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Post by Rob W on Sept 5, 2015 19:56:18 GMT
Hi All This is where you can send you comments and place your votes. Only seven songs this month so I think we'll do two votes only. Click HERE to go back to the song page.
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Post by Rob W on Sept 7, 2015 21:16:44 GMT
Sample Month
Having been the last one to comment and having missed the vote for the last two months, I am proud to be the first in line!! (Also, for those who may be interested, I have now commented in full on the past two months' songs.)
Eddie C Send me into space I love reading the cover notes from Eddie. It definitely improves my enjoyment of the lyrical element of his songs. Having gone through my own traumas, I’m really impressed with the way he has merged the two compositions. And even though one can hear which is which, this would be very easy to make into a Custard song exclusively - no law suit required! Lovely vocals, fantastic chord progressions. My only minor criticism would be some slightly dodgy drum programming (the doubled bass drum is where my main concern is!) Other than that, this is a total triumph. Brilliant work.
Stephen C What’s to be done? Not being a huge Ray Davies fan, I can honestly say that I don’t know where Stephen’s song begins (and ends) and where Ray’s song begins (and ends.) But the overall effect is very pleasing with a typically low key but completely perfect melody, delivered with Stephen’s usual understated aplomb.
The melody and the progressions get stronger and stronger and more and more memorable. Stephen is a rare talent. Fantastic.
Phil S Missing As with Stephen C’s choice of sample, I was unfamiliar with the Thomas Dolby song so I did a bit of research. ‘One of our submarines’ is a really good songs - a hidden gem. But what really surprised me was how similar our Phil’s voice is to Mr Dolby. The song also bears a striking resemblance in places but is sufficiently different to distance Phil from any accusations of plagiarism. It’s probably some of the sound choices that make it a little more like a TD song. I really enjoyed the melody and because I never really listen to lyrics, they never get in the way of a good melody. I thought this was a great. Really enjoyable (in fact even more enjoyable having just listened to the TD song too.)
Tim & Glyn You Keep the Score I was beginning to feel slightly embarrassed by my lack of musical knowledge when I suddenly recognised the ‘Elbow’ riff (phew!) I see your issue and how wise to keep Glyn away from the sample but how brilliant that you were able to construct something around it that isn’t the original. I’m in awe.
When it started I was reminded of the Tom Petty song (‘She’s a good girl’) but that was only for a brief moment in the first verse.
I really enjoyed the lyric, particularly in the chorus. Very clever. A wonderful effort.
Mike G Scream & Howl At last I don’t feel embarrassed at my lack of musical knowledge because I’m fairly certain that no one else will have heard of many other Scandinavian groups (apart from Abba and A-ha.)
I really enjoyed the feel, the melody and of course the sublime production. I also really enjoyed the crazy sax. Maybe it’s time you got back in touch with Mick Brannon, Mike!
This is really good and this is a great vocal performance from Mike. A very high bench mark.
Tim & Julie Move Down the Bus Again, I’m in awe at the way you’ve taken such an iconic riff and managed to ignore the ‘real’ melody.
This has a Stephen Clarke feel to it (and being such a huge fan, that’s a compliment of the highest order.) The songs is definitely a grower and as with Eddie’s song, you could lose the Brittany riff and the song wouldn’t suffer for it (and you wouldn’t have to share the royalties!)
Fantastic song and I’m seriously thinking I should have made it three votes this month. This will be a tough decision.
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Post by eddiecustard on Sept 9, 2015 0:24:49 GMT
I’d originally planned to listen to the originals that had inspired these new versions, but in the end I just decided to treat each piece of music on its own merits. In some cases I don’t know for sure which bits are sampled. It’s almost impossible to single out the two best here - the standard is very high this month and I keep changing my mind about who to vote for.
What’s to be Done - Stephen Clarke
Another fine entry from the Wizard of Skiffle. Starting with the descending bassline on Lazing on a Sunny Afternoon was a good idea, and I like the way it bookends the song. Stephen’s melodies get more and more inventive and there’s never a dull moment in his tunes. The highlights here are the high-pitched and perfectly placed harmonies on the second bit that goes ‘sitting on the beach looking at the sea, wonder what the world’s throwing back at me’ and the guitar solos that are pure and free of flashy effects. It feels very human for want of a better word. The bridge is great thanks to the melodicism of the vocal and the effective low harmony. It’s stuffed with ideas – and that’s what makes it fun even after multiple listens. He’s on the crest of a Greek wave.
Missing - Phil Sanderson
Phabulous Phil is back with another brooding piece of work that would work beautifully as theme to a Nordic crime drama. I feel I need subtitles to get a handle on his stuff, and that’s the beauty of it. What a terrific surge of guitars there is on 1.26, and then a spearing guitar solo following quickly after. Phil’s masterful arpeggios are in evidence again. Listening to the ribaldry of L’Amour alongside this intense soundscape is like trying to grapple with the duality of man. I admire his determination to avoid anything resembling a chorus. Keep them coming.
You Keep the Score -Tim and Glyn
This is star quality from T and G, one of their best ever. The chorus is really powerful and its effect is enhanced because it feels so distinct from the verses. There’s lift-off at 1.05, and the surge is like a battering ram. Like all the best songs the verse whets the appetite beautifully for the main event, which is sung superbly. There’s an excellent chord change to the second bit, before the instruments cut out ahead of the distorted guitar and that great chorus. There’s also a fine ending. Again, I don’t know the original and haven’t listened to it. The lyrics seem to reflect regret and anger over a failed relationship. There’s a music metaphor going on, and the line of ‘I write the words and you keep the score’ is an inspired way to reference disharmony. A big plus is that the arrangement is so good, with light and shade throughout. T&G have evoked menace in some of their songs before, but never better than here. Brilliantly done.
Rob Warner – Foggy Day
I thought Rob had jumped ahead to the Christmas task when I heard the first few bars, but there’s a shift in tone as soon as his superb singing comes in, with an expert welding job for the transition from the sample to his own instrumentation. I really like the way it slows down – or appears to – in the lead up to the singing. The guitar solo is great, with its sudden high notes, and the rhythm playing in the rest of the sing is tasteful, sparing and perfectly combined with the vocal. ‘You suffer fools a little while’ is a good line. I like the guitar solo, and the descending bit at the end of the chorus. The use of instruments is restrained and this highlights the great vocals. It’s as smooth as a malt whisky that Frank himself might slip back; a very uplifting song with a lovely sauntering feel.
Mike Gosling – Scream and Howl
Marvellous opening with the sax, clicking percussion and a noise that sounds like someone stifling a laugh. Rhythmically this is hard to beat, with the sort of funky/latin vibe that we don’t often hear on this website. The bass part really is terrific.
There’s an urgency that is maintained right from the first note to the last, with a slightly scary minor chord feel. It’s a great title, and you wrap your vocals round it excellently for the repeated line through the song. It’s also something of an achievement to merge samples from two different songs and mix in your own creations as well. How long did it all take? I needed about three weeks just to load my sample onto one of my mixing desk tracks.
This is some way from your usual rock style, given that the guitars are not especially prominent. It’s really good that you’re stretching yourself by trying a different genre. Superb.
Tim and Julie - Move Down the Bus.
This is something a bit special from Tim and Julie – a rock/funk crossover with elements of psychedelia that grabs the listener by the throat. They’ve continued their impressive record of coming up with good titles. Bravo for introducing Britney to the mix and conjuring up such a great bit of raw rock’n’roll to go with it. What a fascinating combination.
There’s an excellent guitar riff here and there are lots of elements that make this a carefully put together piece of work. I like the guitar solo on 2.07 and the low register organ just after, when the other instruments drop out. Tim’s singing is an important element too. It’s becoming more confident by the month and he’s on form again here.
I’m guessing the lyric is a metaphor for competitiveness and Darwin-style survival of the fittest, as seen early on through the eyes of children on the bus. There’s a nod to the 60s, I think, and it made me think of Ken Kesey with the Merry Pranksters and his cross-country bus. ‘You’re either on the bus or you’re off the bus,’ as they said. This is top notch playing and singing - I’ll buy a ticket.
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Post by timwarner on Sept 11, 2015 17:18:28 GMT
Eddie Custard - Send me into space I am a big fan of the melodies that just seem to spill out of Eddie. The lyric/melody combination feels so natural I can imagine one without the other. Are these songs born fully formed? Great stitching together of the sample and the new composition. In the chorus the drummer seems a little too keen on the double bass drum pedal but, it’s on a minor niggle, we’ve all known drummers who like to overplay. All the guitars sound wonderful (as usual). I particularly love the little fill that launches us into the middle section. The solo is a lovely pop solo: tight with corners on. The lyrical content is an interesting idea. It’s the sort of thing that gets on the news during the silly season. Making it a personal tale of someone bored of their life and wanting some adventure (or feeling like they just don’t fit in anywhere?) and then exploring some of the practicalities of going to Mars is a great idea.
Stephen Clarke - What’s to be done No need for any stitching, but the referencing is very clear. Impressed how you have come up with such a different song from the sampled element. The laid back approach with deceptively simple arrangements really works well. As always, good melody and effective vocal. There must be a technique you use to get this vocal sound, I’m not sure what it is but it’s pretty much the Stephen Clarke Signature sound. It’s a perfect vehicle for getting across the feeling like we should do something to improve the world but can’t quite decide where to start. ‘Changing all the world from a yoga mat’ is an inspired lyric.
Phil Sanderson - Missing I like Thomas Dolby but I’m certainly not the super-fan that Phil seems to be, so I was only vaguely aware of the songs that were used. The overall balance is so much better now that the vocals are more prominent and now the melody seems more varied too. I like the slight change of feel for the second verse, it’s subtle but it keeps it all moving along nicely. The guitar solo, with it’s carefully chosen notes over a swoosh of arpeggios reminds me of Genesis (it’s certainly sounds very English). The break down shows some real vocal confidence. I really like the way it finishes without feeling resolved.
Tim and Glyn - You keep the score Having heard it several times, I like the way the big riff is suggested before it actually enters. Brilliant idea to keep the sample back from Glyn as she came up with a melody line (and what a melody!) that’s very different from the Elbow track. Like Elbow, the backing is beautifully under played, there’s nothing over twiddly here. It’s a very strong song. Hang on! ‘I’ve heard all this music before,’ ‘I’ll write the words and you keep the score,’ surely these are references to sample month and the SWC leader board?
Rob Warner - Foggy day As usual the vocals are superb, unusually for the SWC, it’s supported by guitar based backing (a very good thing in my book). I think the agonising was worth it. We heard lots of this sort of stuff growing up together but I wouldn’t know how to start writing/recording a song like this. The new and old elements switch back and forth very well, especially considering the slightly choppy nature of the new stuff. The guitar break is a bit loud in the mix and at the end of the solo it stops where, perhaps, it could have done a bit in in the last part (once a guitarist cranks up the volume they don’t want to stop).
Mike Gosling - Scream and howl Not familiar with the samples. I love the rhythm and the ‘scream and howl’ vocal followed by an answering vocal. It really pounds along and the momentum is emphasised by the stop at 2:15. All the guitars sound great (no surprise there). It’s a song that has to be listened to, if it’s on in the background the wailing saxophone is a bit too freaky to sit in the background. I really like the guitar solo and the false end. A really good, relentless, pounding, driving rhythm with great vocal parts.
Me and Julie - Move down the bus I love that Eddie tries to work out what we’re alluding to in the lyrics while Rob barely hears them (which is my default, too). Slightly worried if I told Eddie what I thought it was about the spell would be broken (a bit like if Al Stewart* every explained ‘American Pie’ or, Carly Simon telling us who ‘you're so vain’ was about). I could possibly have done the song without the sample but then it wouldn’t attract the publicity of a court case. I planned to give all the proceeds to Oxfam anyway but, if Britney wants all the cash then the orphans will just have to wait until I write something else that bursts into the charts.
*Just realised, I should have said Don MacLean.
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Karl
Junior Member
Posts: 72
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Post by Karl on Sept 12, 2015 15:24:09 GMT
First of all I want to explain my recently self-imposed voting rule, which is designed to make the voting fairer. When I have contributed with Mike, either by drumming and/or applying the "Thomas filter" (as Tim W refers to it) I will not be casting a vote. Instead, Mike and I will decide between us and he will cast the vote(s). I will still comment though. When, like this month for example, I have had nothing whatsoever to do with Mike's entry, I will be free to vote as I like.
I'd also like to add my voice to Rob's in his call for everyone involved in the SWC to vote (and comment if possible) even in months when you have not entered a song yourself. Your opinions matter!
I enjoyed the entries for Sample month more than I was expecting to. Here are my thoughts.
Send Me Into Space - Eddie Custard I was not familiar with the song Eddie sampled from, but can see exactly why he chose it - a very compelling intro onto which Eddie has grafted yet another catchy song - he really is a bit of a one-man hit-factory, isn't he? Even though I can distinctly hear the "joins", they don't really spoil the overall enjoyment factor, although the awkward flam kick drum hits in the break-down chorus are a minor irritation (probably because I'd never be able to play them!).
What’s To Be Done - Stephen Clarke It's another trademark catchy skiffle hit from Stephen with a chorus I found myself humming as I was setting up for work last week after listening to all this month's songs in the car. If I have read the sleeve notes correctly there is no actual sample in this mix. Erm, isn't that a prerequisite?
Missing - Phil Sanderson I both know and like the two samples used in this, but honestly can't pick out the Windpower one! However the intro from One Of Our Submarines Is Missing works very well and melds seamlessly into the song. I can hear similarities between Phil's and Thomas Dolby's voices, making this a coherent, dark and moody song. The highlight for me is the hook of the understated lead guitar riff.
You Keep The Score - Tim & Glyn I'm a big fan of Elbow so on first listen was eagerly awaiting what had been sampled. The first verse drifted along nicely and then ... BAM! ... it came blasting out at me in the first chorus - and how marvellous it was! What a great idea to keep Glyn in the dark as she has created a great melody which would stand up on it's own, but is even better when enhanced by the counter melody of the great Grounds For Divorce sample. No "drifting" in the second verse which sounds delightful. The song gets stronger as it progresses and this seems to be a trait of T&G's songwriting. Really great work!
Foggy Day - Rob Warner I'm with Eddie on the intro sample - it sounds like Christmas has come early. Nice melding in to the main body of the song though, where Rob's voice rightly takes centre stage with to be expected excellent delivery, although that's only until the lead guitar break which is right up there front and centre, in other words - loud! (probably a bit too loud, to be honest). Well done on not overplaying the bass line and the rather nice wavy rhythm guitar part, and on keeping the tambourine nicely low in the mix.
Scream & Howl - Mike Gosling I didn't know either of the songs the 2 samples came from, but I really admire the way this song sounds so complete. It's completely seamless and I love the rhythm sample, the played rhythm guitar and lead guitar interweaving with the sampled sax. The false end is well judged too. Damn, will you be needing me any more? Ha ha!
Move Down The Bus - Tim & Julie Oh yes, T&J have done very well here. I would have never expected to be listening to Britney Spears and enjoying it so much. As with Scream & Howl, you have very cleverly mixed between the sampled hook and your own guitar part to create something that sounds very together. I like the lyrics and sentiment of the song and the drums sound good too.
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Post by timwarner on Sept 13, 2015 0:28:35 GMT
Thanks of the comments Karl.
I admire your sense of fairness about voting, however, regardless of anyone's contribution, don't we all get a vote? In the past when I have collaborated with Robby, I just discount myself from voting for any song I contributed to, I don't get another set of votes for contributing twice. I think you just get to vote by being a member of the forum. Perhaps we need an adjudicators decision?
Having said that, the voting from Julie and me is a joint decision or one vote each.
P.S. I use my own version of 'The Thomas Filter' called 'Juke Box Julie,' which has very few levels of grey when giving a verdict.
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Post by stephen on Sept 13, 2015 11:16:56 GMT
I knew hardly any of the songs sampled, so I came to most of them totally fresh. But everyone produced great tunes all of their own. Very hard to choose just two.
Eddie Custard & ZGO Montrose are one of my favourite rock bands, and this is one of my favourite riffs. Added to the fact that Eddie is not a head-banging rocker, I was a bit scared before listening. But the riff is beautifully crafted into the song – especially the bass during the verses – and the floaty chorus works perfectly (also with some nice melodic bass underpinning it). Nifty guitar work, particularly the arpeggios in the chorus, and a great hook line reminiscent of Life on Mars. You've matched the theme of the song both musically and lyrically, so for me it's all systems go.
Mine Regarding my lack of an actual electronic sample, I had hardly any time to record so I couldn't fiddle about trying to convert computer files. Just wanted to get my own tune down on file. And skiffle bands don't use computers, unless you count adjustable washboards.
Phil Sanderson I like Thomas Dolby, though I don't know the first song. Great bass synth throughout (is that his? If so, really effectively chosen and used), and you've turned the sample into something very much in your own style, with that cool, laid-back vocal. I love it when the guitars kick in, very melodic and controlled, and yet really forceful. Another of your layered compositions that feel somehow three-dimensional.
Tim & Glyn I didn't know the Elbow song, but whichever bits you borrowed, it was an inspired choice. Great double-tracked vocals at the start, especially the way they build up the layers before the chorus. Then that big chorus with the guitar riff comes as a massive surprise, launching the song into a whole new higher gear. Love that chopping rhythm guitar. Excellent hook line 'I write the words and you keep the score', sung almost like a Cocteau Twins tune, but with lyrics that make sense. Perfect ending, too. Powerful stuff.
Rob Warner Exploring your inner crooner again. Impossible for me to tell what's sample and what's not, but I love the popping bass, that jazzy piano, the controlled rhythm guitar riff, the distorted guitar solo (that I would have mixed just a little lower), and the very neat outro. I had to listen a few times to pick out all the instrumentation. Strong melody that hits us straight from the start, and I like the line 'you are there, you're proud as day'. Sounds Christmassy (like the intro), and you could change the hook line to 'even on this Christmas day' to produce a melancholic seasonal anthem.
Mike G I wish I knew how you get everything to sound so powerful. This blasts right from the start, with your usual crunching guitar sound actually overshadowed for once by the screaming saxophone. Until the guitar solo, of course, which works perfectly, and is mixed at exactly the right level so it almost has to fight against the power of the background. I love the way the chords in the verse move around, and the 'scream and howl' line works its way deep into the brain. A really professional songwriting and recording job.
Tim & Julie Daring stuff – Britney Spears? Don't think she can produce songs like this. Great piano/guitar riffing in the intro that grabs the attention straight off, sort of Little Feat-ish. Great guitar solo, too, the way it builds out of the riff then launches into full-blown heavy metal. Very inventive way of coming out of the solo, with that synth riff. Excellent vocals, both the melody and the mood, even a bit of puffing in there – a perfect match with the funk-rock sound. I like the everyday story that morphs into a metaphor for life itself, making the chorus sound more and more sinister as the song develops. Britney would be jealous.
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tandg
Junior Member
Posts: 67
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Post by tandg on Sept 16, 2015 22:14:20 GMT
This seemed to work really well as a theme – perhaps it’s one we could come back to again some time in the future. How about we each give a sample to someone else to do?
Send Me Into Space – Eddie Custard and the Zero Gravity Orchestra
This is a really rocky choice of riff and very effectively integrated into the song, in the original introduction it is hard to hear the join. You’ve gone for a much dryer sound for your own vocals, which I’m sure is the right decision given the way the song develops but it would have been fun to hear you scream. (Unless that is you screaming, in which case ignore my comment)! The guitar sound and riff playing is perfect.
I love the world-weariness of the lyrics – ‘I’m tired of this old place’ and ‘I can’t make sense of things on earth’. The harmonies are really good throughout and there are some great touches, such as the extended harmonies on ‘2026’ in the last verse and the middle 8, which is terrific. As is often the case, you’ve produced a wistful song from a concept that didn’t immediately present itself that way. What a great start to the month!
What’s to be Done? – Stephen Clarke
More channelling than sampling with the Kinks theme for the introduction but it makes it much easier to manage the joins. As always, you’ve got a great vocal line and I liked the double-tracked vocals and especially the middle section with octave harmonies. Like Sunny Afternoon, you’ve taken quite a sunny sound but with sharp, witty and insightful lyrics and a bittersweet atmosphere.
I really liked the guitar riff, which is nicely mixed and the overall sound is beautifully clear and with all instruments coming through nicely. You’ve obviously really mastered the palette of sounds that you use and the arrangements that give a sense of space – it simply sounds complete and effortless.
Missing – Phil Sanderson
This is quite an unsettling song – there’s definitely a hint of unease in the choice of sounds, the deep bass and the spacey guitar chords. The sample at the beginning is very atmospheric and we absolutely loved the solo guitar part. As I always find with your songs, this improves with listening as some of the different sounds become apparent and you take in the song structure that is not easy to follow initially.
I know you were concerned about the lyrics and vocals. You shouldn’t have worried – they sound really good. I’d be interested to hear the song with the vocal sound more distorted – even if only a few key phrases to blend with the 12 string sound and overall sort of psychedelic vibe of the instruments. Great stuff (yet again)!
Foggy Day – Rob Warner
That’s a really fascinating transition from Frank to Rob – the introduction alone is worth the admission! I love the repeated tumbling piano and brass - they add a whole new dimension to the song each time they come in. As always the vocals are beautifully recorded and in general the mixing is crystal clear, with all instruments in their own space.
Personally, I’m not sold on the ‘wah’ guitar sound but really enjoyed the solo and quite liked that it was up loud! It’s a lovely gentle song, with an engaging lyric and a strong vocal line and I wanted it to develop and carry on for a while – perhaps it could morph into your Christmas entry……
Scream & Howl - Mike Gosling
What an opening! The saxophone sample is wonderful and I love the whole vibe of the song. The African feel is readily apparent but not so sure I would have spotted Norwegian. It is the nature of the ‘samples’ month that you try to work out the original music and the sample – this is impossible to do and I gave up very quickly trying to.
Just when the mix of instruments and rhythm becomes established, you add the wonderful solo guitar part, followed later by the false ending. This is terrific stuff – great pace, well mixed and recorded and a truly original sound. The collective ought to be about experimenting, pushing boundaries and looking for new approaches to songwriting. Brilliant Mike!
Move Down the Bus –Tim & Julie Warner
I love the chosen sample – in particular, it really makes you listen afresh to the original to check how much of the song is sampled. It is genuinely a good riff and I understand why you picked it out. The way you developed it with the new riff is great. There’s a definite Red Hot Chilli Peppers feel to this (which is meant as a compliment) particularly in the guitar solo, which I thought was excellent.
You are showing a rare mastery of half-spoken vocals and I for one think they are really hard to get right, which you definitely do. The mixing and choice of sounds is excellent throughout and as usual with your songs, this is a really original approach to a subject. It also rewards several listens, which is a sure sign of a good song.
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Post by Colin Steward on Sept 17, 2015 12:57:41 GMT
No submission from me, to my shame. I spend so long of formulating the idea, I rarely leave time to record etc. Never mind - I will continue to take part when I can.
Send Me Into Space - Eddie Custard and the Zero Gravity Orchestra Eddie does it again! You make songwriting sound easy! The transitions between sample and your own work is smooth and fits neatly. I like how the pace is simplified at “I’m tired….”. Your songs do remind me a lot of XTC and Squeeze which is a pretty big compliment.
What’s To Be Done? – Stephen Clarke OK, not exactly a sample but a riff taken from a Kinks song is as good as a sample. Love the laid back electric guitar. As the Kinks part descends, you have mirrored this in the chorus cementing it within the song so it belongs.
Missing - Phil Sanderson I don’t know about Thomas Dolby, but sounds like it belongs on a Pink Floyd album. I do know a few of Mr Dolby’s songs, I have to admit I’m not so familiar with the ones used here so difficult to pick out which is Mr Dolby and which is Mr Sanderson. Since it’s difficult to ‘see the join’, this is a success in incorporating a sample. It’s moody and dark – I like it.
You Keep The Score - Tim & Glyn Good stuff. I like how this builds and the Elbow part slots in very neatly. I could have done with a bit more. Probably wise to keep Glyn in the dark about the sample, it means you’ve come up with an original song – it’s very hard to get rid of the original song from your head and remove yourself from it and not lean too heavily on it, so yes – good idea.
Foggy Day – Rob Warner I too, like others, felt we were already at the Christmas song! At first I wasn’t really sure if the sample really fitted the rest of the song, but with snippets throughout the song, it does work. Great vocal work (arse!), very accomplished recording. You’ve mentioned before about the struggle with lyrics – don’t see there being much of a problem here.
Scream & Howl – Mike Gosling Crikey! This is full on and great stuff - really suits the title. The wailing sax is a great beginning and I like how it’s used throughout the song. Good driving rhythm. I really love how that guitar come in – brilliant! It all works so well – I have completely forgotten this is a sample month, it all gelled together so effectively.
Move Down the Bus – Tim & Julie Warner This is great, what a brilliant title! The second piano note from “Hit Me Baby…” is on the down beat and Tim has switched it round which took a short while to get used to. Guitars are great and it’s all fairly epic. I really like the break with the Hammond Organ taking over for a while before you pick it all up again. Lyrics – interesting as usual and delivered with conviction.
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Post by philsanderson on Sept 20, 2015 16:35:39 GMT
Eddie Custard- Send Me into Space Trademark brilliant Custard English story telling narrative style, reminiscent of Squeeze, with a more than tasty piece of XTC thrown into the mix. ( not a very well formed sentence, sorry!) I like the ‘joins’ between sample and custard- it works fine for me: I can particularly imagine this song having a great video with the separate sections having a different video setting. I can empathise with the lyrical message sometimes, but don’t worry, I’m not in a rush to sign up for the Mars trip, or any other excursion which might take me somewhere without my guitars etc. Musically I wrote the same comments down in my jotter as Stephen re the so well judged bass part – an almost hidden triumph unless you listen in on headphones. Stephen Clarke – What’s to be Done? A Greek island images / Parisien promenades and a walk on the Dorset coast all in one succinct package. Sort of followed on from Eddie’s escape pod song re state of world and a slight feeling of world weariness. Still, at least you got away to sun drenched Greece, and I like the ( possibly as a result of this)sunny feel to the song. I feel there was a touch more percussion present than usual which I liked as well as the harmony vocal. At some point you need to tell us how you are recording your vocal, it always sounds so distinct. Fabulous. Tim and Glyn – You Keep the Score Darkly menacing and almost brutal in its power;At the same time completely beautifully performed and recorded. My fav part is actually the beginning of verse 2 where the organ comes in. With or without the Elbow backing a definite song to be played live ( a thought...) Knowing Tim and Glyn I can’t quite fathom where the anger in the lyrics comes from! Rob W – Foggy Day Ho Ho Ho. Seasonal Greetings, Rob...hang on your voice has cut in and the snow has melted. There’s a usual PG quality and ‘Quality’ in the vocals. Your vocals are like an instrument in that they can hold the tune so so well making it less essential to provide other instrumental relief ( if that makes sense!) I like the ending... sort of ends without being resolved, like mine if I dare be so bold. Mike Gosling – Scream and Howl From the first sax wail to the end a very professional composition and so well performed re sounds and timing. I’m quite a big fan of Jan Garbarek, so as I read your sleeve notes I got quite excited I must add. Jan does really sound as though he is in the studio with you playing this. There is so much energy here. Just one wish: a longer version with a Mike Gosling wailing guitar solo. Is there one or a backing track I could have so I could at least try one myself.... Tim and Julie - Move Down the Bus You really must send this to Britney – you’ll either get the credit you deserve or be sued and still make a fortune from selling your story etc etc... You’ve got a great English sounding vocal on this and it’s just so fine...I wonder what a heavily accented American vocalist would make of this?? ( Just a thought, in no way a criticism!!) I especially like the bass sounds on this. Like Mike’s song It would be nice to hear an extended guitar solo remix of this. I foresee an ‘extra’ month next year where the SWC could submit a remix of one of their own songs.
Missing ( Me ) For the first week of the songs being online ( whilst there were still just 5 songs) there was a version 10 of this song which was heavily altered in the remix to become version 12. Updated v12 has a completely different set of drums and rhythms as well as the introduction of more electric guitar, but no guitar at all in verse 3.
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Post by mikegosling on Sept 20, 2015 20:38:10 GMT
Some really good songs this month - and songs which would stand in their own right without the samples.
Eddie and the zeroes: Really good melodies for both verse and chorus. I like the way you take things down for the chorus - there's a nice descending guitar figure here. The middle 8 does have a distinctly Squeeze feel to it - but that's Eddie's style and not a copy. The use of the sample makes for a strong opening to the song, but for me, the sound doesn't fit so well with Eddie's instrumentation. I actually think the song (and production) would work better without the actual sample. The sort guitar solo is very good (reminded me a bit of a Strokes guitar solo from the first (and by far the best) album). The bass is great (esp the McCartnesque touches) and again might sound even better when not competing with the sound of the sample. The lyrics are very good (and it was a good idea for a song). Very enjoyable.
Stephen and his skiffle band: I really like the descending bass/riff to Sunny Afternoon and it's a good starting point for the song. A shame you didn't have the time to incorporate the Kinks' sample as it would have been interesting to hear the sample used in various places in the main body of the song. The lyrics are very good - standout moments are "wondering what the world's throwing back at me" and the yoga mat verse. There's a very nice interplay between vocal and guitar at the end of the chorus - the highlight for me. Good song.
Phil S. and the band that went missing: Phil's voice is absolutely perfect for this style of music. The clipped English delivery is a great match for this slice of synth pop from the eighties. I'm not familiar with the samples used, but there's a excellent bass synth riff going on here and some nice textures (I think courtesy of the samples). Phil has thrown us another of his slightly oddly constructed songs - there seems to be two verses, a quiet section, an instrumental and a quiet verse to end - the song seems to build down rather than up, which is unusual. The ending is also slightly off-putting, but definitely makes for interesting listening - I can't seem to second-guess Phil when I'm listening to his songs! Good stuff.
Tim / Glyn and our friends from the north: There are some great sections in this songs. This song definitely has the best use of a sample. The Elbow guitar riff works really, really well with Glyn's vocal in the chorus. The lyrics are excellent ("I write the words, you keep the score" is a killer line). I think the song seems to really take off at the 2nd verse. The instrumentation with its choppy guitar works better than the first verse and the drum break before the elbow riff/ chorus leads really well into that great chorus. The vocal melody for the chorus seems to work much better with the elbow riff as a counter melody. I think the 2nd half of the song is fantastic - and I think you could have revisited the first half and used some of the same arrangement ideas. Hope that makes some sense! Really good effort Tim, Glyn. Well done.
Rob W and brat pack: A very good vocal and a really good chorus. I like the bass and the wah-wah guitar part. The sample was a real curve ball at the start (all of us thinking we had made a mistake and were supposed to have written a Christmas song!). The use of the sample is partially successful to my ears. I like the descending piano part, but the muted trumpets sound a bit odd in the context of a very smooth and well executed jazz-funk-pop sound. It's a good song and again, probably not really enhanced by the sample. Welcome back Rob - really good to hear those vocal chords again.
Tim / Julie and the passengers: An interesting choice/placing of the Britney sample. This sounds really good - the drums are excellent and the whole feel is a very coherent funk-rock (Chili Pepper flavoured) confection. The snare and guitar is the breakdown part work really well together (good drum programming!). The chorus vocal is very strong and the half-spoken/half-sung verse works well - and is very distinctive. The lyrics, I would hazard a guess, are a metaphor for life and getting on with it. The reference to the 103 from Harwich to Colchester (via Main Road?) is a bit specific and considering that Tim probably got off at Tollgate (2 miles down the road from Harwich/Dovercourt) I think Tim may have used a little poetic licence in suggesting that it was a long bus journey. You should try some of those Greyhound bus journeys! Great effort (Britney sample not really needed - good song anyway).
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Post by timwarner on Sept 21, 2015 7:27:18 GMT
Congratulations Mike and Tim & Glyn, winning in such a strong month. Brilliant stuff.
Mike, you're quite right, my bus journeys have always been very modest affairs (perhaps because I've always preferred cycling). Was it the 103 than almost squashed me into a lamp post before I wrote the lyrics? We'll probably never know.
Well done again.
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Post by mikegosling on Sept 21, 2015 12:43:06 GMT
An honour to share top spot with Tim and Glyn - well done to you both on a great song and use of a sample to add another dimension to the song.
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Post by eddiecustard on Sept 21, 2015 14:54:39 GMT
Well done to T&G and Mike - both high quality songs.
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Karl
Junior Member
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Post by Karl on Sept 21, 2015 17:56:05 GMT
Well done Tim, Glyn and Mike. Worthy joint-winners in a strong month. I enjoyed listening to all the songs this month, so thanks to everyone for some great free music!
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Post by Colin Steward on Sept 21, 2015 22:37:21 GMT
Congratulations Tim & Glyn and Mike, you made it look easy!
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tandg
Junior Member
Posts: 67
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Post by tandg on Sept 22, 2015 16:05:44 GMT
Very well deserved Mike. Really loved your song. We're on holiday in Somerset at the moment and kind comments/vote will give us new spring in the step as we struggle up Glastonbury Tor (planned trip for tomorrow).
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Post by Rob W on Sept 23, 2015 16:15:38 GMT
I echo the congratulations to Tim, Glyn & Mike. Worthy winners in a reasonably tight month. Most of you commented that my song had a Christmas feel; it certainly proved to be a turkey!! Onwards and upwards
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Post by stephen on Sept 29, 2015 8:20:00 GMT
Congrats to our two worthy winners - it's just a shame that the entries are getting rarer. Maybe there need to be fewer constraints so that everyone can contribute a song. Or some other way of encouraging people who don't have much time but who want to join in. Don't know how that would work - just a thought.
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