2015 22:18:34 GMT
Congrats to Phil, and to the three silver medallists.
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