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Post by Rob W on May 12, 2014 18:05:17 GMT
Believe it or not, one person has already uploaded. Please go to my website (robwarner.net) to listen under ' May 2014 songs' Comments gratefully received but these can be saved up and given in a big splurge at the end. I'll add the Poll option at the end once I know who's in and who's out. |
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Post by Steeyuv n Clayer on May 12, 2014 18:21:12 GMT
We ain't listen in' to nuthin' 'till we've finished our dirge, er composition.
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Post by Rob W on May 27, 2014 7:29:59 GMT
Dear All
The 'posting' of the songs will be delayed slightly for May. I will post them at some stage on June 1st (maybe in the evening) or possibly June 2nd.
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Post by Rob W on May 28, 2014 9:55:17 GMT
Anyone wanting to post their songs, let me have them by 4pm today and I'll try and do them before I go away. If you want to listen to some of the opposition, follow the link on the first post of this thread (and well done to Tim, Mike and Me for posting early!)
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Post by Colin Steward on May 28, 2014 9:58:42 GMT
AAGGGGGHHHHHHHH. Hello all. I was tinkering with the idea of a thread for people to discuss any technical problems or tips for recording, but after hearing so many professional recordings here I quickly realised I'd be the only one asking for help. So, I'd be better off using garage band which restricts me to the on-board sounds. At least until I can figure out what on earth is wrong.
I'm gutted because I feel I've a half decent song for May but I'm out of time without success in converting to audio and getting a vocal track sorted.
I guess I'll just put it in storage and maybe it will be relevant another time.
Kinda knew I'd come a cropper on this though, I've only ever really recorded MIDI and never audio so when it comes to that I'm pretty much a novice. Things were so much easier with 4-track recording!!
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Post by timwarner on May 29, 2014 13:55:02 GMT
Had a listen to the 2 other songs so far uploaded. To use an art analogy, I feel like Rob and Mike have come up with a couple of very decent canvases while I have torn a page out of a colouring book, having gone over many of the lines with my crayons. I'm very glad I posted early otherwise I would certainly have lost my nerve.
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Post by Steeyuv n Clayer on May 29, 2014 20:42:00 GMT
Don't think I'll be submitting anything. Partly this is because I found the lyrics very hard to adapt (I did vote 'may be able to write something'), partly it's because I recorded 12 bars of what I did have and it was crap. Well...if you like reggae in C minor dirge...actually, it still sounds terrible.
We'll wait until all the songs are up before listening to any of them.
As you may judge from the latest avatar, we certainly have some ideas for next month.
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tandg
Junior Member
Posts: 67 
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Post by tandg on May 30, 2014 7:25:45 GMT
Just like last time, I think we will be submitting a song within minutes of the deadline. Isn't that what deadlines are for?
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Post by Rob W on Jun 1, 2014 20:48:14 GMT
As I see it!!!
Tim & Julie
I obviously get to hear all the songs before everyone else and this has been around for weeks. I told Tim immediately that it was infinitely better than his April effort (mainly due to the lack of annoying vocal sound.) But I also LOVE the bass sound. It is SO retro that I’m sure the 70s now want their Fender Jazz back!! Having said that, the sound is still a little middle-y for my liking and I wouldn’t describe it as ‘clean’.
I really enjoyed the ‘blues-with-a-twist’ attitude and I was amazed at how easily the lyrics fitted with this bluesy format (and encouraged, as my efforts to that point had been terrible.)
On the downside (and I’m as guilty of this as Tim) the ‘that’ll do’ attitude to the vocal only works (possibly) if one is doing a single vocal track. As soon as one starts to harmonise or do an octave ‘thing’ then one needs to at least try and match the phrasing.
I really liked it and, as I have already said, this is a million times better than April’s effort.
Mike
Mike’s sleeve notes gave a nod as to what to expect and I was immediately transported to what I imagined was Paul Simon’s Lower Manhattan condo in the late sixties.
His (Mike’s) recording technique is now so well refined that one is almost disappointed if the recording isn’t crisp and ‘wide’ and he doesn’t disappoint here after the low-key start.
While I was listening, I yearned for a slightly different turn of the chord structure but in all honesty, I was probably wishing it to imitate a Simon & Garfunkel track so I’m sure Mike’s instincts were correct.
I think I loved Mike’s April track so much (for me, it was the proverbial ‘bullet from a gun’ in its immediacy) so this track had a lot to live up to. Knowing Mike as I do, I’d argue that the key was probably perfect for his guitar part but not so much for his voice and I really wanted to hear him stretch out a little more.
I loved the song though. It was so accomplished (and my kids both loved it the best - more than they loved mine; it was ever thus!)
Me
Just as an addendum to my ‘cover notes’. I re-mixed it as it was buried in reverb. I dried it out and just tried to make everything a little more intimate. I wanted to be able to hear the individual components. Unfortunately, I mastered it on headphones (crap headphones) and I had my son tapping his fingers waiting for me to vacate the room so that he could record another Minecraft tutorial! So I was under pressure and didn’t listen back until I heard it on my laptop speakers where you can actually hear the moment when I pressed record for my vocal!! Maybe I’ll try a version 3 at some stage.
Colin S
A newcomer!!! Welcome and thank you. I had no idea what to expect from Colin as I’d only known him as a comedian when we were younger and a keyboard player in my brother’s band when we were older.
From what I’d read in Colin’s frantic forum/email rants, this was recorded in Garageband. The sound was very clean (Tim W, take note) and even the vocal sound was polished. I haven’t yet heard this on a large speaker system, but this really seemed to have depth.
Some of the melody lines were strong and memorable but some seemed to be a little ‘thrown away’ (this was probably formed part of the biggest problem for some of us in that we had lyrics to write music to rather than the other way round.)
I suspect also that the backing was completely done and dusted by the time Robbie G arrived to do his vocal and I really felt that, even though he can cope with the lower register better than anyone in this club, this was in the wrong key for him early on. Speaking personally, I really like his voice when he’s in that middle range, strong and little raspy but not straining too much. He got to this later on and it really gave the song a lift.
Overall, I liked the vibe of the song and could imagine it being given the Toto treatment (slightly quicker and a sh*t-hot drum track.) In different hands, this could have fitted into so many musical brackets. But I’d say that this bodes well for the coming months and I hope that Robbie G would consider not only helping out the vocally-challenged but composing his own music for us to enjoy (let’s face it, he’s got enough gear!!!)
Phil S
Phil’s last effort was surprising. It was very busy, it was very businesslike and it had an unbelievable guitar solo and a weird time-signature in the chorus!
This was much more measured and simple. I absolutely loved it. And the more I listened, the more I loved it. It was very catchy and yet still sounded improvised, haunting and experimental. Phil has composed for children’s choirs and this could be one of those songs as the melody is relatively simple.
As I sit writing, this one is top of the tree. I really, really liked it.
Patrick D
Last month’s winner and the class of the field, Patrick’s entry was the most unexpected arrangement of the lot. Though if I think about it, this approach should not have been a surprise. I think it’s fair to say that Patrick is a complete songwriter. He does the music, he’s a multi-instrumentalist and he writes the lyrics. Of all of the people I know, he would have the most trouble singing someone else’s lyrics.
The music is, of course, really confident and brilliantly executed though I suspect he’ll be kicking himself when it comes to the month when we have to compose theme music for (in all likelihood) a drama called ‘Shut Down’. He can, of course, re-submit!
It sounded very American but at the same time reminded me of Revolution No. 9 on The Beatles’ White album. I listened all the way through a couple of times and must confess to feeling a little cheated when there wasn’t a twist in the tail at the end.
Tim & Glynn
Another late entry! (not late, just last-minute.)
From the intro I thought they’d already gone for their ‘Country’ song with the tremolo guitar. They mentioned in the sleeve notes how they’d struggled with this and I could tell that Glynn wasn’t happy with the phrasing of the lyric though she sang with more confidence from Verse 2 onward. I didn’t like the ‘confused vocals’ at the bridge.
Glynn’s voice sounds lovely and the layering of her voice is always good particularly when she’s harmonising.
As with a couple of the songs in this collection, I really liked some of the melody ideas here but some seemed to be thrown away.
Overall, I liked it a lot and it really does deserve a couple of listenings to help ‘pull out’ the melody in the chorus.
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Post by mikegosling on Jun 2, 2014 18:28:39 GMT
Once again I enjoyed listening through the varied selection of songs on offer. When I asked David for a set of lyrics for the songwriters collective I don't think I was anticipating these sorts of songs. When I've written a song with David before we have usually ended up doing something pretty bluesy. Only Tim/Julie's song fits into this territory, so it was quite a surprise to hear the results.
Tim/Julie: Nice and bluesy, some great guitar bits, vocals are good, really like the doo-wop type breakdown
Guitars reminded me of that Lou Reed New York album (where the two guitars come out of left and right speakers).
I would have preferred a more meaty bass and drums combo. Very nice feel to it. It's in my top three favourites.
Rob: Really like the piano figure at the start (and end). I liked the drama of the chorus as a contrast to the verse and bridge. Not sure the "old time lovers" middle 8 bit worked and the fretless bass dates the sound (unfortunately). Rob's voice (as always) sounds great and most of the time the lyrics seem to flow easily. In the top 3 for me.
Colin: It's great we have another songwriter involved and it's good to hear Rob Good again. I was a bit surprised when Rob came in on verse 1 - sounded quite extraordinary (in a good way) - bit of Scott Walker in there. Liked the chord changes in the bridge ("Big Smoke" bit), but didn't really think the chorus was as strong as the rest of the song. Glad Colin / Rob G were able to get it done.
Phil: Wow, that is quite a shift in sound from last month! I really liked the piano and ambient guitar combination.
Also liked the recorders / woodwind. There are some nice vocal melodies early on (fave bit is " should I raise my hand").
Vocal melody seems to disappear a bit towards the end of the song (this might be because Phil says he moved a section).
Felt like the song belonged in a musical theatre show and also had some Pink Floyd in there as well. Really good and nestling in the top 3 for me.
Patrick: Another wow, I definitely wasn't expecting this. Great orchestral colours. Mix of public service broadcasting voices is interesting and from a conceptual point of view I can see this works. Impressive stuff but not particularly my cup of tea.
Again, not sure I would envisaged this type of song when I asked David for some lyrics.
Glyn/Tim: Very nice guitar and electric piano as the basis of the backing. Lovely harmony on the end of the chorus lines ("empty", "crowded", "free", "shrouded") and overall chorus works well. Verse melody is a bit more problematic and probably a more drastic revision of the lyrics was needed. I like Glyn's voice - be nice to hear Tim sing again though - request from me for some Tim vocals / harmonies on the country song for June!
Overall pretty interesting - there was a lot of lyrics there and maybe some of the songs could have done with some lyric
editing to make them work better (I know that would have been breaking the rules) and maybe one or two less verses.
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Post by timwarner on Jun 2, 2014 19:16:53 GMT
It sure is odd listening to the same words presented in such a variety of styles. In my own case the words are often just something that stops me singing la-la-la to everything. Some have written a song to fit the lyrics and others have written a song and applied the lyrics afterwards. Interesting.
Many thanks to David for the lyrics. I guess his opinion matters more than ours. I'd be very interested to know what he thinks.
For my song, yes, I should have polished it a bit more. I am guilty of applying the lyrics afterwards and you could pretty much put any set of lyrics to it. Slightly surprised that there weren't more 12 bar shuffles uploaded.
Mike
After all the talk about difficulty of fitting the words into a song, it seemed to come very easily to mike. There are possibly a couple of lines that were not as comfortable as they might have been but this is really just a very good song. really getting the beatnik vibe but I was thinking more Dylan with shades. I'd be interested to know what one of Mike's songs sounds like without going through the 'Karl filter.'
Rob
I preferred the slightly more epic version with more reverb. It really hit me as an epic song with all the gravitas the subject matter deserves and Rob's vocals seem to invoke. I liked it very much.
Colin
I had heard about the technical struggles so was very pleased to see an upload and very pleased when I listened to it. This is an armchair ride of a song, you just know you're going to get looked after and everything will be as it should be. I loved robs voice and it was great to hear him sing in such a low register. The chorus then really lifted. It felt rich. Liked this a lot.
Phil
This is so much more accessible than last months song and it's a very good song. I could easily imagine it in a musical. I think when Rob took off his reverb he added it here. In places it reminds me of the 'yes' song 'awakening.' This is a very good thing indeed. One of my favourites.
Patrick
This wins the 'bonkers' prize this month. I like the production and the ratcheting up of tension. It's compelling. The trouble is you could give this treatment to almost anything. It's an alternative to doing what I did, except you can't dance to it. It could almost be a remix from a public information film. It reminded me a little of the Radiohead song with the Steven Hawking voice from 'okay computer.'
Tim and Glyn
I mostly like it but I don't like the echo/layered bit. It's as if it's a way of using up the lyrics. Also the drum sound is a bit synthetic. Still like the playing and vocals/harmonies.
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Post by Colin Steward on Jun 3, 2014 11:42:20 GMT
My take on May’s songs:
One has to consider time restraints and what is presented in most cases is the idea rather than a finished product. So I wouldn’t like to offer too much criticism over performance.
Tim & Julie
I really liked this. I joked with Tim that I was expecting to hear it launch into “Come together, right now, over me....”, but then it is blues and there are only a limited amount of ways to present that format. I really like the little guitar links throughout. I also liked the double vocal which would benefit from a tightening up but the effect was good. I just felt the drum track was rather thrown at it just to get it done. All in all, there are more pros than cons.
Phil S.
Definitely a bit of Pink Floyd influence here. Never thought I’d say this but the recorder was put to good effect! I think I preferred the music here rather than the lyric having to be fitted in. What I mean is I liked where the melody went to rather than the melody itself if that makes sense! The music reflected well the weighty issue raised in the words.
Mike
I liked this. It built nicely as the song progressed. Some very nice guitar work. Some of the words felt a little crammed in - but, again, we almost all struggled with that. I liked the low piano notes (something I noticed in latter Johnny Cash material). It help to add a little weight to the song.
Rob W.
I felt Rob’s song was probably the most accomplished. Very professional and take 2 was a good idea. I do like Rob’s vocals. I felt the lyrics were handled very well. Nice to hear a bit of piano but wondered if it could have been a little more free and flowing, but that’s just me. Not so keen on the fretless bass, for me it was a bit distracting.
Patrick D.
I may be in the minority who really liked this. Obviously very well crafted, technically and musically. It was a neat trick to get round the quite awkward lyric. Sounds fantastic through headphones! It was a little like a movie trailer than a song and I’m sure I’m not the only one with some trepidation regarding the October theme music after hearing this! After a few listens I think I would have preferred the synthetic voices to be a little more obviously synthetic (not quite Stephen Hawking though) or just real voices.
Tim & Glynn
I liked this from the very start. A nice, easy flowing opening with a good tremolo guitar. Glynn’s voice sounded particularly good. I felt her confidence grew as the song went on. I rather liked the layered echo bit too.
Me
I was aware from the first few minutes of working with Rob Good that this was really in the wrong key for him, as Rob W. suggested. But we went ahead anyway because of time. This is purely down to my lack of experience as a singer and not thinking from a vocal point of view. Rob did add some nice little touches that I hadn’t considered though, so all in all I was very pleased and grateful for his input. I realise my title 'flood' left a lot to be desired but it was just a filename that I didn't bother to change!
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Post by Patrick on Jun 3, 2014 12:39:42 GMT
Patrick's Thoughts -
Tim and Julie
Nice idea to give it a Chicago blues treatment, very left field approach to the subject matter. This style suits Tim's vocals too.
Mike -
Nice to hear some acoustic fingerpicking, singing reminds me of Richard Thompson's voice, the whole thing reminds me of something he'd do too. Low piano notes give a lot of impact without overdoing it, sometimes the hardest thing to do is hold back. You did well to get a tune out of the words, managed to get a consistent rhythm to the melody too, which was some achievement
Rob -
Piano and Robs voice instantly recalls Peter Gabriel, Nice pretty melody, goes well with the bright piano. Some finger stretching chords there too, which is refreshing to hear. I like the be my baby Spectoresque snare on the 'why can't we call petrol' line, breaks up the rhythm well.
Reminds me of a bit of an eighties rock ballad, and i mean that in a good way.
Colin -
Nice simple start. I can see this as an aftermath to a frantic number on a live show. Just before the end of the show.
I like the vocal, lovely natural vibrato, somewhere between Scot Walker, David Bowie, Andy Williams and the bloke out of Lambchop.
The sustained electric guitar supports the piano vamping well, like a violin.
It gets more like Bowie as it goes on.
Phil -
I can imagine the start sung by a spooky chorister in a scary church. The whole verse has an unusual, gothic, atmosphere. I like the recorder (?), solo. It's too long since there's been a recorder solo in a song.
Terrifying.
Tim and Glynn
I like the confusing overlapping vocal chorus creates some nice harmonies. Great idea for that section.
Can't get enough of the tremolo guitar. Like Chris Issak's wicked game which I love.
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Karl
Junior Member
Posts: 72
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Post by Karl on Jun 3, 2014 19:09:51 GMT
And here are my thoughts on May's varied offerings.
Tim & Julie
Straight in - great! I like the quirky edge to this blues number. In fact, having seen David (the lyricist) perform with his band Samo Hurts several times over the last few years, I think this is a treatment he would heartily warm to. The "rough around the edges" aspect of the recording doesn't bother me and Tim's voice is fine sans-effects. Like Mike, I really like the backing vocals in the break down section, although some of the doubled-up vocals are probably just a little bit too messy.
Rob
The more I hear this, the more I like it. Great vocal performance - so no surprises there! It reminds me of Peter Gabriel c. his "Here Comes The Flood" era. I'm surprised (and pleased) by the military snare part (OK Rob, now back off!). I also really like the earthy bass drum/floor tom sound. I wish I could say the same for the rather dated fretless bass. I know it is a bit of a Rob trademark, but would have preferred a straighter bass part for this song. The piano part is excellent.
Mike
I've heard much more of this song (obviously), but still find myself humming it a lot of the time. My wife also likes it and says it reminds her of her favourite Simon & Garfunkel songs. High praise indeed!
Colin
Nice vibe! The intro reminds me of "Move Slowly". Robs Bowie-esque voice works well, I like it's sound in the verses (even if it is a bit low), and when he goes up for the chorus's it is a nice change of power. The occasional timing issues can be overlooked, as I know Colin was getting to grips with some new technology. Considering this I think the overall sound is really good. Good first entry!
Phil
After last month's entry this really was quite a surprise. In places I really like the way the piano line matches the vocal line (very Elbow!), although this tactic might be a little overused. I think my favourite parts are the moody instrumental sections. Very theatrical.
Patrick
Wow! This is not what I'd have expected from Patrick. Very left field! Some of the sounds are fantastic, especially after the line "here come the push and shove". Following Colin's comments I stuck my headphones on - it makes for a very interesting listen.
Tim & Glynn
Glynn's voice sounds great and I like the sound of the backing, especially the guitar sound which reminded me of Portishead. Even though It's hard to work out what's going on with the doubled-up vocals, the sound is interesting. I'd like to hear a slowed down, darker mix of this, a la Portishead or Massive Attack.
It would be great to have David Stevenson's comments posted up here - any chance of this Rob?
Looking forward to next month.
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Post by Rob W on Jun 3, 2014 20:49:55 GMT
I've put in a request via Mike so I hope David will join us and comment!!
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Post by mikegosling on Jun 4, 2014 8:55:19 GMT
I've sent the link to David (our lyricist for the month) and asked him to give the songs a listen and post a review.
He has he'll take a listen over the weekend (although he/we are quite busy with getting a 24(!) song set ready for Friday,13th June to coincide with launching the album he/we recorded in April).
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Post by Colin Steward on Jun 4, 2014 9:28:07 GMT
Funny that Mike says he and David usually come up with something bluesy because I didn't think those lyrics were what we would call blues material. I thought blues was all about … I woke up one morning, found my woman had left me. I said I woke up one morning, found my woman had left me….etc and little phrases like "my baby done me wrong". It's probably more the case that I'm a little musically short-sighted. Imagine what I'll make of the country song!! Terrifying!
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Post by philsanderson on Jun 4, 2014 22:48:56 GMT
I have to echo Tim's thoughts about the 'weirdness' of listening through to such different songs but all with the same lyrics. But I really mean 'weird' in a very positive way! I've thoroughly enjoyed listening to each of the songs, and have once again heard them all quite a few times in different locations /situations. Deciding on a favourite through one vote has been almost stressful, so I sat in front of my computer after a genuinely stressful day at work, and rather than calling up a 50s hero, I went for the song I most wanted to hear again right then.
Tim / Julie
I really get what Tim said about the recording for a 5 piece band. On first listening I was immediately sort of 'live' in a cosy venue close up to the stage watching it being performed. The stereo separation of the vocals and guitars works for me. It had a retro feel to it, but also sounds current. Great to hear your vocals, Tim - it inspired me to actually go for a greater volume on the vocal on my track, for which I am grateful, even though I still wish someone else were singing for me.
Mike
What a great production and sound from first note to last. I sort of knew where this song was going as soon as it started, but in a good way. The vocals sound so good, ....I can only aspire, but I can be inspired! From second listening on I have been imagining a video shot in New York. Love the combination of acoustic guitars.
Rob
It's the voice again! The quite serious tone of the lyrics are superbly reflected by the style of the song. The limited instrumentation works really well, and I have no issues with the fretless, as I think it complements the ( I think ) digital retro sound of some of the piano chords, that plus I've always wanted a fretless bass, and it's on my wishlist. There is definitely a Peter Gabriel thing going on here, intentionally or not. There are two lines at the end of 'verse' 4 which could be him...if he were to try to be as good as you. The choice of percussion I did find surprising on first two listens, although I have no qualms with this, it's just a little.. surprising. The extra reverb towards the end on the piano works well... you'll gather that I like to use plentiful reverb on piano from my entry.
Colin
This song's a grower for me. I liked it on first listening, but each successive play it just gets better and better. The vocal on the chorus works so well, and even though the verse is pitched too low, as you said, for the vocals, I find it quite hypnotic. I don't think anyone else has mentioned it, but the piano sound at beginning of song is 'wow'!
Patrick
Having never really done completely 'normal' with my own music, I really enjoyed this. Obviously not in a foot tapping way, but the 'interaction' between the voice parts and then the instrumentation is captivating. I really like how the voices are sort of almost 'live' human, but then at the tail end of some words sound more electronic. Not sure if this was intentional, but I like it.
Tim and Glyn
I think the style and mood of this song is just so good! Right from where the tremolo guitar appears to the last version of the chorus, I think it has been judged really well. I like the 'But how many lives' section, although I think it would work just as well with just the plain vocal / harmony on this bit, rather than the echoey/ overlayed vocal. The verses and chorus have stuck in my head all day... I sort of get a Portishead feel about some of this song, and I can't quite get my memory to work out which female vocalist I'm reminded of in the verse, but maybe I'm not able to remember, because it's very much your own style, and it works for me!
Me ( Phil )
Extra sleeve notes..
I really wanted a different vocalist, probably female to sing the 'chorus', as I felt the meaning of the song needed it. Alas could find no volunteers.
The recorder only came into being after I was forced by piano tuning issues to transpose the song from Bb min to Bmin. I then couldn't play my planned clarinet solo capably enough.
The song got ridiculously long at one point, hence removal of guitar solo section. The 'dischord' at the end on the piano was also a much bigger feature of song for most of May. Other non finished versions of song include one where I just play guitar and sing ( although guitar is put through ridiculous amount of echo ), and piano versions where the ambient guitar quota is up to three, rather than one.
This song and its instrumentation is much more like the music I have been writing for past few years, although the addition of vocal usually only happens when I write songs for schools. nb Strat still sulking in case, maybe will get a country music outing...
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Post by Rob W on Jun 5, 2014 6:06:23 GMT
Wow! What a spread of votes!! I want to say again that even people who haven't contributed can comment and vote.
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Post by Colin Steward on Jun 5, 2014 10:29:49 GMT
Just a little addendum to my comments. I wanted to make note of a few things I've noticed regarding Patrick's piece that I feel are noteworthy.
I love the attention to detail and how the music and effects reflect the words. There's all the discord and chasing around of percussion and strings up to "Old time lovers……" and at that point there's that lovely moment of harmony which is soon broken by a discordant string sound just before "Digital divide". Then the lone brass sound on "Don't let me fade away…" which creates a sad longing. It's really brilliant stuff and I felt I wanted to acknowledge those moments in the piece and that they haven't gone unnoticed.
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tandg
Junior Member
Posts: 67
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Post by tandg on Jun 5, 2014 13:36:11 GMT
Have to echo other comments - going from one song to another is slightly surreal. If you've been working with the lyrics in your own song, it is really odd to hear them sung to a completely different style and a different tune. It's like travelling around and all the people look familiar (or is that the drugs)?
Tim/Julie
Just goes to show that anything goes with the blues although like Colin, I was waiting for his baby to do him wrong. Loved the loose feel to the arrangement. The panned voices and guitars accentuate that, making it really interesting to listen to with a good range of sounds going on. The 'ba, ba,baooh' bit was a fun surprise and I liked the abrupt beginning and ending.
Mike
Loved the idea - I read the intro before I listened to it and realised straight away that the lyrics really worked with a protest groove to them. The sound of the picked acoustic guitar is fantastic. How did you get it to balance the picking sound with the body acoustics? It's lovely. The voice sounds great but I think you could slur the words a bit - I like it a bit messy! I agree with Patrick's comments about the bass note on the piano. Restrained and a perfect fit.
Rob
It sounds quite filmic to me - the most evocative song here I thought. Really well sung and played and the one I listened to most as it is unusual in style. I thought it might be in danger of sounding a little overwrought but as the lyrics aren't sentimental at all that never actually happened and in the end it you handled the lyrics really well.
Colin
I thoroughly enjoyed this one. I loved the change of sounds for the transition from the verse to chorus. The harmonies in the chorus are great and the vocal line sounds natural but not predictable - it takes a few listens to really sink in. I only thought about the pitch after reading Rob's comments and I actually really liked the low register. Mind you I often have ideas for vocal lines that Glyn can't sing. If you hadn't commented on your problems recording it, I'd never have known - it sounds great.
Phil
The piano on this song was my favourite instrument performance of all the songs here. The short instrumental break is absolutely beautiful. Like the others I thought the recorder was a great idea and really unexpected. The very clear enunciation of lyrics makes it sound like a song from a musical and the backing has a haunting quality I really liked.
Patrick
I have no idea how you do this! It's extraordinary. It reminded me of The Day Today / Brass Eye - like having your lyrics newscast. None of the sounds ever sound synthesised except, oddly, the voices which just adds to the effect. This is the one piece here I cannot imagine ever being able to record or even attempt to record. Amazing.
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Post by timwarner on Jun 11, 2014 12:15:00 GMT
Just let me start by saying the voting is the least important part of the whole process but, a cynic might say it looks as if we've all voted for our own song and a non-contributing member has made the difference (7 songs and 8 votes cast). More voting from anyone who hasn't posted a song in May would make it look less like we've all voted for ourselves (even if we have, which I haven't).
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Post by David Stephenson on Aug 1, 2014 11:12:22 GMT
First can I say how knocked out I am by your amazing songs using my lyrics. I keep playing them all again and again. I love how they are all different. I wrote the lyrics (Retro-Modernist Shrouded Life) quite aware that people might change them a bit, miss some out or change title - so I am delighted that people did this & they were inspired by the song. Thank you so much for inviting me to write a set of lyrics for you. Here are a few of my thoughts on each 'version':-
TIM & JULIE WARNER: enjoyed this very much, especially for the bluesy feel. Great duet singing - very effective and a marvellous 'doo wop-y' middle eight.
MIKE GOSLING: fantastic song & vocals. Having written with me before, Mike has done well to do something very different. Using early-Dylan New York Protest songs for inspiration, this is spot on (the song is, indeed, a protest song).
ROB WARNER: love the piano; the orchestration is wonderful & very atmospheric. Sounding like Peter Gabriel at his best. Very good idea to make 'Why can't we call petrol gasoline?'
Will comment on the other songs soon.
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Post by David Stephenson on Aug 4, 2014 11:38:21 GMT
COLIN STEWARD: very strong version; love this very much. Fantastic vocals. Colin is right - they aren't exactly bluesy lyrics; not meant to be. I don't just write blues songs. Wish I could sing as beautifully as this. Can't stop playing this.
PHIL SANDERSON: beautifully paced and realised; lovely use of instruments (& piano very strong). Very moving version that pulls the listener right in; I keep going back to this.
PATRICK DUFFIN: this is a pretty gripping (& quirky) version; a lot of work has gone into this (as, indeed, it has with all versions). I like use of both a female & a male voice. Becomes very haunting (in fact, hauntingly protesting).
TIM & GLYNN: the most 'pop' (commercial?) production, very nicely put together. Superb and catchy vocals; a 'rose-tinted rave' version, in fact! Great groove; keep wanting to play it again.
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