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Post by Rob W on Sept 17, 2017 20:12:34 GMT
I thought I'd give three votes this time.
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Post by stephen on Sept 18, 2017 12:16:53 GMT
Please don't listen to mine yet - I just realized I messed up the drum track, sounds weird. I've sent Rob a new version "remix 2" hoping he has time to post it. If it stays just "remix", please try to ignore the drummer, he's an idiot.
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Post by timwarner on Sept 20, 2017 22:26:13 GMT
Is the correct version up yet, Stephen?
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Post by Stephen C on Sept 21, 2017 5:49:34 GMT
Is the correct version up yet, Stephen? Yes Rob has changed it |
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Post by timwarner on Sept 26, 2017 21:32:54 GMT
It’s good to be back after our break. The big question now is: will we come back ‘refreshed and invigorated’ or a ‘bit rusty and out of practice?’ As a group of songs, I would say this batch tends towards the latter of those two but, it could be my listening ear has suffered during summer break. Perception is everything. Having said that, using 3 votes is proving difficult.
Crack In The Track - Christian Duffin
You’re right! ‘Crack in the track,’ seems to be a very good basis for a pop song. This is almost like one of those summer hits that you hear and absorb without realising it. The change in the drums at 2:30 is good move after the relentlessly driving feel from the snare earlier in of the song.
Leaving (Going Home) - Stephen Clarke
This is very easy on the ear. It’s different enough to the ‘boom-changa’ of Johnny Cash to make it it’s own thing. There’s just enough backing to deliver the song and the lovely lilting guitar refrain in the pause that triggers the chorus. It all trips along very nicely.
Dancing With Strangers - Phil Sanderson
This was a bit unsettling for quite a while until I managed to nail down where the beat was. The first time through I just couldn’t get it. It’s the bass drum on beats 5 and 1 that threw me. Once I’d got that in my head it was much easier to listen to. This patience was amply rewarded because the song is lovely. Perhaps the song benefits because it requires a bit of concentration? Can’t be sure but, this is really lovely.
I’m Back - me
Having said all that about Phil’s effort to throw us off the beat, I started this with the emphasis to put you off where the beat was. Pot and Kettle. Sorry, Phil.
Welcome Back - T&G
Oh wow, the intro comes over a bit PJ Harvey. Excellent! I would like it to have stayed a bit more ‘out-there-bonkers’ for the verse (if you know what I mean). As the song goes on the backing gradually becomes more ‘normal’ and I’m not sure it needed to be. You are very encouraging of my dalliances with things away from established norms (and I thank you for it). This feels like a good song that could have been more compelling had it left more of the ‘normal’ stuff behind.
Welcome Back - Rob
Are you bored about hearing how good your voice is? Don’t answer that.
The chorus comes at me in a way I didn’t expect, possibly because of the way the verse is constructed. ‘Constructed’ is the word, it doesn’t quite flow easily. I like that it’s all so clean and everything seems to have space, not sure if it’s just your superior production but it all sounds very distinct. The guitar solo is very satisfying. That last high note was something of a surprise. Not sure how many nights into the tour you’d have to adjust it.
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Post by eddiecustard on Sept 29, 2017 19:41:39 GMT
I was wondering the same as Tim about whether the break would have invigorated us. I think it has – the quality seems high to me.
Stephen Clarke – Leaving (Going Home)
Fine idea, excellently put together. The twanging reverb of the Telecaster works a treat whenever it comes in, especially to announce the bridge. The acoustic guitar sounds great, very natural. The mix is spot-on and the harmonies, as has often been the case recently, work extremely well. This is my favourite of yours for some time, and I’m glad no-one died during the making of it.
Phil Sanderson – Dancing With Strangers
Cheers for introducing us to your Gaelic side, this is an impressive addition to your oeuvre. I like the violin sound and the way the accordian floats agreeably in the background at the start of the second verse. The unusual time signature changes work well. Your singing sounds strong throughout – I prefer it to the whispery delivery that characterises some of your work. Melancholy yet lilting, and really good.
Tim and Julie - I’m Back
Blimey - Tim and Julie have upped the ante with this lovable tale, etched with appealing dollops of humour and blasphemy. Sparkling opening with the dual guitars, creating a kind of flamenco influence. The bass playing is good here, and throughout. To top it all the production and clarity is spot-on – I can hear every instrument and every word. I feel like I’m repeating myself when I say this is up there with your Golden Greats, but it’s all come together here. There are no missteps, it’s great.
Tim and Glynn – Welcome Back
A brooding opening gives way to another fine chorus, with expert singing from Glynn. I like the high bass notes that start round 1.38 – they combine really well with the keyboard and guitar. Good use of strings in a later chorus, and I like the way the choruses become slightly different each time, and beefier, with each repetition. This helps the arrangement build from the plaintive chorus right at the beginning. Tasteful and economic guitar work from Tim, particularly when it first comes in round 1.42. This section is a good lesson in how to use just a few pedal notes to create a pleasing contrast with the supporting melodies. Almost trancelike in parts. Well done – another triumph.
Rob Warner – Welcome Back
A soulful opening heralds a welcome return for Rob. His voice carries power here, but is also beautifully controlled. I like the ‘kick like a mule’ line, and the delicacy of the guitar work. The verse is strong and the whole song has a pleasing, laid back air. The chord changes round 0.43 in the lead-in to the chorus are terrific. There’s a sense of building too, with the harmonies on the second chorus, and even more added very successfully for the third. The guitar solo feels loud, but that’s a minor quibble. Overall, a very enjoyable experience. Please stay now you’re back!
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Post by stephen on Sept 30, 2017 10:43:36 GMT
Good theme, it seems to have got people's juices flowing again nicely. These broad themes allow everyone to do their own thing, which I personally enjoy much more (both playing and listening).
Christian D Crack in the Track
The slightly ominous mix of a sunny sound and minor chords in the intro and chorus suits the theme perfectly. Excellent lyrics - some great rhymes in the verses (especially the snow, worse/reverse, and leaves lines). Very tuneful guitar solo. Subtle arrangement, too, especially in the lead guitar licks and the way you use different drum beats. Another winner, I reckon.
Phil S Dancing with Strangers
Daring as ever - that beat, the high vocals, the really simple accordion solo, the theme, even the sudden fade out at the end. You take a lot more risks than the rest of us, and it works. The melody is effective, as is the bass, the lyrics are melancholy and restrained. I'd love to see anyone try to dance to this at a ceilidh.
Tim & Julie I'm Back
Short and sweet. Great lyrics, a funny adaptation of the ancient story. Very effective drum and bass combination behind those arpeggios, and great "I'm Back" hook. I like the way it breaks down for the bridge then comes back full throttle to make sure the hook gets lodged in the brain, which it does.
Tim & Glyn Welcome Back
Another great hook, a kind of mix of Cheyenne and Portishead. I like the way it all meanders gently between sections, then ends powerfully with a long, strong chorus and outro. Great bass lines throughout, sometimes swooping up and down, sometimes rock solid, carrying the song along.
Rob W
Such a great bass sound, and it's so well recorded - it made my headphones shudder, and the melodic lines reminded me of Pino Palladino. Excellent vocals, too, really effective echo. Deceptively simple chords, really nice melodies, powerful lyrics. I'm no producer, but I'd turn down the guitar solo just a bit. It's louder than the vocals ever are, which doesn't seem fair.
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Post by eddiecustard on Sept 30, 2017 23:18:58 GMT
Well done, T&J - a deserved win.
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tandg
Junior Member
Posts: 67 
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Post by tandg on Oct 1, 2017 9:44:27 GMT
Christian Duffin – Crack in the Track
This is such a good pop song. I was singing it my head all week after first listening to all the songs. This is just about your best guitar performance for me so far – the lead guitar lines and solo are just great. I particularly like the ‘hanging’ notes, leaving the unresolved chord sequences (I do hope that makes some sense). The ‘crack in the track’ idea is great and you really make the most of the possibilities it presents. Cracking stuff!
Stephen Clarke – Leaving (Going Home)
I like the feel of this song. There are some really great elements that come together so well. The guitar sound has plenty of space to it, the vocal harmonies are nicely chosen but for me the best bit is the pause before the chorus. After the first time, we know it’s coming but it’s so well delivered with the banjo-like sound from the two guitars it really lifts the song. Other highlights include the smooth guitar in the second verse and as usual, the witty, twisting lyrics.
Phil Sanderson – Dancing with Strangers
This is such a very welcome musical shift – a beautiful lilting song and so well delivered. The high harmony works well – the “you’ve moved on” line is really poignant as a result. The unusual rhythm prevents any blandness from creeping in and the relatively simple instrumentation complements the gentle vocal delivery. There’s such a good flow to the song – “more Gaelic folk please” was something I didn’t think I’d say!
Tim & Julie – I’m Back
The stand-out moment this month goes to Tim’s high delivery of “I’m back” for the last chorus that runs into the guitar fade-out. If there’s one criticism to be had of this terrific piece is that just as it hits a brilliant high it ends! More! This is good concept (as usual) with smart lyrics, fun twists, tight delivery and excellent mixing – everything has a place.
Rob Warner – Welcome Back
Welcome back indeed! Good to hear you in good voice. With particularly pleasing chorus guitar going on behind the really upfront bass and the surprising/shocking guitar solo, this is a fairly straightforward song that still delivers a few unpredictable musical surprises, including that amazing high vocal note after the solo. My real highlight is actually the swell of backing vocals on the last chorus – that’s really nicely judged with well chosen parts and vocal sound.
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tandg
Junior Member
Posts: 67
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Post by tandg on Oct 1, 2017 9:46:57 GMT
Sorry - failed to vote in time - Tim & Julie had one of my votes, so would have won by a bigger margin still. Well done for a great song!
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Post by timwarner on Oct 1, 2017 13:04:55 GMT
Thanks for the comments and votes. It's good to be back.
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Post by Rob W on Oct 2, 2017 9:14:17 GMT
Sept SWC
Unlike T&G, I listened and, knowing the closing time was pending, voted and I’m now commenting (schoolboy/girl/non-binary error, you two/three!!)
Christian D
He’s back! (And with new recording software?) There’s certainly a new crispness to the sound which COULD mean that a poor song will be more easily exposed but there is no such problem here.
This is unmistakable ‘Duffin Snr’ from the off both musically and lyrically. The mundanity of the reason for the delay is delicious when juxtaposed with the very real tension of wanting to get to one’s destination (and the oh-so British sub-plot of knowing that it’s not necessarily the fault of the staff on the front line.)
The music just speaks for itself. Perfectly constructed with the intertwining, meandering melodies. Sometimes I wonder about using fewer harmonies but this is really nit-picking what is a very listenable and catchy tune. One can’t really ask for more.
Stephen C
I’m growing to love Country music and the combination of (arguably) the most consistent performer in the SWC and this genre is a surefire hit
He doesn’t disappoint (he never disappoints.) Stephen makes it sound so simple and yet I, for one, cannot write this stuff and make it sound as good as he does. With all of the songwriters I’m intrigued by the process but with Stephen it appears he could start with any one of the few instruments he chooses to use to start the composition process.
This is catchy and loveable in equal measure. In different hands it would sound drab and insincere but with ‘cool-hand’ Clarke, it’s yet another winner from a formidable stable of winners. Well done.
Phil S
Having just listened to Stephen’s ‘Country’ song, I thought that Gaelic Folk would be similar. Of course, it’s not but it has to be said is equally pleasing. And of course the 5/4 time signature from the metronomic, mathematical genius that is Phil is just one of many delightful triumphs.
This is definitely a grower in terms of melody, lyrics and vocals. Did you do all the vocals, Phil? I loved it. It had quite a Christmassy feel to it thanks to the Gaelic influence (I think) and it was heart felt and believable as a song. Excellent work.
Tim & Julie
Brothers fighting for affection. My interest was piqued immediately!! Ha ha ha.
First, the sound! It hit me like a sledgehammer. Tim & Julie seem to have discovered the Compressor and squashed this to f*** (in a good way.) It makes the intimacy of the vocal almost oppressive (again, in a good way. IE, it’s the perfect combination; song and mixing decision perfectly complementing each other.)
The song? So catchy and really great moments with the lyrics, the guitar and the arrangement. With this review being late to the party, I already know Tim and Julie have won and, for what it’s worth, it’s a very well deserved win.
Tim & Glyn
It was so lovely to (briefly) see you both at the gig a few weeks back. Please let me know when you’re next playing and I will make a real effort to get there to return the compliment.
Telephone EQ on the vocals at the top is always a brave move but this works given the Cheyenne feel to the opening.
I had to make an effort to count this to make sure you hadn’t gone Phil S 5/4 crazy but it does a great impersonation of a song in an odd time signature without being in an odd time signature.
This song really feels like it’s a meandering journey through lyrical, musical and melodic landscapes. And just as one feels that you have moved the song on to another piece of music turf altogether, the ‘Welcome back’ refrain restarts and fits brilliantly over a piece of music that one would assume it WOULDN’T fit over.
I LOVE the OTT strings. In that way it’s kind of Phil Spector in places and really unexpected given the lo-fi opening. Another grower and worth several listens to appreciate what went in to this. Welcome back indeed.
Rob W
I’ve seen the results. Having heard all the songs, there were at least five songs better than mine so I’m embarrassed but I suspect I was the beneficiary of second and third votes! Welcome back everyone.
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