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Post by stephen on Oct 12, 2015 8:12:38 GMT
Mine
Now I've listened to the others, my recording sounds so amateurish. Well it is. Everyone gets such clean sounds, and sheer loudness. Maybe I should have just kept mine as an acoustic guitar/vocal song, so all you hear is the words and the tune.
Eddie C - With you I Feel Alive
A case in point – an excellent recording, the guitar riff intro is massive, the drums really well programmed throughout, and the bass is economical but melodic and really effective. Great bass sounds. The way the drum patterns move about punctuates the different parts of the song perfectly, and the vocals sound urgent and emotive. I like the idea that a "killer grin" makes someone feel alive. The whole thing is really well arranged – great song and excellent production job.
Tim & Julie - Ten Minutes Two Cars
This is fun - quirky, it sounds like something off "Aqualung". I like the melody lines, and the sparse acoustic guitar works really well. Efficient drums too, with that bass drum giving power to a quiet song. Actually I like the distorted guitar arpeggios in the rockier version – maybe you could have brought them in for the second verse - but you're right, the softer vocal in the "official" version is much better – it matches the intimate family feel of the story.
Mike G - Swing of the Pendulum
I love the "bigness" of all the sounds here, the guitar and voice fill the headphones right from the start. The descending arpeggios in verse two are great, capturing all the melancholy of the song. The way you gradually build up the layers of guitar and those choral voices and then drop them out for the soft ending works very well. Subtly powerful.
Phil S – Last One Leaving
Funnily, despite the theme, this sounds upbeat, especially during the intro and the piano solos. I enjoyed the Thomas Dolby style bass synth which underlines a nice chord progression. The different sections to this, all distinctive, segue together very well. The changing styles of vocal – the ranting patient, the choral harmonies - are great. I like the way that distorted guitar, at first low in the mix, comes to the fore, so that the final minute is punkish anarchy followed by almost orchestral control. Classy stuff, you've really created your own instantly recognizable sound.
Tim & Glyn – 3 O'Clock in the Morning
Great intro, with that drum fill and pounding bass. Grabs your attention. I like the way the ethereal vocal hovers over the frantic synth and busy drums in the verses. After that, the vocals are excellent, achieving so many different effects. When the echo kicks in, it's a great surprise. Very appropriate to have echoey vocals n the chorus when talking about the Moon, as if they're floating away in the sky (that sounds a bit silly, but you see what I mean.) And the section with the double melody line is a great idea. Memorable chorus, too. Excellent, thoughtful recording all round, right down to the way the bass fades out at the very end.
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Post by Rob W on Oct 13, 2015 8:11:44 GMT
Two votes!!!
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Post by eddiecustard on Oct 13, 2015 19:28:18 GMT
Waking Up in the Morning - Stephen Clarke
Stephen has perfected his harmony vocals - they really are superb (again) on the lines: ‘Each time I wake up, oh I tell myself, I just want another night with you.’
He’s produced another of his distinctive blues/pop crossovers, superbly put together despite his anxieties about the sound quality.
This is a nice lyric because of the way it captures intimacy through a heartfelt tribute to a partner.
Stephen’s rhythm guitar playing is good here - keeping steady, but playing some nice motifs. There’s also a good use of space, in that he’s not afraid to cut pretty much everything out in parts and let the singing fill in the gaps. The snare is low in the mix, which means the guitar is working hard.
He’s concerned about his production, but this can be fixed, because the groundwork is already there. He's got the melodies, structure, feel and clever lyrics in abundance, and he’s demonstrated that again with Waking Up in the Morning. When he perfects the Phil Spector productions the rest of us might as well not bother turning up. His struggle in successfully delivering high quality material on basic equipment makes me think of the sentiment in a Flaming Lips song called A Spoonful Weighs a Ton.
Last One Leaving – Phil Sanderson
A sparkling effort from Phil. There’s an unsettling tone at the beginning with the sound of water dripping and some industrial noises creating the feel of incarceration/isolation. Phil’s timing is spot on with this one, and despite the scary sentiments there is a sweet-sounding and a beautifully sung chorus.
I like the way the distressed patient’s voice comes in around 1.42 to contrast with the other sections that are sung from the point of view of the captors/medics. Phil’s playing with a multiplicity of sounds, and this pays off handsomely in a fine production with a good vocal performance. The ‘Close Your Eyes’ line feels on the surface like a section from a lullaby but it’s actually far more sinister, as the captors pump up the drug count.
There are some nice piano flourishes at 2.00. Typical of Phil is his attention to detail - I picture him poring over this, chopping and changing and refining it until everything fits, and thinking to himself: shall I put singing on the chorus chords at the end or put instruments over them instead? Shall I down a few absinthes and stick a zither into the mix? The effects on the guitar post 4.00 work excellently.
Phil sums up the madness well through the desperation in the patient’s voice and some offbeat lines about being a billionaire, dining with kings and playing football. (I picture this guy scoring against his own team rather than for them, however). The patient says he once did a duet with Frank Sinatra, which made me think of last month’s entries. Is Rob the hapless patient under sedation in the song?
This one’s too frightening to be a chart topper in the real world, but it’s a big hit with me. Terrific stuff, Phil.
3 O’clock in the Morning - Tim and Glyn
Tim and Glyn’s songs have had a melodic sharpness recently and this is another really good pop song – high on atmosphere with an excellent chorus. I like the vibrato-type effect of the organ/synth backing on the verse - is it also a double track?
The echo/reverb on Glyn’s voice works really well, especially at 0.52 and in the chorus. I like the ethereal lyrics here about the wonder of nature. The words on the chorus are especially effective, which nicely describe a trance-like pull from the moon in the middle of the night. ‘It’s three o’clock in the morning and I don’t want to stay inside’ is a good line.
The bass is economical and well played. There aren’t many chords in the verse, so it’s admirable there is such a rich sound with plenty of variety. I like the slurs on the bass – which is pleasingly prominent throughout – and there’s a lovely reverb on the guitar solo, which delivers the goods using only a few notes. There’s a nice moment too during this solo when the synth comes back in. T&G’s skill in making interesting shifts between verse and chorus is evident again. All in all very impressive, and the latest in a strong run of songs.
10 Minutes, Two Cars - Tim and Julie
A lovely dreamy atmosphere to this one. There’s been some balladeering before from Tim and Julie, but this is as gentle and peaceable as we’ve heard so far. I really like laid back mood and the drum sound, and there is some customarily excellent acoustic playing from Tim. The sparse use of instruments works well and lets it all breathe; T and J are always very good at this aspect of songcraft.
The synth in the background is at just the right level, bolstering the production slightly but also keeping things fairly mellow, and maintaining the breezy feel. The guitar solo works really well. A couple of blips aside, the singing is very good and the harmonies are nicely done.
The title could refer to my visits to Homebase, with references to how long it takes me to find my car in the multi-storey, and the number of vehicles I hit before leave. But in T and J’s world? Something to do with your daughter Kate you said - when time is short in the morning and you’ll have to take two cars because there won’t be time to drop off Kate and a second person at different places in just one car? Diners passing by? Is that a reference to a busy parent eating toast on the run in the kitchen? The second verse is about your daughter feeling frustrated at being late and stifling anger at her parent? Come on, I must have it right this time, surely?
The beefed up verse at the end is interesting and gives a glimpse of an alternative version of the same song. I like both variations although I think the quieter version is the stronger of the two so I’m glad the bulk of the song is in that vein. There are elements of 60s folk music, which are very welcome. Excellent work.
Swing of the Pendulum - Mike Gosling
Mike’s got a very good sound out of the acoustic guitar/s here, with a clarity of strumming and a nice echoey feel. What’s the secret - two microphones?
This is a sad song about time and mortality, but a touching one. The images of the sea birds looking for a perch, plus the walks through the woods to the chapel create a melancholy mood.
The third chord in the verse is an interesting surprise, and there’s a nice use of the choral singing effect on the synth at 2.00 to add some variety. You can always rely on Mike for good harmony vocals and he’s delivered on that count again. The singing is spot on throughout.
Sad to hear that you went to the funeral of someone who had taken their own life - it’s obviously had a big impression. It’s another very well produced tune with carefully crafted bits throughout, coming together for a satisfying whole.
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Post by timwarner on Oct 14, 2015 21:52:35 GMT
A good batch of songs. I think everyone is getting into the groove of it all as I could quite happily vote for all of these. Voting is going to be hard.
Waking Up In The Morning - Stephen Clarke
A lovely sentiment, it is wonderful waking up with someone (usually Julie).
There is a directness which I really like. The first verse bobbles along well and then we get to the end of the bridge ‘tell myself’ bit and the stops and the cymbals come in, there is a lovely lift to the chorus. I don’t get the same feel for the second chorus and I can’t quite see why. The solo is another very musical, relaxed, easy melody that seem to come so easily to Stephen’s songs. Some of timing feels a little baggy but, that just adds to it’s low-tech charm.
With You I Feel Alive - Eddie Custard
There is no room for any allegorical whimsy with Mr Custard. It’s just interesting stories every time.
This is the most Beatles style song (I think) to date. It’s punchy. Love the sound of the guitar intro and solo. The Custard drums are not my favourite (I’m not a drummer and have no idea what I would do differently) but, because this song is so busy they really work well. The passage just after the solo (‘you’re the one for me’) seems to take the foot off the gas a bit, it could be that the rest of the song is just so ‘full on’ that this slightly more gentle bit feels like a bit of a lull. For a moment I thought we were heading for a fade out but you pulled it back into a proper ending brilliantly.
10 minutes, 2 cars - Me
Listening to this again now, I may abandon my attempts to play each part in a single take (not the first take, just one continuous take). I couldn't find a way to avoid the dreaded fade out, which was disappointing. For those that are interested (but mainly Eddie) Kate lived and worked with a girl called Tors but, they had different attitudes to getting up and getting to work. Tors always gave herself plenty of time while Kate was always a last-minute kinda girl. I’ve written it like Tors was waiting around anxiously while Kate swanned around like a queen bee (which wasn’t true).
Swing of the Pendulum - Mike Gosling
This is lovely. I sometimes find it difficult to separate what I think of the song from what from what I’ve read in the notes (hero month was particularly difficult). Although it seems to fit specifically with the circumstances described in the notes, it doesn’t necessarily push that scenario onto the listener which, for me, makes it applicable to many scenarios. It’s clever stuff. As usual the playing and song are really very good, there's lots going on but it's all clearly separated and well produced. It has a richness about it that is very appealing. A clear winner, I think.
Last One Leaving - Phil Sanderson
This is the sort subject matter I love (I blame Alice Cooper).
Vocals much more upfront, brilliant. I love the change of vocals for the different sections, very effective. A slightly rambling piano solo seems wholly appropriate. This would have a brilliant video to get it on MTV (or whatever it’s called these days). I would have like the drums to do a bit more but, this is only a minor quibble.
3 O’Clock In The Morning - Tim and Glyn
I love the keyboard part that burbles away which makes the music feel claustrophobic until the chorus. I really like the counter vocal lines in the second verse, it reminds me of the contrapuntal music baroque music I used to enjoy playing. When the keyboard goes quiet giving way to the guitar solo that sound like it would be at home on a Richard Hawley track it feels really relaxed and contemplative before the keyboards the keyboards part reenters.
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Post by Rob W on Oct 15, 2015 21:39:25 GMT
September 2015. Passage of Time Month
Stephen C
Waking Up In The MorningI think Stephen is being too hard on himself (from his review, regarding the sound.) I realise that ‘charming’ could be seen as a either ‘crap’ or ‘pleasing’ but the overall sound has great definition if not depth and (having listened to it on headphones) fantastic stereo spread. It’s very easy on the ears which can’t be said about all recordings that have passed through the SWC. Having just read his notes about how the recording is done, I completely take my hat off to him. I would use anything as an excuse not to write a song but not having a microphone would be quite a legitimate excuse! Not for Stephen C. The song itself is not quite what I’d describe as vintage Stephen C and yet as I listen to it a second and third time it grows and grows and I think the arrangement and playing is actually a step up while at the same time Stephen somehow manages to keep it so simple. Lyrically, it appears effortless and yet the sound of the lyrics and the meaning all tie in with the theme and the title and are just (my favourite expression) ‘believable’. This song has what Louis Walsh would describe as the ‘likeability’ factor. The boy’s nailed the 3 minute pop song again. You’re through to boot-camp. Eddie C
With You I Feel AliveWow! It’s like a bullet from a gun. New music software or got some studio time at Abbey Road? The arrangement is so confident from start to key-changing last (though I can’t see Westlife covering this one.) I love the way that the sleeve notes are dealt with within the first two lines of the song (but I’m always grateful for his explanation as it hooks me into listening lyrically as well as musically.) If you listen to it melodically, the verse is only two notes and yet it feels very intricate, the sign of amazing ability in the songwriting department (I’m always trying to find a complex melody when a straight-ahead approach is probably best.) It took a couple of listenings, but I love the ideas and sentiments expressed. ‘I like it that you hate log fires…’ It’s so random along with ‘Slam the door on Radio 4…’ The whole effect is exactly what I think you were hoping for - a joyous feel; two people head over heels in love. Perfect. Tim & Julie
10 minutes, 2 CarsI’ve been promising myself the ‘treat’ of downloading the ‘Genesis Archives’ and finally succumbed a few weeks back. If I had bought it on CD it would have been 4 CDs worth and gives the listener a live recording of ‘The Lamb Lies Down on Broadway’ (which sounds great but - with a couple of notable exceptions - Peter Gabriel re-recorded his vocal in 1999 so it’s not what I’d describe as a truly authentic live historical capturing of that seminal album. On CDs 1 & 2, is stuff from the early years (1968 onwards?) The stuff they recorded before and probably during the period when they were regularly being ‘fingered’ by that giant of pop, Jonathan King (‘Everyone’s Gone to the Moon’ or in your case, Jonathan, Strangeways!) Anyway, the reason for this over-long intro is that from the moment the first chords are played and the first vocal is heard, it reminds me of those late sixties Genesis’ recordings. Even the sound of the drums. It’s as though the theme this month was ‘60s pastiche’! Having said that, this song is full of musical conviction. I would remind everyone (particularly Tim & Julie) how far they’ve come in terms of their songwriting and recording since the SWC’s inception. The song is full of surprises, from it’s sixties pastiche to the moment when the bass comes in; it gives the song such a lift and makes one realise that this is a really good song leaving us with the final surprise that, just as the song really gets going, it’s over again, leaving one wanting more (always leaving them wanting more!) I did a ‘lyric pass’ (which is unusual for me.) I come to the subject matter with some insider knowledge. Certain members of the Warner family (Tim and Me) are terrible time-keepers. However, it would appear that our daughters are sticklers and HATE being late. I knew this fact about my daughter but not Tim’s (if I’m reading the message clearly.) I really liked this. When you make the video, do it in black and white and make sure the cast are wearing authentic sixties clothes! Mike G
Swing of the PendulumThe sounds flood over me, like a warm cascade of water. Mike really has got this recording lark down cold now. Hugely impressive production. The sleeve notes were sobering for me as I’m sure they were for everyone and it informed my listening experience. Is that a good thing or a bad thing? It made me think that, in the old days of albums and then CDs, one felt quite spoilt if the artist included a lyric sheet. But for me it would have been even better had I known what an artist was thinking and it would have altered my listening experience if the artist in question had given a one or two paragraph explanation of the lyric (of course, this requirement falls down when one is listening to ‘Agadoo’ or ‘Paloma Blanca’ but there are horses for courses!) The production really does take care of the listening experience, allowing one to just soak up the melodies and sounds. Lyrically, I loved the way that Mike painted ‘small’ subjects (like the birds in the sky searching for a place to rest’) to the giant subject of the title. It was as if the opening lines of each verse were in a tunnel and then as the song progressed to the chorus, we would suddenly find ourselves bursting into the cool, open air and seeking answers in the stars. It was a lovely song. Quite simple. I would be happy to record a version of this or do a vocal for you, Mike. I know you haven’t asked but just send me a backing track and I’ll send you a .wav back. It may make you appreciate your work from a different angle (that sounds incredibly big-headed. I really don’t mean it to sound that way.) Phil S
Last One LeavingI’m struck immediately by the sound. It’s much cleaner and has far more definition than I’m used to (certainly with Phil’s first offerings.) He really, REALLY produces this. Even giving the ‘patient’ a different vocal sound. The intro is great. It sounds like a dripping tap in one of those creepy, cavernous hospital bathrooms. The shuffle rhythm of the song gives a sweetly threatening feel. From the off it’s very ‘controlled’ and then as we start to hear from our inmate, we hear, right in the distance, Phil’s familiar guitar-shredding (that’s a compliment) which increases in volume in the mix as the song progresses. The lyrics and the way they are divided up is very clever with some great lines (my ears pricked up when you ‘…sang a duet with Sinatra’) I suppose my own vague criticism (which isn’t really a criticism at all) is ‘Passage of Time’  I suppose one could argue that any song deals with a timeline but this would be an interesting argument to have with Phil (you can badger me at the start line in Wix on Sunday!!) A great effort and, as with Tim, one has only to dig into the archives to realise how far you appear to have come since the first SWC back in April 2014. Well done. Tim & Glyn
3 O’Clock in the MorningThe rhythm and feel is a departure for these doyens of Folky pop! Starting with the production, the mix is different to the usual T&G effort perhaps due to the instrumental choice. The drums sound very live and are much more driving and to the fore in the mix which, in my opinion, is a good thing. All the instrument choices are well made. This is a consummate performance and great production. I think there’s one thing you could do to improve things and that is to buy a serious condenser phantom powered mic. It would lift Glyn’s voice to a new level and it would capture even more of her lovely, breathy tone. I have a Røde Mic which you could borrow and try if you like. I’ll show you when you come round to dinner!! If you already have a condenser mic, ignore me and dinner’s off!! Melodically, this is one of the strongest tunes I’ve heard from T&G. I think there’s a little less extemporisation (tell me I’m wrong!!) and it helps me as a listener to latch onto the vocal spine. Perhaps you should compose and record at break-neck speed more often? I love the change in mood/instrumentation at the ‘3 O’clock in the morning…’ chorus line. I wrote this review over two train journeys and the refrain stayed with me as I peddled across London after I’d stopped listening on the train. There are very strong songs here and finding two will, as ever, be difficult.
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Karl
Junior Member
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Post by Karl on Oct 18, 2015 17:13:42 GMT
Something I have tried to do this month is separate the song from the production - not easy! The reason is, I think I'm sometimes too harsh on those who record to a more basic standard. I wonder what Stephen's song this month would sound like if it were recorded and produced by Patrick, for example. So, with that in mind I listened several times before casting my votes, which this month are "free" as I had nothing to do with Mike's song.
Waking Up In The Morning - Stephen Clarke
Stephen describes his recording as amateurish - he is being overly hard on himself I think. Whilst the recording is quite basic and maybe suffers from a lack of polish, the song itself is very well thought through, with each section flowing nicely on from the previous. There are a couple of timing issues, but that doesn't bother me too much, as the song is catchy enough to make such comments seem churlish. I think Stephen is a good songwriter who might have to invest both cash and time in order to develop his sound and achieve a higher level of production, but if he decides to stick to this level of recording his songwriting, singing and playing skills will hold him in good stead.
With You I Feel Alive - Eddie Custard
Bright, catchy and full of complementary parts and sounds. One thing that bothers me is the drum programming - it's a bit too busy at times, which I found a little bit distracting. Another good entry, up to the standard I have come to take for granted from Mr Custard.
10 Minutes, 2 Cars - Tim & Julie
A bit of a gentler approach from T&J this month, but still with many of the trademark quirky moments. For me it works best from 2.29 when it gets livelier and the harmonies work best here too. Like you Tim, I'm not a fan of that fadeout, but it's not too much of a distraction really.
Swing Of The Pendulum - Mike Gosling
This song took me several listens before I "got it" but I understand and can hear why it's such an important song for Mike, and the feel of the backing is perfect for these lyrics . The instrumentation build up is clever as several layers had been subtly added before the break towards the end, and even though the keyboard choral oohs and ahhs aren't my favourite sound I can imagine how good it would sound if these parts were sung by a real choir. A minor production niggle - whilst this sounds very good (and best) in my car, listening on my Mac using Harmon Kardon speakers, or through my Bose headphones, I get an overload buzz which sounds like the low notes from the acoustic. This does get lost when the main bass line comes in though.
Last One Leaving - Phil Sanderson
This is one of my favourite Phil songs - the rhythm, sound choices, catchy vocal hooks and the mood created are all very appealing to my ears, especially the harmonised "close your eyes". This is possibly a case of the good production influencing my opinion, although I do think it's a rather good song too. It's a bit long but then it does have a lot to fit in. The only improvement for me, would be a better ending or at least a longer fade out. I like this a lot - nice!
3 O’Clock In The Morning - Tim & Glyn
Really nice production again your sound just keeps getting better each month. The sounds are so soothing with the jumpy jazz funk drums keeping the whole thing moving along at a perfect pace. Once again a bit long - I think you could have used the understated but great sounding solo as an ending, or perhaps treated the final choruses a bit differently. I really like this.
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Post by philsanderson on Oct 21, 2015 19:59:38 GMT
Voting is going to be even harder than usual this month. Less songs seems to have made it more difficult to choose. Maybe because I’ve heard each song far many more times than I usually do - a positive thing, but also means I don’t want to let anyone down by not voting for them. The jury is still out as I ‘remix’ my reviews!
Waking Up In The Morning - Stephen Clarke
Really enjoyed vocal delivery on this song. The backing vocals are spot on throughout. Are the percussion parts getting louder each month? The hi hat and snare work excellently here. I see what you mean about the slight distortion – I’m no stranger to that phenomenom, sometimes it seems to happen to random parts when I record, even though the recording meter says I’m well within the limit. This song sounds rather more live in its performance than some of yours, Stephen – sort of more heartfelt, too, which was really nice. There seems to be a little touch of irony in the outro repeating matching the words ‘’ another night with you” ( deliberate or not, it works!!)
I immediately get an interesting contrast in the laidback drum beat and feel in this song to the next....
With You I Feel Alive - Eddie Custard
Another Custard Classic. One for the ‘Now that’s what I call Catchy’ series. It’s another great example of seemingly effortless lyrics, delivered with such style and a touch of humour. I would imagine that ‘Mr Custard’ could turn his mind to writing poetry, such is his enviable talent. ( Perhaps you already do...? )
I get a very strong Neil Finn influence here: and I like the aforementioned a lot, so I’m more than happy! ( I don’t really get Beatles, though...) Yes, the drums are busy, but to me it’s now an integral part to Eddie’s music. Smashing intro- powerful. Like also the guitar part behind the verse vocal. Backing vocals are up to the usual very high standard. It’s one of those songs that lends itself immediately to a video production. Quite a jazzy chord to end, perhaps reflecting subsequent happiness of the couple. Probably not, I’m rambling again. Great length song, too.
Moves rather nicely into this one- seems like a natural transition....
10 minutes, 2 cars – Tim and Julie
I feel we’re getting an ever increasing and intriguing(!) amount of insider knowledge into the past and present of the Warner family. Fascinating stuff-( I can’t imagine Kate swanning around like a queen bee either) ( nb I had my own run in with the 103 bus about 10 days ago) I like the idea, planned or not of having two different versions / takes on a song to listen to. I don’t know if you are at all familiar with the music of Mike Keneally... this sounds quite a bit like some of his quieter moments between more complicated zappa-esque pieces,: absolutely charming. I find the mood of the piece and delivery sweeps you in like a comfy duvet on a chilly Autumn day. There’s a kind of surreal quality about the title line of the song. The line shouldn’t work but really does!
The brief guitar solo has a really nice certain Stephen Clarke mood... If you hadn’t flagged up the change of version I would have supposed it was intentional from the start and a nice way to end the track.
You’ve given us a couple of SWC ideas here: bizarre phrase(s) which have to be worked into a song ( although you’ve cracked that one already) and incorporating different versions into one mix ( you’ve done that, too...)
I’m rambling on, now, but I suppose the 2 cars could be said to be reflected in the 2 versions...
Definite change of mood into the serious for next three songs – like flipping over the vinyl for side 2 in the good old days of 33rpm
Swing of the Pendulum - Mike Gosling
A majestic and emotional triumph from first note to last. Beautifully recorded and mixed. The guitar sound has made me envious. My 6 string has a ‘narrow’ body and is only palatable after adding lots of reverb, Mike’s sounds warm, deep and sonorous, rather like his voice on this piece. The lyrics could stand alone read as a poem, and the music definitely could hold its own as an instrumental, so adding them together can only result in a wonderful song.
Change of mood a little, but still on the serious side of the month...
...Last One Leaving – Me
I had a busy month and a bit! Last One Leaving was the first song I wrote, actually overlapping with the final mixing of ‘Missing’. I wrote another piece which was a sort of pre song to it and then had a go at extending the instrumental part at the end. Having got into my flow I rashly decided I’d have a go at producing a ‘Passage of Time’ concept album... I spent a lot lot longer than usual on vocal lines, recording vocal and the mixing side of things this month ( agree with Tim that the drum parts are a little underwhelming as a probable result )
The perfect way to end the album....is...
3 O’Clock In The Morning - Tim and Glyn
A bit like how Tim/Julie pre-empted their ‘2 version’ song, there was a mention of how quickly this was recorded, mixed. It certainly does not sound rushed or under ready to me, and I don’t think I would have noticed. I really like the movement in the synth part and the lovely echoey vocals which seem to move across the track like the clouds in the sky. Favourite part, though, is the quieter piano and guitar part and how the synth fades back in. The drum track feels more upfront ad live sounding than usual which I liked.
The chorus stuck with me after the first listening, and although I neither run nor walk my dogs at three o’clock in the morning, when I am out in the dark doing either I immediately get the tune back in my head. Definitely one to consider playing live, methinks!
The piece feels quite urgent even though it is conversely quite floaty and dreamlike.
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tandg
Junior Member
Posts: 67
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Post by tandg on Oct 21, 2015 21:47:22 GMT
Waking up in the Morning – Stephen Clarke
I can appreciate the thinking behind your comments on your recording but I really think you underestimate how good this sounds. The simplicity of the arrangement gives it a directness that really focusses the attention and then you realise that this is not as simple as you are making out! As usual, the harmonies and double tracking of the vocals are excellent and the phrasing of the words is terrific. “I just want another night with you” works because it doesn’t flow like the rest of phrasing does. The guitar playing has a delightful looseness and the atmosphere is laid back and fits the lyric perfectly. I really enjoy the range of sounds and effects that we have available (it all used to be much more difficult) but I am full of admiration for the clarity you constantly bring to your songwriting.
With You I Feel Alive – Eddie Custard
This has a good ‘band’ sound to it. It’s full sounding without ever becoming muddled and each instrument has its own space in the mix. Killer introduction that really makes you sit up and listen, followed by a great pop verse and great transition into the catchy chorus. There are some lovely lyrics - I really liked “show each other historical sights” and the delivery of the title line in the chorus. As always I’m bowled over by your imaginative songwriting and the zest in the way you deliver it. This is just a great pop song!
10 Minutes, 2 Cars –Tim & Julie
I always relish listening to your songs because they are always unpredictable, varied and original. Another surprise – none of the slightly (sometimes more than slightly) dark atmosphere you regularly achieve is present here and it’s almost a ‘sweet’ song with a lovely lazy atmosphere. The relatively high vocal line works well and the acoustic guitar in particular is really nicely recorded. The chorus line is a good hook and just as a Tim & Julie song was about to be described as quite conventional, in comes the coda, which is really interesting as a double-take. I quite like that as a sort of glimpse of the writing and recording process – what could have been.
Swing of the Pendulum - Mike Gosling
I struggled to put together comments for this – in some ways, I prefer not to have an explanation of the lyrics as it does shape how you listen to a song. I know I’ve read interviews where a singer explains the lyrics to a song and been really disappointed.
This is heartbreaking to listen to, knowing the background to it. It’s beautifully delivered, with warm, clear acoustic guitar and lovely separation between the various keyboard parts. The harmonies on the chorus are really good. There are some lovely lyrical moments – I particularly liked “It was nearly dark when we started to talk”, which seemed particularly poignant. It’s a really lovely song (but I found it very difficult to listen to).
Last One Leaving – Phil Sanderson
This is such an atmospheric song and as always with Phil’s songs has an unpredictable structure and takes a few listenings to acclimatise. Phil’s use of the solo string sound is really great – it’s odd because it’s not really naturalistic but is a great sound in its own right. The “close your eyes” harmonies are a highlight and the swirling, alternating instrumentation is a joy. From beautiful piano to soaring strings via wildly distorted guitar – what more could you ask for? How about nearly rapping for a bit! Brilliant.
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tandg
Junior Member
Posts: 67
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Post by tandg on Oct 21, 2015 21:56:41 GMT
Sorry about this but didn't know where else to post it (hint, hint Rob) but we are playing at the Bell in Castle Hedingham this Friday (23rd). 8.30 onwards, no entry charge. The evening features my son Simon and his partner Clarice (playing both acoustic covers and the debut performance of their electronic music recorded under the name Amethysts) as well as the second performance of our revamped band that now also includes (big drum roll) Phil Sanderson on bass guitar, occasional keyboards and great enthusiasm!
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Karl
Junior Member
Posts: 72
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Post by Karl on Oct 22, 2015 17:24:57 GMT
Hi Tim, Glyn & Phil - I'm gutted, as I have already mades plans for this Friday, so won't be able to make it. I would like to see you in the future though, so please keep us all posted about future gigs. PS - more notice please!
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Post by mikegosling on Oct 23, 2015 21:15:29 GMT
My apologies also - sorry I couldn't make it - organising a charity concert for tomorrow and rather ran out of time!
Hope it went well.
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Post by mikegosling on Oct 25, 2015 15:52:10 GMT
Apologies to you all for not having written my reviews yet - I've just voted and will review the songs asap.
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Post by timwarner on Oct 26, 2015 14:30:16 GMT
Well done Phil. A very interesting song recorded really well. I think it's unusual for a long song to win (do we lack attention span?), which probably means it was REALLY good.
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Post by mikegosling on Oct 26, 2015 16:03:50 GMT
Yes, well done Phil - I really enjoyed your song this month.
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Post by Rob W on Oct 26, 2015 16:19:48 GMT
Well done, Phil and apologies to Tim & Glyn for not advertising their gig. I only just saw the hint. My absence was due to a last minute trip to Northern Ireland, honest guv!.
Lastly, Phil has sent me a 11 tracks which make up his long-promised concept album. I'm going to dedicate a page to it on my website when I have the time (my London work is proving quite time-consuming) but I will find the time soon.
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Post by eddiecustard on Oct 26, 2015 16:24:27 GMT
Nice one, Phil. Well done.
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Karl
Junior Member
Posts: 72
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Post by Karl on Oct 26, 2015 20:38:43 GMT
Congratulations, Phil - my favourite of your entries to date.
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tandg
Junior Member
Posts: 67
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Post by tandg on Oct 26, 2015 21:48:40 GMT
Well done Phil - really deserved.
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Post by philsanderson on Oct 26, 2015 21:57:36 GMT
...Thank you for your very generous comments re ‘Last One Leaving’! There have been SO MANY great songs uploaded these past months.
As you now probably aware I got completely carried away in September and wrote and recorded 10 songs ( + a few instrumentals ) for a ‘Passage of Time’ concept album which Rob has really kindly offered to put up on his website.
I must have uploaded the ‘right’ song as my entry... for once. I gave a copy to my wife and whilst she said she liked most of the songs, there was just the one she didn’t like the music to – the one with the patient! Can’t please all of the people all of the time - in fact even my son ( Theo, 12 ) reckons I should have entered one of the other songs ( for future reference- ‘Running Out’ ) No complete song for 'Power Ballad month yet and definitely not even the slightest hint of an album!
Phil
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Post by stephen on Nov 2, 2015 14:00:15 GMT
Well done Phil - you've really found your sound
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I suppose one could argue that any song deals with a timeline but this would be an interesting argument to have with Phil (you can badger me at the start line in Wix on Sunday!!)
