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Post by Rob W on Apr 5, 2015 17:27:55 GMT
Here is where we can post comments and of course vote for our favourites. Given the restrictions on voting, I think we should only have two votes each and remember, you cannot vote for a song that your had a hand in writing (music or lyrics.)
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Post by patrickd on Apr 7, 2015 20:15:38 GMT
Patrick's thoughts on the partnership songs - well done everyone and cheers to you Colin !
1 Our Love Burns Bright
I like the sparse arrangement to the start, leaving space for the vocal which is delivered nicely, with some lovely phrasing. I like the way it gets pared back down again at 2.00. The drums and bass keep chugging away nicely as the layers come and go over the top.
2 If Onlys
Robby's trademark bubbling bass, is a treat to hear, and having played with him for many years it bought back good memories. The arrangement reminds me of something from Songs in the Key of Life with the sticky clav and rhodes. The delayed phrase on the verse vocal works well, and the backing vocals are well delivered adding some nice touches to the strong melody.
Nothing wrong with that guitar playing young man, well done.
3 How tall the grass will grow
Great backing vocals for the verse, it occurs to me that the pauses Stephen has put in between the lines help bring the lyrics into focus. Musically it reminds me of something from Rubber Soul. Either Stephen gives himself strict discipline to keep his arrangements simple, or his recording facilities dictate this, doesn't matter either way because they're always devoid of unnecessary parts, and this helps the melodies shine thought. Of course it's no good keeping it simple if you haven't got a tune, and fortunately Stephen always has.
4 Good to be a bad boy
Imaginative drumming from Mr Thomas, and they sound big big big. Mike shows commendable restraint by giving the drums and vocals centre stage. Watching Pensado's place for mixing tips on youtube he always says the first step to successful mixing is determining what is the most important element of the song. And Mike's arrangement backs this up.
Mike's trademark pre chorus drop is well used here too. As with Stephen Clarke the pauses let the lyrics breath well, and you focus on the story and the wit of the details. I like this side to Mike's writing, it's got swagger, and the lyrics are a good match to Mike's style, or he's manipulated them so well that it appears that way. Catchy.
5 Men who must be light
I like the restrained repeating guitar riff, a nice punctuation. It finally dawned on me that the eponymous Men are jockeys after the Kempton park reference. I like the outro with the different backing vocal ideas.
I like the creepy vocal delivery, and can't imagine the lyrics being treated another way, it's like a novella, so hats off to Mr Custard. They reminded me of a Graham Greene antihero. Very imaginative and literate. Impressive.
6 Naughty Step
Dreamy start, lovely guitar line, ambitious harmony, Custard's aiming high here, concentrating on the great lyrics you can miss the lovely piano playing on the verses. It's nice to hear Custard take the foot off the gas a bit and let the tempo slow down giving the song some oxygen. It is a bit like Sowing the seeds of love. It's strange that after a hundred odd years of pop music this may be the very first one about the Naughty Step. Very Good work.
8 You never pick up the phone
Firstly, no apologies needed Colin, I really enjoyed it.
What a strange experience it is hearing someone who's written music to your lyrics ! like bumping into someone who's been impersonating you. The experience made me giggle, I don't know why, it was great to hear what Colin has done, and this is the first time I've heard it. Very effective simple piano quavers to get the verse going, and good driving rhythm section throughout. Reminded me of Donald Fagan covering a Pulp song, with elements of Steppin Out period Joe Jackson.
I like the vocal delivery which adds some humour to my somewhat self pitying lyrics. I find the "I dial and I dial" bit very successful. Well done Colin.
9 If
Some lovely strange mind bending sounds here, 00.37 ebow?, really works. Nice simple arrangement, good to hear Glyn's vocal at 01.40 without reverb. Bewitching. Then with some effects again. Reminds me of Neil Young for some reason, something off Harvest. I like the choral harmonies coming in around 4.00, I feel like I'm Edward Woodward in the Wicker Man, pastoral, very English but also kind of frightening.
10 What does your heart tell you now
My, what a lovely intro - sounds like Mozart ? Haydn?
This could be a hymn, there's a lovely string part in one ear in the chorus.
Thank god there's no drums, Phil respects that there's no place for them here. Previously Phil's melodies have been a bit difficult to grasp but here they're simple and clear. Beautiful.
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Post by Colin Steward on Apr 8, 2015 12:47:18 GMT
Some seem to find fitting music to words easier than others. It’s something that I found very difficult.
You’d think that since half of the song is done with lyrics supplied that it would take half the time to produce a song. Not so for me!
Our Love Burns Bright
You do seem to have a kind of OMD feel to your songs. Probably the combination of the electronic drums and the high level of reverb. Since this is a song that Colin says comes from beyond the grave – the reverb treatment does work! I didn’t feel there was a hook but it flowed along well regardless.
If Onlys
The lyrics reflect what many of us feel at a certain age – all the ‘if onlys’ in our lives, so it resonates well. Rob’s in fine voice as usual. I do really like the chord structure – very smooth and quite jazzy. What is it with clavichords in the Warner family? I’m not sure if they were needed in this instance. It’s very well produced and I liked it the more I heard it. Well done on the guitar work – I thought the three string method worked well.
How Tall the Grass Will Grow
I think Stephen was probably of the most successful in getting a lyric to fit the music. Really sounded as if it came from one person. It’s got that distinctive Stephen Clarke sound, which I like and came across as a well thought out song. Clever lyrics and I really like the way they are sung in the “The world is speeding….” section. Good song.
Good to be a Bad Boy
Stephen’s witty, dry lyrics have been given the Mike Gosling crowd-pleaser style treatment. Lyrically, it’s another that many of us will relate to and reminds me of the Joe Jackson “Is She Really Going Out With Him”, which is heavy in my mind given the two song ideas between me and Patrick. “Good to be a Bad Boy” is a terrific hook. I like Mike’s chords in the chorus and they bring out the hook in the lyric very well. As usual with Mike – great sound and production.
Men Who Must Be Light
Tim really did put a lot into this and it’s paid off. There are many dynamics to the song. Eddie’s lyrics are funny and the title is inspired; such a clever idea. Rob’s screaming vocals sound terrific and his and Rob G’s vocals end the song work really well together. You can tell there’s a real bass player in there which sounds fantastic. Tim’s laid back and inspiring attitude is mostly to blame for me putting my singing hat on, so any complaints should be directed to him!
Naughty Step
Funny lyrics. Knowing all the Warners, you do realise that they well have been a bit of a handful in their childhood, but in a good way. I can imagine Tim’s parents trying not to laugh when also trying to chastise them! Eddie’s melody is comfortable and very listenable (as usual). Somehow the structure and chords evoke that retrospective feel, so musically it was very successful. The middle eight is very Beatles, you could easily imagine Lennon singing the song and McCartney taking the middle eight.
Take It Back
Patrick single-handedly teaches us that it is indeed possible to polish a turd!! Well done Patrick. My imagination of the song was far from what Patrick came up with but I was grinning from ear to ear when I heard it. I had written the lyrics with a chord structure and a general feel of the melody in mind – mostly to make sure it would work musically. I gave Patrick no hints to any of that so it was interesting to hear the result. Love the vocal harmonies. There’s always a lot of attention to detail with Patrick and I noticed many little touches that are easily missed but give that little extra decoration.
(You Never Pick Up) The Phone
I didn’t play around with Patrick’s lyrics at all, there was no need. I don’t know how many versions I came up with for music but I settled on this purely because I was going to run out of time. I would like to be able to do Patrick’s lyrics a bit more justice than my singing efforts but to even put myself out there is a massive achievement for me, regardless of the quality. I intended to include a jazz piano solo but time caught up with me so many may be grateful that I didn’t go that far.
Technically, my recordings do seem to be fairly quiet which is something I must attend to in future.
If
Wonderfully laid back, the song strolls along in a kind of creepy way. Very atmospheric. There does seem to be a lot of retrospective going on with a few songs. I think it must be an age thing, but it does make the songs relevant to many. I liked the slightly menacing vocal harmonies near the end and a nice bit of guitar solo too. I could easily imagine this as one of those musical breaks you get in a TV dramas.
What Does Your Heart Tell You Now?
Always atmospheric, always very English. The strings at the beginning are really nice. It’s good to hear the vocal harmony – blends very well. Sad lyrics and “What does your heart tell now” is a good hook. Drums certainly not necessary and guitar is sounding nice and rich. Phil’s songs do often seem complex but there is a simplicity to this that is very pleasing. I noticed in one of Phil’s previous songs that he touched on a lower vocal range every now and then and it sound very rich in tone. I wouldn’t mind hearing Phil sing in a slightly lower register sometime.
Well done everyone. A challenging task but very rewarding.
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Post by eddiecustard on Apr 8, 2015 23:41:07 GMT
As other posters have said this was an intriguing experience. It made me think about whether most great songs are produced by a single writer or by a partnership. I reckon it's the latter.
Our Love Burns Bright - Colin P/Rob
As with Phil’s previous stuff, the nuggets often emerge from Colin’s music after a few listens – here it’s the pure sounding vocal delivery still remembered from his choirboy days, the ooh-oohs and the standout ethereal melodies behind the early lines of ‘all my life’ and ‘now I’m gone’. The jangling guitar noises conjured up on Garage Band are great, and the other sounds are strong too. I especially liked the meshing of the guitar effects which goes with the line: ‘I didn’t know my life was all about (?)’. It’s a melancholy affair, like most of Colin’s stuff, although I think it achieves the objective of having elements of triumphalism.
I like the lyrics: ‘Each heart has just so many beats and mine was close to defeat’, and also the longing and love in the line about wanting to watch someone every day and hear what they talk about after you die. Having read Colin’s notes though I’m not sure which of you to congratulate for those words. Colin’s on form with this one – nice work.
If Onlys - Rob/Colin P
Rob, you’re at the peak of your writing powers with this superb melange of jazz/funk, shiny pop, tight bass work and top quality singing. It was certainly the right move to ditch your first draft.
The beginning is unusual in a good way, with the guitar and whatever else that is in the background interlocking and combining really well. Is that the clavichord Colin S referred to? The bass playing on the verse is at a level I can only dream of (even if you’re not particularly fond of it) and there’s a majestic sweep in melody from verse to chorus. It all clicks together beautifully – great playing, great songwriting. Nothing wrong with three-string guitar work – it all sounds fine to me.
Lyrically, Colin’s produced some good words which convey the doubts and regrets that relationships throw up, especially the chorus of ‘I think we nearly made it work…it’s just that my life has a few if onlys’. The opening chord on the second verse sound slightly different to the one on the first (but maybe it’s not), which introduces a jazzier feels and gives everything an air of confidence before the excellent chorus returns. A beauty.
Good to be a Bad Boy –Mike/Stephen
A cracking, beefy, rock song from a good partnership. The first thing that struck me was how terrific the drumming sounds – crisp and strong. Then there’s all the other stuff – the spot-on harmonies, the sparing but effective use of the acoustic guitar, the expressive singing and searing electric guitar solo. You know how to rock, Mike – when you let go with those guitars it sounds powerful and tuneful.
Stephen’s words are funny; it’s a lament for the ignored, and my favourite bit of the lyrics is: ‘I’m a DIY man, I rarely put my feet up/I’m considerate too, I never leave the seat up.’
The arrangement is very good, as usual, with the anthemic chorus fitting well alongside the verses, varying drum patterns and the verse where most of the instruments drop out. This is one of the first I’ve listened to, and if the others are up to this standard it’ll be a very good month.
How Tall the Grass Will Grow – Stephen/Mike
There’s a great, freaky psychedelic riff to kick off, and the line ‘do we really need to know’ is an excellent hook. At times it feels like the soundtrack to a dreamy sequence in a 60s film about teenagers. The guitars under the ‘World is Speeding’ chorus work really well. Stephen is becoming the guitar riff merchant of the site. I really like that guitar solo with the accompanying rhythmic strums in the background.
Feels like there’s a yin and yang at work in this partnership, such is the contrast between the driving rock of Mike’s song and the comedic nature of Stephen’s lyrics – and both are enjoyable.
It can be unfair to compare a writer’s current work to their former glories, but I’m not sure the state-of-the-nation lyrics are as strong as the words Mike has produced in his love songs of the past, or in ones containing smaller scale observations about specific people. There’s a nice idea though about not knowing ‘how tall our grass will grow.’
If – Tim and Glyn/Phil
Nice laid back, slinky intro. And there’s a very good chord change to the chorus after the line about a change in routine. Glyn’s wave-like melody sounds particularly impressive at this point.
The chorus takes a few listens to sink in, largely because the words are different each time, but that’s no bad thing – it’s a fine melody.
I like the distorted bendy vocal on 3.20. The wash of vocals works well on the section towards the end, and the vocals seem more prominent in the mix in that part, which is a good thing.
The slightly extended length may be down to squeezing in all of Phil’s lyrics, which throw up the interesting idea about how different a life might turn out if a small change is made, but also whether people close to you would be supportive. Phil’s underrated as a lyricist and these words are good.
What Does Your Heart Tell You Now – Phil and Glyn
Terrific chorus, Phil. You’ve honed your songwriting skills over the last few months – this is really impressive. There’s an excellent marriage between Glyn’s words and your music, with the mood and feel complementing the lyrics about how love can bring confusion and pain.
Although I’ve enjoyed some of your obscure stuff, the recipe is better here - the chorus stands tall and the singing is upfront and confident. Your vocals have improved a lot, along with your production. It’s a lot leaner, tighter and accomplished, with every second counting. Your acoustic work is a joy and the strings are employed to great effect. It’s another one of yours that sounds quite medieval, and very much in its own orbit.
Glyn sprinkles some stardust on the second verse with some good harmonies, and then again on the second chorus. Her lyrics are a significant ingredient here. I like the denial and the tension in the words: ‘Daggers in those eyes, it looked like an attack/ I don’t understand what this could ever lack.’ The bit about sending the arrow back is also good just afterwards, and I also like the lines about the battle between head and heart, with the section about ‘reasoning and sense getting in the way’. Well done on managing to combine musical sections without sitting in the same room.
A sure-fire hit in any just world.
The Men Who Must Be Light – Tim and Julie/me
I had a warm glow when I heard this. I feel privileged that Tim and Julie have put these words to such as good tune. They’ve produced a superb pop song with a fine chorus, great backing vocals, memorable guitar hooks, shadowy spoken verses and equine sound effects. It gets my vote. Hang on, no it doesn’t. Great that you’ve called on such a varied array of family talent to put all the music together. Brilliant stuff.
Just a word about the lyrics - they relate to the ordeal faced by jockeys in having to use brutal methods to lose weight before a big race.
(By the way, apologies to Julie for not crediting her in my blurb when I talked about the lyrics to Naughty Step)
Take it Back – Patrick/Colin S
An unusual intro here using the retro keyboard, and very memorable it is too. I really like the chorus pedal effect on the guitar when the action comes down slightly and the accompanying chords when you sing ‘You didn’t need to say those words out loud.’
The vocals are gorgeously put together as always, and it sounds like you’ve ditched the machinery to play conventional instruments and the drums yourself – in the style of the artists mentioned in the blurb. I like that. The line about counting ‘from one to three for the sake of you and me’ is one of my favourite parts, and the section I’ve been humming most of the week. The key change (is it?) towards the end is also a highlight.
Colin dips into the world of office romance, tension and recrimination for these lyrics, which feature the clever imagery of a broken heel, a geek in the accounts section, and the hurtful blabbing of private information. There’s a simmering anger in the words which makes them bristle a bit – good stuff. Having said that, the song overall has an irresistibly catchy and joyous mood; to be enjoyed on a beach holiday.
(You Never Pick Up) The Phone - Colin S/Patrick
Well done Colin for diving off the top board and doing the singing. It’s a lot better than you think, and you must keep doing it. There’s nothing wrong with the chorus – which you sing well against the descending piano chords. I was singing it to myself after a couple of listens.
There’s a slight air of mystery at the very beginning, giving way to some bright piano chords. I really like the bit coming after that with the shift to minor chords for the line: ‘you said call me…’
I always like the melodic sensibilities and the chords in your songs and this is no different – there are three fluid bits in here – the verse, the minor chord bit, and the chorus. The first two click together well and move things forward stylishly to the chorus. I admired all this after a couple of listens, and started loving it after three or four.
Patrick’s lyrics capture well the dashed hopes and frustration that sometimes follow a promising first encounter with someone you’re attracted to. The chorus of ‘I dial and I dial as I go another mile’ is strong. And there’s a funny pay-off line of ‘you never pick up, is this a stick-up?’
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Post by stephen on Apr 9, 2015 10:39:10 GMT
Some excellent pairings here – I think all of us can be really pleased with the way our words have been put to music. A lot of musical nails being hit right on lyrical heads. Elton and Bernie watch out (actually I think they're just watching the live updates to their royalty statements).
Our Love Burns Bright
Tough working with such dark lyrics, but you've made them sound tender rather than gloomy, and you've caught their mood really well in the music. The melody reminded me a bit of the Pet Shop Boys. I like the way the guitars build up, and your slightly odd arpeggios are very effective. Maybe it was the influence of last month but it sounded to me like a film theme, very pictorial.
If Onlys
Truly classic disco pop riff, very cool bass lines, and excellent vocals with your usual Peter Gabriel edge, especially when you use that echo. I really like the chorus, with its double hook – the "doing fine" and especially the minor twist you give to "if onlys" – perfect timing for the shift in tone in the lyrics. Nice lyrics, very direct, with that real sense of regret kicking in in the chorus. Altogether memorable, and very singalong. As you say, perfect Radio 2 fodder, and for car radios everywhere. Ker-ching.
Good to Be a Bad Boy
I love this out and out rock treatment of my lyrics. Shame I can't vote for it, the music at least. Tunes aplenty, memorable hooks in each section, excellent chorus with perfectly weighted backing vocals floating in the distance, thrashing drums, tight melodic guitar solo and that same-note guitar picking in the last chorus makes it all sound urgent. It's a stadium anthem. Great job, I'm really pleased that it's my lyrics in there.
Men Who Must Be Light
I like that guitar riff in the intro and the very atmospheric vocals. There's a lot going on here, all those different styles of singing, but it feels simple - a difficult trick to pull off, but you nailed it. Catchy melodies for "take the hits for the ripped-up betting slips" (great line) and "the men who must be light". Great subject for a song, too, a thought-provoker, as Custardian lyrics always are.
Naughty Step
I really like the harmonic interplay of guitar and bass in the intro, and the way you kick into the chorus so quickly – feels like a 60s song (in the best way). Great tunes, underpinned by some very neat chord playing. I love that choppy psychedelic bridge, too, a surprising tangent to the choral feel of the rest. The vocals capture the nostalgia of the lyrics, especially the way they break down into individual voices at the end. And "naughty step" is a great line for a hook.
(Btw from the sound of their name, the Insolubles aren't a permanent band, right? No chance of them gelling.)
Take it Back
Nice Elvis Costello feel about this, right down to the Wurlitzer intro and those bass riffs behind the verse. Great arrangements, with harmonies, claps etc varying throughout the song, underpinned by a hook that really gets drilled deep into your brain. I can feel that a lot of TLC went into this production, great playing. I like the everyday theme to the lyrics – a domestic row because of bad things happening at the office. It's an evocative song, a perfect blend of words to music, so I can picture the video, a parody of a 60s kitchen sink drama. All in all, a pro job.
You Never Pick up the Phone
I like the way the chord changes constantly surprise, and the fluid keyboards interplay with choppier guitar. The vocals remind me of Jilted John, so it was the perfect time to have a first go at singing. Your voice matches the theme – it would have sounded wrong if you'd been singing more confidently, because the lyrics echo with a deep lack of self-confidence. The title is a great line for a hook, and I especially like the pick up/stick up line, a kind of despairing fake threat.
If
An existential song with an atmospheric Fleetwood Mac feel. It feels almost threatening at the beginning, and the chord change when you go into the second part of the verses is really effective. Great vocals, I like the switch between the husky verses and the smoother sections, with the echoey harmonies (excellent use of multi-tracking). I like the instrumentation, the contrast between the woodwind and the distorting guitar over the languid acoustic strumming. You've captured the feel of the almost despairing lyrics really well, but given the song a curiously uplifting atmosphere too, so it becomes sweet melancholy rather than doom and gloom.
What Does your Heart Tell you Now?
Great opening, almost baroque, and the strings give the song a beautifully melodic base. Those instrumental breaks work really well – it's a follow-up to your winning symphony. It reminds me of the Greg Lake Christmas song, celebratory and poignant at the same time. I like the idea of not being able to send the arrow back, and the hook is an excellent line.
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Post by timwarner on Apr 11, 2015 12:47:55 GMT
I think Stephen said before ‘it’s like getting a new album into your in box every month.’ I think this is one of the better ones. So many strong songs here, possibly because the way this month’s task has been structured (we had to try to make non-embarrassing lyrics and then do justice to the lyrics we were given). Whatever happened, hat’s off everyone.
Our Love Burns Bright - Colin Parish (lyrics Rob Warner)
I find the sentiment behind this strangely uplifting rather than morbid, which was what I expected from reading the sleeve notes. I like the bass rhythm on and the layers of guitars and the way the guitar seems to be leading and suggesting the next change before it happens. Despite all those layers of instruments it never feels cluttered. I’m slightly reminded of ‘the flock of seagulls.’ There’s a nice contrast after the instrumental break before it builds again. Really like the up-front guitar break.
If Onlys - Rob Warner (Lyrics Colin Parish)
A very poppy guitar opening. Lovely bass part sounding like a bass player rather than the frustrated lead guitarist I (unfairly) normally imagine to be Rob’s playing style. Everything really fits together well, is all very clean and distinct. A great chorus hook and a nice restatement of the intro for the break before it breaks down for a quite verse. There’s no question about the vocal prowess on display here but I’m really impressed with the backing vocals too. It sounds more pop than the lyrics are, which I like, it’s like you’ve sneaked a sad story into a happy song. The guitar playing is much better than my bass playing.
How Tall The Grass Will Grow - Stephen Clarke (lyrics Mike Gosling)
The sleeve notes made me laugh. Mike’s ‘stream of consciousness' and Stephen’s ‘where do I start with this lot?’ has given the scope to come up with a really good song. I love the way lots of stuff drops out for a brilliant instrument break. The chorus really picks up and chugs along. It all really works well. Great riffs and catchy.
Good To Be A Bad Boy - Mike Gosling (lyrics Stephen Clarke)
That echo effect reminds me of the old WEM copycat. Witty opening lyrics about ‘the sequel’ (something few men can endure). This is full on ‘crowd pleasing rock encore’ mode from Mike and Karl with some very effective drumming. Great backing vocals, and the guitar sounds are great. Everything seems to be just right for this type of song. This seems very easy and natural. I wonder how Stephen’s song from these lyrics would sound?
Men who must be light
Many thanks to Eddie for some great lyrics (I was dreading any kind of love song, then I remembered Eddie was doing the lyrics). Thanks to Joe, Colin, Rob and Rob for helping. I though everyone would get the horse racing from the sound effect at the start.
Naughty Step - Eddie Custard (lyrics Tim and Julie)
Wow. Wow, and wow again. This was so much more than I was expecting from the lyrics Eddie had to work from. I didn’t think they were finished when I sent them but, Eddie quite rightly stopped me and even ignored some. Glorious melody and great harmonies which are so solid the backing is allowed to be a bit more fluid. I love the sound of the guitar in the break (Eddies guitar always sound good, but particularly so on this). Gutted I can't vote for it. Twice.
Take It Back - Patrick Duffin (Lyrics Colin Steward)
I’m often surprised by the sounds Patrick uses and the keyboard intro is no exception. This is another really good song recored with aplomb. I like the lower harmonies just before the chorus. Great guitar lines. Somehow you make it all quite urgent without making anything sound panicky (I’m not sure that will make sense to anyone but me). The hand claps are very effective. Slightly surprised by the key change (Eurovision is next month).
(You Never Pick Up) The Phone - Colin Steward (lyrics Patrick Duffin)
I like the suspense in the intro. Then we get to hear Colin’s voice for the first time. I am slightly reminded of the acts you occasionally saw on TOTP when a song writer was reluctantly singing his own song. There is NOTHING wrong with the vocals here Colin. I really like the ‘so I dial and I dial’ section. There is some great chord combinations and use of guitar. I love the hanging ending too.
If - Tim and Glyn (Lyrics Phil Sanderson)
Dreamy start leads into an more dreamy, phased, vocal part. I like the flute sound in this bridge section. What is the instrument playing after the chorus before the second verse? It’s very effective, whatever it is. A wonderful guitar solo at the end.
What Does Your Heart Tell You Now - Phil Sanderson (Lyrics Hughes)
Interesting opening reminds me of the Brandenburg concerto I studied for O level (I love the sound). Drums would sound wrong, so I’m very pleased they’ve been omitted. Great hook for the chorus. Second verse and Glyn’s harmonies start and and lifts it again. There’s enough going on to tell you where the beat is under those rich strings without it distracting from the melody (which is the main thing). It’s like you’ve delivered the hook on a wave of energy rather than separate instruments.
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Post by Rob W on Apr 11, 2015 16:32:06 GMT
March 2015. Partnerships
1. Colin Parish. Our Love Burns Bright
Colin sent me three versions of this and they did get progressively better. His first effort (and I’m reading between the lines here) was almost tossed over to me as though he hadn’t enjoyed the experience at all and just wanted rid of it asap. However, there was enough interest from him to visit and revisit until we have this version. When I first heard it (he very helpfully sent a copy of the lyrics) I was thinking ‘These lyrics bear no resemblance to those which I wrote’! But I then carried out a ‘contrast-and-compare’ exercise and I must concede that the feel of the lyrics remained, even though the actual meaning and story had changed somewhat. I really liked the hook line ‘I didn’t know what life was all about’ and there were some great discordant guitar lines that maintained the interest and created the spooky, other-wordly quality that a beyond the grave vibe deserves. It was very haunting and the overall ambience of the sound and lyrics was well matched. I get the impression from his sleeve notes that he didn’t wholly enjoy the experience but I think he’s created a very credible, atmospheric pop song. The only criticism I would make regarding the sound is that the bass-drum sounds were a little eighties (they reminded me of Phil Collins’ drum machine sound on ‘Take Me Home’) but that’s very minor to the overall impression which is very pleasing.
3. Stephen Clarke - How Tall the Grass Will Grow
I loved this from the off. Every section, every riff and every syllable is used to the maximum. The simplicity of the sound exposes the brilliance of the song construction. I’ve loved virtually everything he’s done and this is right up there and may be his finest work (in my opinion.) So are Clarke/Gosling the new Lennon & McCartney? Based on their first efforts together I wouldn’t be at all surprised. I have said on numerous occasions that Stephen is, on the whole, someone whose albums I would buy today and tomorrow, but perhaps, with reference to The Beatles I should add that I’d have bought his album Yesterday as well! (Having now made that comment, perhaps I SHOULDN’T have gone to the trouble!) The lyrics are great and Mike’s admission of a ‘stream-of-consciousness’ is surprising because it really doesn’t sound like that but that could be more to do with Stephen’s treatment of his great lyrics that they suit the song so well and Colin S has already said, this sounds as though it was written by one person with one vision. I think this is a brilliant song, brilliantly executed and brilliantly composed by both writers. I haven’t heard the rest yet but I think we’ve almost certainly found the partnership of the task. I had another thought. My original idea for this month was that we pick a song by another SWC member and ‘cover’ the song. Mine would almost certainly have been a cover of one of Stephen’s but every month he’s elevating his songs to a position of untouchability!
4. Mike Gosling - Good to be a Bad Boy
It goes without saying that the sound on this recording is fantastic. The sound allows one to relax into the song and just enjoy something that appears completely effortless. I laughed out loud on many occasions (I particularly enjoyed the ‘Bridget Jones’ reference and the fact that you ‘even saw the sequel’. I also laughed at the references to liking foreplay and putting the loo seat down.) The melody and the arrangement and just the sheer, apparent simplicity of the music works hand in glove with a stonking set of lyrics. Mike has absolutely excelled this month. Karl’s drums are a really interesting diversion but nothing can get in the way of what is an absolutely brilliant song. Like your writing partner’s song, this will be virtually impossible to beat. I, for one, can’t get a cigarette paper between these two songs and these are the first two that I’m allowed to vote on!!
5. Tim & Julie - The Men Who Must Be Light
This seemed very confident from the off (I like the clav, Colin!) The drummer is really good! How are you doing this? You’re not programming them are you? Tim is finding his voice and his style with every song and even given a set of unfamiliar words, this is undoubtedly a ‘Tim (and Julie)’ song. To my endless shame, I barely ever listen to the meaning of lyrics so it was very useful to follow Patrick D’s musings and read Eddie’s comments too which unveiled to me that this was a song about jockeys needing to be as light as possible and their endless battle of weight management! The horse racing noise at the start suddenly makes perfect sense! (I thought perhaps Tim had decided to record it in Julie’s paddock!) And once I was furnished with this knowledge, I enjoyed the song anew as though my eyes had been fully opened at last. I was also thinking that it was such a weird thing to write a song about but it’s definitely working for Eddie C. The chorus improves with further listenings. I really liked it and it is definitely a grower (though I personally didn’t like my own contribution!)
6. Eddie C - Naughty Step
In the same way that Tim & Julie have developed a sound, this is undoubtedly an Eddie Custard composition. Lyrically, this could also be an Eddie song which I think is a huge compliment to the Warners as Eddie has written some fantastic lyrics in the past (my favourite is the one about his Naturist Auntie!) The sound of the music is very familiar but I can’t quite put my finger on his true inspiration. It’s quite Beatle-y (very sixties) but I could also hear some Squeeze. I loved the chord progression in the chorus particularly at the back end when the backing vocals ‘sweep up’ the lead vocal line. Eddie’s such a pro now! As a post-script, I have to say that I have no recollection of ever being on the naughty step and I would have been far more likely to have been sent there than Tim who was ‘golden bollocks’ in our house! (Perhaps this is another fantasy of his along the one about our Dad’s favourite song being ‘The Living Years’ by Mike & The Mechanics even though it was released three or four years after he’d died! And as a post script to THAT, he was actually recalling someone on TV-AM crying when they saw the ‘Living Years’ video. And that man? Rolf Harris!! I also believe he wrote to Jim’ll Fix it and asked to meet either Gary Glitter or Michael Jackson! He was quite a poor judge of character!) Back to present day, this song has suddenly opened up the race and I wish now that I’d taken Eddie’s advice and allowed us all to have three or four votes.
7 Patrick Duffin - Take it Back
Oh my god. Another fantastic pairing. Like Stephen & Mike and Eddie and Tim & Julie, this sounds completely coherent and just like a Patrick D song. It’s really, really good and the sound and arrangement choices are absolutely spot (as they usually are.) This reminds me a little bit of the title music to ‘Friends’ and I was a little taken aback by the arrival of the key change and the dash to then end but Patrick is the master of the SAS song (Get in, do the job, get out again!) Nothing is wasted and every note played and every drum or cymbal struck has a purpose. He’s a consummate professional as ever. Jealousy (on my part) really doesn’t cover it (and I’m not sure even four votes would cover this month’s offerings!) A brilliant job.
8 Colin Steward - (You Never Pick Up) The Phone
Colin’s anxiety about this comes through in his cover notes and I sympathise as I am always anxious about ‘premiering’ a new song especially when one feels ‘exposed.’ I genuinely think you should rest easy as this was a believable vocal performance. My only advice would be to open your mouth a bit wider and try increasing the volume as it will release what’s in there more effectively (I always try and find a room in which I feel entirely comfortable when I’m recording my vocals. There’s nothing worse than imagining that you’re being over-heard.) I agree with Patrick, especially at the beginning, that it has a Donald Fagan feel to it (in fact, with practice and some confidence, you would sound a bit like DF.) On a slightly critical note, there seemed to be some elements of the music that were ‘overhangs’. What I mean is that there were bits that sounded as though you’d slightly miscalculated and we had one bar too many in places (I think if I could re-do my song, I’d cut out some of my ‘over-hangs’ too!) Also, I don’t know if it was a deliberate ploy to make it easy for yourself vocally, but the melody wasn’t terribly challenging which was a surprise given the melodies you have created in the past. Having said that, the staccato delivery and simplicity of the melody DID work for the feel of the lyrics and subject matter (i.e., what the f*** do I know?) Lyrically, I didn’t pick up on any underlying message but I could, of course, be missing something. Once again, it was a very effective melding together of two into one and I enjoyed it immensely.
9 Tim & Glyn - If
I remember the original ‘If’ (Telly Savalas!) and the cover of it (Yin and Yan?) when comedy songs were the height of cool (The Wurzels and The Baron Knights were my personal favourites.) This is not a comedy song but in the brief history of Tim & Glyn productions, this is really, really good with a new found ability to unlock the sound and make it somehow wider and spacier. Also, as one other writer alluded to (about a different song) it seems that the producer (Tim? Simon?) decided to focus on what the lead instruments were and it makes it much easier to digest. Once again, if this was any other month I would assume that this was purely a Tim & Glyn song and not a musical menage a trois! Glyn’s voice is as beautiful as ever but if I had been in a position to produce this, personally I would have attempted (and probably failed) to try and tie her down slightly with her choice of melody. I think it’s part of my OCD/male autism (in other words, it’s my problem not yours) but I feel sometimes that nothing is sung the same way twice so doesn’t give me, melodically, something to really latch on to. In the great scheme of things, this is very, very minor as there are infinitely more positives about this song. I love the very subtle flute that is introduced part way through. I really enjoyed the vocal ‘wall’ during the chorus (I can imagine that was quite satisfying to record.) The guitar solo is great (great sound) and it’s all pinned together with some great lyrics. Knowing Phil as I do, he has probably recorded twenty different versions of this set of lyrics! All in all, another fantastic collaboration.
10. Phil - What Does Your Heart Tell You Now?
Wow, I absolutely love this. The sounds, the feel of the lyrics, the melody and the sound of the two vocals together. This is arguably Phil’s finest moment (certainly in terms of recording prowess.) He’s written it well and it’s mixed very well too (he tends to bury his vocal in the mix normally) but he’s been quite bold and it really works especially when Glyn adds her absolutely brilliant backing vocal. The arrangement is beautiful. It sounds very English and traditional. it’s Folk music but with a classical twist. This could be in a film, in fact this could be the title music for a film. There are some great combinations of sounds (electric guitar and harpsichord? Phil and Glyn’s voices are absolutely perfect.) The lyrics also are wonderful and I think it adds to their poignancy that ‘Bernie Taupin’ (Glyn) get’s to sing Elton’s (Phil’s) melody along with him. It’s different from anything else here this week but is not the poorer for it. This is a dark horse if ever there was one! I’m now wishing for five votes not the measly two that I so tight-fistedly handed out to us all. Boo-hiss!!
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Post by Rob W on Apr 11, 2015 16:41:02 GMT
I genuinely struggled with the voting. Two votes does seem totally inadequate (sorry Eddie, you were right.) If anyone has any strong feelings about it, I am happy to put up another Poll and give us three votes each but it would mean scrapping this one and you'd all need to vote again. Let me know what you'd like me to do.
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Post by Colin Steward on Apr 11, 2015 18:42:54 GMT
Rob, you are absolutely spot on re my vocal 'performance'. I knew as I was recording that I was cringing inside. It is all about confidence, of which I have none and as I read your comments I was agreeing completely. Thanks for the tips. I will try and work on this in future. It's made me appreciate even more what people like yourself, Patrick and Robbie Good can do. You are also right about overhangs. I knew they were there too!! Voting is a bugger this month, but for me I'm ok with the two votes. Cheers.
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Post by philsanderson on Apr 11, 2015 21:29:42 GMT
Our Love Burns Bright
Lovely singing throughout this song, including really effective vocal lines ‘behind’ the guitar solo. This could easily successfully appear as part of a film soundtrack. I got a very positive, warm feeling from this song – not gloomy at all!
The separation of sounds is, as always, impressive. There is a lot of space for the voice in the quieter parts and everything is well balanced. I like the high level of reverb on the vocal – just wonder what a version would sound like with less reverb ( not a criticism at all, just a ‘what if’ thought, as I often seem to pile on the reverb quite thickly myself )
If Onlys
Peter Gabriel does jazz/pop/disco! Fantastic bass line from beginning to end. Like Tim, I really liked the backing vocals / voices. You have done justice to the great words, although there are a couple of points where the end of a line does not quite seem to fit, strangely. The guitar playing is absolutely fine. By the third listening the chorus sticks totally in head and won’t shift! A definite opportunity for commercial success.
How Tall Will The Grass grow
Stephen makes this sound so effortless, yet there is genius at work marrying the lyrics to the sound of the guitars. It’s sort of laid back, yet moves forward with a purpose. Plenty of space around each guitar to hear the different notes. When I heard this for the first time I wanted the song to ‘break out’ into a more dramatic middle section or suchlike, but repeated listening render that thought completely erroneous.
Good To Be a Bad Boy
I won’t be the first or last to comment on the superb drumming and sound here! Just as well I didn’t get these (excellent) lyrics as I would have had to produce a slightly censored version when I inflicted my song on the listening ears of my two children! I’m listening to song again as I type this and it is so powerfully produced – really clear, crisp and a definite ‘sing a long a SWC’ song.
Men Who Must Be Light
I wondered if Eddie knew about Julie and horses when he wrote these lyrics, or was there even a sort of pun on the ‘name’ Eddie Custard ( eat de/the custard tart in that patisserie... ). If not, how on earth did you begin to consider writing brilliant lyrics about Jockeys and their diets? Maybe someone can offer a song called ‘Men who must be Heavy’ dealing with Sumo Wrestlers and their food intake? I digress...
What a superb pop song you’ve produced. There’s quite a bit going on, but it never feels cluttered. My favourite instrument though is the drums ( programmed, played or whatever, they’re spot on). The outro to the song could come straight from any Frank Zappa album from the 80s with an array of excellent vocalists. Indeed, I was wondering if you had delivered your vocal part an octave lower whether it would have been even more effective / sinister ( and more FZ like )
Naughty Step
Lovely pace to the song, the pauses in the verse are so good. As usual the backing vocal harmonies are to die for. There are sounds of Beatles here, but I’d have to say that you’ve created and now continually refine your own unique and now trademark ‘Eddie Custard sound. Great chord changes – I reached for my guitar immediately after hearing song for first time and played again ( and again..) to work out some of the chords and harmonies. Very professional.
Take it Back
Fantastic arrangement! Every note, sound and instrument fits perfectly. I wasn’t sure about the organ sound at the beginning until I heard song for third time – it’s inspired! Once again Patrick’s song ended too soon for me, so I set media player set to ‘repeat’ play. These are great lyrics, too, Colin!
I wish I could sing lyrics with so much precision.
(You Never Pick Up) The Phone
Well done for singing, Colin. After 12 months of providing vocals I’m still not really happy with the sound of my own voice, but I’m so glad that Rob encouraged me to give it a go. I really really like your introduction and the ‘I dial’ section with the ‘falling’ chords. The keyboards sound really good on headphones – the sound moving across the ears is really nice. Now I’m listening to your song again and singing along to the ‘I dial and I dial...’ bit. The song gets more catchy on each listening....
If
I‘ve had this song playing on in my car for about past 2 weeks ! I feel privileged to have had my lyrics interpreted by Tim and Glynn in such a brilliant way. When the backing vocals come in at 3.42 I still get shivers down my spine even after hearing the song many times – and then there’s a wonderful guitar solo straight after with more sublime vocals....
I can advise playing this song at a higher than average volume, it’s really worth it. The production is excellent- I’ve just read Rob’s comments about the production having space and width, which I totally agree with.
I didn’t try to write or record any version of ‘If’, and am really glad I didn’t ever attempt to match Tim and Glyn’s excellent music.
However...
What Does Your Heart Tell You Now?
...However I did have more than one go at providing music for Glyn’s lyrics, including writing and recording a song well after deadline day when I should have been refocusing mind and efforts on ‘Eurovision’! Another thank you offered for inspired and beautiful vocals, as well as such good lyrics.
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Post by timwarner on Apr 11, 2015 22:14:09 GMT
More votes, you say? I think 8 would cover it, this month.
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tandg
Junior Member
Posts: 67 
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Post by tandg on Apr 12, 2015 16:55:42 GMT
I checked out the web-site first when there were only 4 songs there and I thought this is what is great about this theme. Fancy a songwriting challenge? Get someone who doesn’t have to take responsibility for the outcome to write the lyrics they may have struggled with themselves. I read through the comments before listening to those first four songs and laughed out loud at Colin P’s and Stephen’s tasks. If only Rob’s lyrics for Colin had been written as a stream of consciousness (maybe a stream of unconsciousness) the torture would have been complete! Thanks again to Phil for giving us lyrics that could be sung.
Our Love Burns – Colin P & Rob
I felt immediate sympathy for Colin, trying to rationalise a song by a dead person. And then you hear the song and it’s a triumph! That chorus in particular is great. Understated, catchy and not predictable – you really nailed it. It’s exactly what you indicated you wanted to achieve – sad but triumphant. The distorted guitar sound and the vocal line and harmonies on the chorus weave together beautifully and we immediately played the song several times in a row and then went back to it when we finished listening to the others. A gem.
If Onlys - Rob & Colin P
I sort of wish I hadn’t read the introduction to this, as it would have been a far more unexpected pleasure. Colin’s lyrics are really poignant but unexpectedly, you managed to not dwell on that, while still giving the lyrics a bit of space to sink in. The chorus in particular leaves the ‘if onlys’ line hanging nicely. I really liked the guitar parts – you definitely shouldn’t be nervous about using guitar. It sounds great here and no-one would listen to it and think that you don’t normally use it.
How Tall the Grass Will Grow – Stephen and Mike
It would be really interesting to know what Mike sent you because you’ve turned it into a really focussed song that sounds it was definitely meant to be this way. I liked the choice of words you had selected from Mike’s lyrics; the rhymes of ‘derrick’ and ‘relic’ and ‘greener’ and ‘demeanour’ are ones you don’t expect to hear in a song. I’m full of admiration that you work with a song with such sparing instrumentation and yet still maintain interest for the listener. The guitar is ultra clean and yet the song doesn’t sound that it needs additional sounds behind it. Great backing vocals wrap up a very fine piece of recording and the song is now stuck in my head, which is further evidence of the quality of the songwriting.
Good to be a Bad Boy – Mike, Karl and Stephen
This is a great piece of straightforward, no nonsense songwriting (and we all know that’s much easier said than done). Good dynamic, plenty of punch, great stop before the chorus and nice harmonies, even a guitar solo. It reminded me of Tom Petty, although I doubt that Tom writes about G spots! I thought you caught the mood of the witty, sharp, lyrics really well and the whole song moves along at a great pace. Really satisfying.
Men Who Must be Light – Tim, Julie and Eddie
Surprising to hear a second song, after Rob’s, with clav sound bubbling along underneath. For two verses, it seemed to be quite conventional and then the vocal twists and additional voices changed everything. I liked the harmonies and varied vocal treatment towards the end and love that you are still experimenting with different sounds, unusual and unexpected structures. It’s also good to hear the vocals right up front. Considering how quietly the vocals were set in the first songs you recorded for the collective, this is really confident stuff.
Naughty Step – Eddie, Tim & Julie
Interestingly, the lyrics don’t sound alien for Eddie – witty and irrelevant and thought provoking – Tim & Julie could have written them specially for you to sing. As always, your natural melodic songwriting is a real pleasure to listen to. There’s a such a lovely flow to the harmonies, transitions from verse to chorus and instrumental breaks that you make it sound easy (and we all know it isn’t easy to sound this good)! Some lovely guitar playing throughout as well.
Take it Back – Patrick and Colin
This perfectly captures the late seventies/early eighties of Costello, Joe Jackson, Graham Parker, Squeeze. I loved the vocal delivery – you pushed just enough to give it a sense of real urgency and the playing throughout is great; I particularly like the crunchy guitar sound under the keyboard riff and the finger picked open chords. Your harmonies as always are lovely and really well positioned in the mix. The ‘one, two three’ harmony is great. It was clear you enjoyed this one and the lyrics perfectly suited the mood you aimed for (and nailed)!
(You Never Pick Up) The Phone - Colin and Patrick
If you wanted to pick a first song to allow out in public, this was a very brave place to start – there are a lot of lyrics and you sang almost all the way through – and for me it worked perfectly. I liked the song, which was close in atmosphere to Patrick’s and the chorus with the vocals over the rising chords is particularly strong. I wanted to hear those lines repeated more but then had to listen to the song a few more times and enjoyed it more each time. This really is a great little song, with excellent playing (I really liked the bass sound and choice of notes) and we definitely want to hear you sing more.
What Does Your Heart Tell You Now – Phil and Glyn
We were lucky enough to have a sneak preview of this and we absolutely loved it. I thought when we uploaded our song, we should print Phil’s lyrics as they were really lovely but I wasn’t sure you’d catch them all. Phil performed Glyn’s lyrics with such clear delivery there was definitely no need here. Glyn immediately started singing a harmony part along with it on first listening and Phil was magnanimous enough to agree to letting us loose with it. Thankfully, his original recording was clear enough to prevent me from ruining the quality my end.
I love the whole thing – the sounds, the vocal delivery and wonderful interwoven texture that the string sounds bring. When you take into account that Phil sent us two other completely different treatments of the same lyrics, you begin to realise that we are dealing with a phenomenon here. While the rest of us struggle to keep up with 12 songs per year, Phil appears to be recording 36 just for the Collective. Good job we’re not still using tape, or you could imagine the storage problems round at his house! Still humming this one hours after hearing it. Brilliant and an absolute pleasure to work with. Love to collaborate more….
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Post by mikegosling on Apr 13, 2015 14:28:34 GMT
A very enjoyable set of collaborations. Deciding on two favourites is difficult!
Parish / R Warner - Our Love Burns Bright
Good pop sound from the synth bass which gives it an eighties feel (the "sad and broken" line could come straight out of an OMD song). I think the sweet sounding vocal (with a nice lot of reverb) suits the song's musical and lyrical content. My favourite bit is "I didn't know what life was all about" with its 60's psychedelic sound form the distorted guitars and ethereal choir vocals. Unusual choice of notes for the verse guitar part - threw me slightly on first listen - but works on subsequent listens.
R Warner / Parish - If Onlys
Really good funky clavinet part with a neat guitar riff works well as an intro. Then we launch into a very impressive groove anchored by a tremendous bass part - maybe too impressive (as I couldn't stop listening to the bass!). The chorus is very good (I've sometimes criticised Rob for the lack of a chorus in previous entries - not so this time). The "If onlys" hook both lyrically and musically is very strong. The fade-out surprised me a little - could have done with more of the repeated chorus before the fade. Very good production for a very good song.
Clarke / Gosling - How Tall The Grass Will Grow
Thank you Stephen for putting together a great little pop song. Lots of musical hooks (as usual with Stephen's songs). I like the guitar/bass riff and sound with give the song a retro feel. I like the various answering vocal lines - "do we really need to know" in particular. The Bontempi bossa nova drum pre-set works well, but I must admit it wouldn't have been my first choice for the rhythm track! Once again Stephen has delivered a song full of musicality from minimal means.
Gosling / Clarke - Good To Be A Bad Boy
Just to say thanks to Stephen for delivering a witty set of lyrics for this song.
Warner T/J / Custard - Men Who Must Be Light
Another strong intro combination of funky clavinet and guitar - the Warners must have got a job lot of seventies keyboards. Great lyrics - "men who take the hits for the ripped up betting slips" is great. Good arrangement with plenty of space for vocals in the verses. Huge contrast between Tim's verse/chorus vocals and Rob's "men who must be light"s at the end - not sure it felt quite right - I think I would have stuck with just Tim's vocals. Good drum programming, bass and guitar work as well as that great sounding clavinet. A very successful collaboration.
Custard / Warner T/J - Naughty Step
As with their other collaboration there are some strong lyrics here and also a good concept for a song - both Eddie and Tim/Julie seem to enjoy writing about slightly unusual subject matter. The music is very strong. Both verse and chorus have great musicality - good chords and melody. The sound once again has a distinctly McCartney/Wings feel to it. The middle 8 works well (although the tambourine might be a bit too loud? - Karl always tells me I mix the tambourine too high in the mix - it cuts through so well that you don't need much of it). The second very successful collaboration from the Custard/Warner T/J stable.
Duffin / Steward - Take It Back
Great song with distinct nods to the new wave bands of the late 70s / early 80s. As well as The Knack / Joe Jackson it also brought to mind a single (can't remember its name) I have by The Jags. With the return of vinyl surely there must be an upsurge in interest in this type of guitar pop song. Good effective lyrics and vocals and harmonies are spot-on as usual. I particularly like the "count from 1 2(to) 3" part with the vocal harmonies. Nice Steve Nieve keyboards. And Bruce Thomas bass. And great handclaps. And the key change is fine. Great pop.
Steward / Duffin - (You Never Pick Up) The Phone
Another nice slice of early eighties pop. I like the way the lyrics are delivered in the bridge (call me) and in the chorus with Colin's staccato delivery. I think that works well. The repeated use of certain words (dial, style) also works well. "pickup" / "stickup" is a good lyrical couplet. Musically this song has a light feel to it - slightly jazzy at times - some nice piano and bass. The musical references to Joe Jackson are well done - the "call me" part reminded me of Go West (not sure that's on many people's list of influences. Good song and keep on singing, Colin.
Lucas/Hughes / Sanderson - If
A nice sound from the piano, organ, guitars (acoustic and electric). Has a distinctly 70's feel. Bit of Carole King, Fleetwood Mac. A lovely vocal from Glyn back with that guitar at the end of the verse works very well. The arrangement of instrument is good, but I felt like I needed a different part (maybe a middle 8) at about 3mins in. Great guitar solo sound at the end which works very well with the vocals / harmonies for the end choruses. Lyrics and melody blend seamlessly and produce a very satisfying slice of adult pop.
Sanderson / Hughes - What Does Your Heart Tell You Now?
What a lovely start from the string section. The vocal is definitely one of Phil's best. It works very well when Glyn joins Phil and the string melody returns. Phil seems to be delivering simpler, more tuneful songs of late and this work extremely well with Glyn's lyrics - "What Does Your Heart Tell You Now?" is a very strong lyric/title. This is a very successful collaboration.
I think Partnership month has been a big success. All the various collaborations seem to have worked out very well - Well done to Rob for team selections.
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Karl
Junior Member
Posts: 72
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Post by Karl on Apr 15, 2015 18:47:26 GMT
1. Our Love Burns Bright - Colin Parish (Rob Warner)
This was a bit of a slow burner for me, but as soon as the mystical guitars and oohs came in for the chorus I was hooked. It reminds me a bit of the OMD songs where the "other guy" does the singing, or of a lesser known 80's band, China Crisis, but with much better guitar parts.
2. If Onlys - Rob Warner (Colin Parish)
Very funky groove which is a great showcase for Rob's "lead" bass. The chorus is great - I really like the harmonies. I like the break down with that busy bass line taking centre stage. However, for the second 8 bars of the breakdown I think the bass line should have been simplified to give more emphasis on when it all comes back in. Strong production.
3. How Tall the Grass Will Grow - Stephen Clarke (Mike Gosling)
And on to a song with considerably simpler production values. I like this a lot, in fact I can't get the "oh so catchy" chorus out of my head. I saw the lyrics Mike wrote for Steven and was very surprised to hear this as the result. Great, I really like it.
4. Good to be a Bad Boy - Mike Gosling (Steven Clarke)
Too involved to comment or vote on this one.
5. The Men Who Must Be Light - Tim & Julie Warner (Eddie Custard)
Firstly I have to compliment Tim on his choice of drum samples - they sound great and very real. I don't know that much about horse racing but I do like this song. Tim and Julie's songwriting continues to flourish, and with a bit of a swagger this month.
6. Naughty Step - Eddie Custard (Tim & Julie Warner)
Eddie really has his sound sorted and once again, I like his contribution. Tim & Julie's lyrics work perfectly - this pairing was inspired (well done Rob).
7. Take it Back - Patrick Duffin (Colin Steward)
Another pleasing toe-tapper from Mr Duffin and once again, I think the pairing choice here was excellent - the lyrics sound as if Patrick might have written them himself. I'm not usually a fan of the key change, but it didn't make me wince too much here. I'm going to play this to my Mum - I can just imagine her jiving along to the groovy chorus and intro sections.
8. (You Never Pick Up) The Phone - Colin Steward (Patrick Duffin)
Sounds like this could be an 80's American movie intro song - jazzy, funky bass line, drum machine. More good stuff. I'll say the same as I said to Tim when he was hiding his vocals away too low in the mix (and in his case with effects to disguise them) - just mix them as loud as you would normally. Your voice is fine, but I was straining to hear it properly. Good song.
9. If - Tim & Glyn (Phil Sanderson)
This has a very relaxed, easy and confident sound to it which I like. Glyn's voice is as hypnotic as ever, although I do think it has been slightly over-effected at times. The overall sound when the harmonies kick in is very lush and I find, especially when listening to it through headphones, that I want to go back and hear it again.
10. What Does Your Heart Tell You Now? - Phil Sanderson (Tim & Glyn)
I can only echo what others have said - Phil's voice sounding as good as I've heard, the trademark sounds working really well with this slightly stripped down, simpler arrangement. A real highlight is the mix of Phil and Glyn vocals. I like the way it starts and I love the way it ends.
I have enjoyed listening to this months entries. A good challenge. Well done to all. I have one out and out winner and 4 others tied for 2nd place, so I'm only going to use one of my votes this month.
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Post by Rob W on Apr 22, 2015 18:02:02 GMT
Hi. Voting is almost complete. Colin P has yet to vote though and normally I'd say 'tough luck'. However, at the moment we have an unprecedented six-way split for first place!! Colin is away on holiday with variable/non-existent wifi. I can either let the poll close on 26th or push the date back. Let me know if you have strong feelings either way.
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Karl
Junior Member
Posts: 72
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Post by Karl on Apr 23, 2015 6:38:33 GMT
Having listened to the 4 songs which were joint 2nd (in my opinion) a few more times, I have decided to use my 2nd vote. If Colin P doesn't vote the winner will owe me! Only joshing!
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Post by timwarner on Apr 23, 2015 14:54:10 GMT
And if Colin does vote we may have a 3 way split!
As always, thanks for the comments. Some of you have mentioned my drums sounding good. Firstly, thanks but, you should really be thanking the clever people at Apple. I upgraded from the iPad to a laptop that comes with a more powerful version of GarageBand and I've been using the drummers held captive in there. All very customisable, and I do fiddle a bit, but, alas, very little to do with any skill or imagination from me. Previously, I had been using DrumLoopsHD on the iPad (live drums recorded by a proper drummer in form easy to get into GarageBand for the iPad).
I envy Mike, having a tame drummer he can call on and record live.
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Karl
Junior Member
Posts: 72
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Post by Karl on Apr 23, 2015 17:53:14 GMT
You are still making good and appropriate drum part and sound choices though. And I'm not so sure Mike would refer to me as "tame"!
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Post by Colin Steward on Apr 24, 2015 17:48:03 GMT
Karl, what do you mean "the winner will owe me"? I already paid you the bribe!
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Karl
Junior Member
Posts: 72
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Post by Karl on Apr 26, 2015 12:36:07 GMT
Well done Patrick & Colin. Good stuff - the bribe worked!
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Post by Colin Steward on Apr 26, 2015 14:11:27 GMT
Yes, well done Patrick. I'm under no illusion that it's all your work that got you the votes. That said, had you have gotten me to sing, it would have been a complete outright winner. A whitewash, if you will!!
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Post by timwarner on Apr 26, 2015 15:40:44 GMT
Well done Duffin/Steward. It's been a good month so, to come out on top must be very gratifying. I've enjoyed the whole process of collaborating.
There are a number of ways to look at the results (try as I might, I never come out of it well). If we take the two songs produced by any partnership and average out the votes then the Clark/Gosling partnership is more popular. Just saying. Hats off all round, anyway.
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Post by mikegosling on Apr 26, 2015 17:37:45 GMT
Well done Patrick and Colin - I really enjoyed your song.
Collaborative month was a good suggestion and worked well I thought.
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Post by eddiecustard on Apr 26, 2015 18:37:15 GMT
Congratulations to Patrick and Colin - good song.
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Post by Patrick on Apr 28, 2015 9:08:37 GMT
Thanks very much everyone, and thanks to Colin for the lyrics
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Post by colinallcars on Apr 28, 2015 19:29:10 GMT
Sorry I'm so late with my comments - and I missed the vote too! Well done Patrick- a worthy winner.
Stephen Clarke/Mike gosling
Great sounding guitar and bass, as usual from Stephen, with a very catchy riff. Sort of jolly and rocking along nicely. It’s one of those songs that meanders rather than drives – I like it but would have liked a more defined hook.
Mike Gosling/Stephen Clarke
Great drums and guitar work. Reminded me a bit of Joe Jackson – not just the sound but the sentiment – Is she really going out with HIM? Age-old message told in a timeless way. I like the harmonies and the way it builds towards the end.
Tim/Julie and Eddie
Starts off sounding a bit brooding and full of foreboding. Trust Eddie to come up with a lyric about a subject as obscure and enticing as male anorexia and gambling addiction. Should have called it the charge of the light brigade! Lovely harmonies at the end accentuate the heaviness of the lyric nicely.
Eddie Custard and Tim/Julie
Opening sounds a bit like Caravan (anyone remember them?) great singing as usual, with Beatlish harmonies and a touch of Our House. The return of that staccato drum sound is welcome, and as usual, the musicianship is excellent. The naughty step – hey, we’ve all been there!
Patrick Duffin and Colin Steward
You’ve captured the Joe Jackson sound nicely, especially with the bass and drums. Nice catchy hook and usual high standard of production. This could be a Warren Zevon song, lovely.
Colin Steward and Patrick Duffin
Crikey another Joe Jackson song - brilliant! Love the desperation in the lyrics, which is beautifully illustrated by Colin’s delivery of the song. ‘Call me like you really want to give it a go’ – ooh, that’s a sad lyric in a jolly song. I like the ending with the long hanging note……
Tim and Glynn and Phil Anderson
Love the chorus with the swoopy tune that sounds like an autotune machine but probably isn’t. I also really like what sounds like a trumpet back in the mix. I wanted this song to have a decisive break in it to reflect the notion of change that is in the lyric.
Phil Anderson and Tim and Glynn
Touch of the Golden Brown’s in there, lovely. I think this is the best vocal I’ve heard Phil do – a touch of whimsy, with lovely backing vocals from Glynn work really well.
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Post by colinallcars on Apr 28, 2015 19:37:54 GMT
I didn't mention how brilliant I think Rob's song was, based on my lyrics. I had imagined a sad little song about regrets and he produced a great big funky tune that worked fantastically. Music is wonderful in the way it can transform an ordinary lyric into something extraordinary, an seemingly so effortlessly. And what about the singing? Phew!
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Post by stephen on Apr 29, 2015 21:00:32 GMT
Yes, well done Patrick and Colin, very good song.
As one half of the Clarke-Gosling or Gosling-Clarke partnership, I would like to pick up Tim's point and express my satisfaction that as a team we scored 30% of the votes - almost enough to form a government.
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Post by mikegosling on Apr 30, 2015 7:29:01 GMT
Perhaps it should have been "Coalition" month. Looking forward to hearing the Eurovision songs and wondering whether Scotland will have an independent entry this time.
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