Come on, Pa! Tell me about those (Better Days Reviews)

Discuss upcoming, current, and previous song fights.
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Merle Fyshwick
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Re: Come on, Pa! Tell me about those (Better Days Reviews)

Post by Merle Fyshwick »

Better Days reviews by Merle Part 1

Hey Duncan, I'm not sure when I'll get a chance to do part 2, so you're welcome to finish mine off. I would consider it charitable, and gladly wear my share of any laziness accusations. Great song, by the way.


Wimpy Piano Boy

You're probably gonna hate this, but reminds me of a solo Ben Folds song...ummm, that one about one of his wives?! Really well executed; it's harder to pull off just one instrument and vocals with nothing else to hide behind. I think there was an ASMR optional-challenge some time back. This one would tick that box with the super-close mic technique.

Pig Farmer

I like the line about the shaky hands in the first verse. Assuming it's about being locked down, and just having been locked down for the last week, I think I can relate. It's nicely concise, which is at odds with the drawn-out nature of all this uncertainty. That's why we have pills to help us, uh, be more concise;)

The Idiot Kings

Nice change up in the chorus. Good drums. Pretty good phrasing, i.e. the pause before 'good' and 'likes'. Don't know how those in New Hampshire feel about masks. I was having a conversation about whether you can tell someone's smiling behind their mask. The conclusion was 'maybe', but not if the smile is fake. Where was I going with that? Oh yeah, the chorus is both 'sarcastic' (points for optional challenge) and also 'political', so good job!

Phlebia

Yeah, that's a good hook. A little bit 'She don't use jelly', which is a good thing. And can definitely relate, though in my case it's a dog who refuses to go outside, then pisses in the back room fifteen minutes later. This is one of my favourites so far. It's the wonky 90s indie vibe that I like.

Seemanski

This is sassy, though the protagonist is not coming from a strong position of sass...clever! Well-produced. I especially like the unison arpeggio at the start. The verse progression reminds me of a friend's song (about their guitar).

shoehornTC

Some excellent 12 Golden Country Greats vibes; was just thinking about that album yesterday. Even the unexpected G in the chorus is Weenish, as is the subtly sinister tone, both of which I approve of. Superb shaker work too. Another favourite from this round.

Sly Eli

Hehe, wasn't expecting that time signature given the intro. There's quite a lot going on here musically, and most of it meshes well. Definitely sassy, and a lot of swagger. That vocal harmony crescendo at the end is pretty epic.

Brown Word


I like the fuzzy spoken vocals; like a 'mask filter'! Definitely sassy. 'There you go' The ascending guitar riff is good. This one's a grower, I reckon.

Lichen Throat

Ha ha - snooping around backstage. This one gave me a smile and is undoubtedly clever. It's amazing how much you managed to fit in two minutes, narrative-wise. The loose timing of the chorus contrasts nicely with the baritone machine gun of the spoken bits. Job well done.

Walrus Volcano Banker

Cool, one of the insta-bands? I reckon you pulled it off - nice song. I like the drop to the F in the chorus. Reminds me a bit of The Bank Holidays, a Perth band. Those guys always impressed me/psyched me out. As a borderline agoraphobe, I can relate to the sentiment of the lyrics.

Moon Logic

Another insta-band! That Venus line made me smile. I play in a space costume band, so I'm all for the planet references. The cadence of the vocal delivery makes it sound more playful than the dark-ish lyrics read. A sweet little song, and I reckon youse guys also pulled it off.

Night Sky

Great saxes, need more carrots though. I appreciate the way the narrative flips in the second half - clever! I think this one might be a grower. Those saxes! And forget what I said about the carrots.

Duncan Martin

Any song that opens with a Corolla reference has my attention. I like the masculine vocal delivery, and I had to do a double take when you started singing about your, um, career change. Either you're serious, and I salute you for your trail-blazing adult entertainment industry work, or (more likely) you're taking the piss, in which case I salute you!

The Magnetic Letters (me)


Hi and thanks for having me back! When I checked the page it was the day before the due date. I drew inspiration from song poems (one of my favourite all-time 'genres'), one in particular called Evelyn Christmas with cryptic lyrics and tortured English. I had my saw out because I'm recording a sound-track for a friend, so I used it unsparingly.

Sweeney Toad


Yeah I dig this; anthemic chorus, and the tail-end (pun not intended, just noticed) 'booty' I can imagine calling out in the mosh-pit if they even exist any more. And definitely sassy, so a big tick on the optional challenge.

Timtomflufken

Had me bopping my head, first front to back, then side to side; what's the psycho-musical explanation for the different bop direction? Can't fault it production-wise. I tend to fixate on lyrics, and strangely these ones washed over me the first time. I think it's because there's such a tight beat and a lot going on musically...or maybe the 'sassy swagger' is at odds with some of the darker themes - I just wanted to have a good time! Blur-ry and impressive.
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slyeli
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Re: Come on, Pa! Tell me about those (Better Days Reviews)

Post by slyeli »

I've had to be a bit brief with some of these reviews just to get through them all. Hopefully I haven't missed any out. If anyone wants me to expand on anything, I'm happy too.

Wimpy Piano Boy - this is good. It's one of my favourites this week. The melody sounds very familiar but maybe that's just because it's catchy. The lip smacking is off putting but that would be easy to clean up with some editing. Nice tune.

Walrus Volcano Banker - I like this, it's a sweet pop tune. The vocal and the echoing guitar lines really make the song. Good work.

Venison Rebels - this has a "Linger" vibe that's cool. It all seems to fit together well and the sax is a nice touch. I particularly like the chorus but I think the pre-chorus could use a little work as rhythm of the instruments don't quite work with the vocal.

Timtomflufken - the chugging rhythm and the start stop sections work well in this. Some nice oohs in the background too. I'd like a bit more movement on the vocal melody but it's a good effort.

thanks, brain - the clicking noises in the background are very atmospheric. I like the piano arpeggio at first but the lack of variation in it gets a bit annoying after awhile. You have a nice tone to your voice on the low notes.

Sweeney Toad - feels very Outkast on the "better rhymes" section, which I like. I'm finding the synth sound very off putting.

Sumner Sloane - this has a very catchy melody to it. The mix is muddy but it doesn't detract too much from the fun bouncy feel of the song.

ShoehornTC - you've got a nice rhythm to the instruments but the vocal looses that in places which is a little off putting. I like the tremolo guitar sound in the background, you could push that forward a bit more.

seemanski - the synth has "Radio Ga Ga" feel to it, which is cool. I'm not so keen on the chorus, it sounds a bit disjointed to me, like things aren't quite gelling.

Pigfarmer Jr - I like this one, it has a simple directness that's appealing. The guitar solos are decent but need a bit of variation in the rhythm to make them interesting.

Phlebia - the intro is very "She Don't Like Jelly", which I like. The song's very full on the whole way through and I think it could use some more variation in the dynamics and instrumentation to help separate the different sections.

orat0rical0rator - I like the crazy rhythms in this. It sounds like sort of song an AI would create. The speed up seems like you ran out of ideas and tried something quirky rather than finishing the song.

Night Sky - this has a slick funk feel to it, especially the organ playing. You loose your tuning a bit on the high vocal notes, the low ones are stronger.

Moon Logic - nice use of atmospheric space noises to set the scene. The long verses without much variation are putting me off this one.

Moody Vermin - great percussion sounds to start off. The guitars sound like they playing a totally different rhythm though and it's very off putting. It's like I'm listening to two different songs playing at the same time and it's giving me a bit of a headache. It's better when the rest of the instruments drown out the percussion.

The Magnetic Letters - I'm not sure if the wobbling synth noises work or not. They definitely add a strong feel to the song but I find I'm listening to them rather than your singing.

Lunkhead - I like the contrast between the laid back verse and the more upbeat chorus. This is pretty good, everything seems to work well together and it's a pleasant listen.

Lichen Throat - the spoken word sections of this a really good. The rhythm you've got on the drums and guitar work well. The melody sections though are a little hard to listen to as your quite far off your notes. I'd recommend checking out the Spiral plugin. It shows you in real time what notes your singing vs the notes of the instruments in the song. It helps me when I'm trying to sing in tune.

Kamakura - this has a cool laid back feel to it. You lose the melody a bit in the chorus section. It might help to put in more harmonic content in for you to sing against and then take it out once you've sung the vocals.

JP Nickolas - nice riffing. Watch the tempo as you lag behind it a little bit at times. It's very hard to rhyme every line in a song without running out of words and having to force the lyrics to fit the rhyme. I think you hit that problem in a few places here. I'd recommend the same plugin to you as Lichen Throat. Having some visual feedback will help you with hitting your notes.

The Idiot Kings - Stephen King references will always win points with me. The "Have you ever" sections remind me of the Round the Twist theme tune.

The Gross Tones - nice rhythm. This has some nice parts to it but it feels more like a jam than a finished song.

Glenn Case - the lyrics in this made me laugh. This "very bare minimum" section is really good. Nice work.

FireBear - the tempo on this is a little plodding but it's pleasant to listen to. It feels a little unfinished, like you ran out of time.

Duncan Martin - this is a good song. I like the lazy rhymes you put in (Corolla, console ya), they fit well with the piano style. Nice harmonica playing too. This is another of my favourites of this fight.

Brown Word and the Big Whine - you have an instantly recognisable sound. I've only heard a few of your songs but I can tell who it is, without looking, when you come on. It does make it a little hard to tell your songs apart though. There are some strong riffs in this tune.

Brother Baker - this is great. The sweet sounding chorus contrasts really well against the sour verse. I like the drum and bass breaks too. This is one of my favourite tunes of this fight.
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Duncan
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Re: Come on, Pa! Tell me about those (Better Days Reviews)

Post by Duncan »

Better Days reviews by Duncan Part 2 (follow-up to Merle's part 1) thanks for the handoff Merle

The Magnetic Letters -- The saw is magical. This really speaks to me with its weirdness. Great post-apocalyptic imagery and melody. "Better days will be even more better than Christmas" -- this is such a wacky line-- i just love it. Have you checked out Peter Grudzien (The Unicorn, White Trash Hillbilly Trick, etc)? This has echoes of him. I'm going to share this with some people who I know will really appreciate it.

Brother Baker -- I like the different movements and the transitions between them. The scream is delicious. The lyrics around 2:20 are very silly "bitter/better" -- I love it. Reminds me of Roger Daltry in You Better You Better You Bet. Or like some kind of mushroom-induced Barenaked Ladies outtake.

orat0rical0rator -- This reaches new heights in Casio and beyond -- I really love this arrangement. Fun take on the theme, like a psychedelic science TV show that's been overtaken by Tim Heidecker. I think a little echo on the vocals would sound cool

Kamakura -- Instrumental intro sounds great. The chorus is really creative lyrically/musically/sonically and sounds so good. I think I'd try to make the verse lyrics slightly more cryptic or universal. That's probably the COVID fatigue talking.

Sumner Sloane -- Something about the panning makes me a little dizzy. That's not a bad thing, just noticed. I like the classic pop structure of this song. Tight lyrics and meter -- sounds great. The chorus makes me think of Badfinger, the Animals, or Steeler's Wheel -- just really well-written universal expressions of emotion. Underdog narrator convincing himself of something that may or may not be true, trying to cheer himself up. Everything supports the thesis. There can never be too many songs like this. If you were a band that I could go see, I'd shout this one out toward the end of the show if you hadn't played it yet.

Thanks, Brain -- Love the arrangement and the youtube pollywogs. Agree that it has a cool Niel Diamond sound. The vocal could use a little adjustment in the mix (lower volume, less mouth sounds and p-pop). That doesn't affect my voting, just an observation. Nice lyrics. Sounds kind of like something in a musical.

Glenn Case -- Professional sounding mix to me. And the lyics are funny. You have the 90's harmony down pat, kind of sounds like Spin Doctors harmonies, but also hearing a bit of BTO's "Hey You." Randy Bachman has his own CBC radio show here in Canada and he plays a lot of his own music. I agree with the message of the song and really hope this is the attitude we all take instead of getting complacent. I did a similar one on the 20th: https://youtu.be/B-0IsvD9Yrg.

Pigfarmer Junior -- Nice cheeky intro guitar. Good solid narrative and theme. It sounds a little spare in the verses - -maybe could use a couple more layers of instrumentation or a more swingy beat.

Moody Vermin -- I like the intro rhythm and instrumentation. The transitions give the song a really nice texture. I like the vocals in the second half a lot more. The singing sounds more anthemic and fuller, with a touch of angsty Dylan. This one really grew on me throughout the song.

Fire Bear -- Nice plodding doomsday sound in the intro. I outed myself as a (sometimes hypocritical) stickler for phrasing earlier in this thread, so the unfortunATEly sticks out to me, but it's minor. The harmonies are really well done so it doesn't stick out a lot. The whole thing is short, maybe not a full song yet, but what's there is really good -- the vocal harmonies are really cool and I would love to hear what else you work around that. Maybe some more vocal crescendos that resolve back to a quiet intro baseline. It makes me think of Taxman, of all songs.

The Gross Tones -- Love this catchy tune. The ska beat, the xylophone, the little guitar bits. I agree with the politics of it, but I think the lyrics could use more focus. Some really good rhymes in there. The internal rhymes in the vaccine and mask lines are especially good.

J.P. Nickolas -- You sound well suited for the White Morph Fight. The guitar riffs are great. I find I'm a bit distracted by the onslaught of "ays" rhymes. Some work well, but some seem like they are suffer from limitation. Maybe a rhyme scheme with a couple different parts AABA or AABB would give more options.

Venison Rebels -- Nice Sax! I'm hearing slight sounds of Gerry Rafferty's "Island" on that. I really love your sax sensibilities. Noticing Robyn's vocals now -- cool retro sound Robyn. It's cool you all made this remotely and it came out so slick.
mo
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Re: Come on, Pa! Tell me about those (Better Days Reviews)

Post by mo »

I am going to try, as an experiment for myself, to write reviews that are mostly about structure and artistic concept rather than talking about mixing, arrangement, or performance issues (all puns are always intended). At least I’ll try to keep those other things to a minimum. I will endeavor to approach each song without judging the merit of its artistic interpretation and try to critically engage on its own terms, as best as I can. Will this be interesting or just a bunch of pretentious bullshit? Only one way to find out:

(Songs listed in order listened to)

Shoehorn TC:
Nice intro concept, gets you into the song smoothly. Good harmony line on the 2nd line of chorus chord progression. Pretty standard structure, emotionally effective nostalgia piece. I think this song would’ve been more effective with a more personal-feeling lyric. I think the set up is good in V1 but then in V2 or V3 I would prefer to feel more specificity, I would say keeping it sort of general all the way through doesn’t give me the contrast and authenticity I feel like I want from a song with this kind of nostalgic feeling, which is otherwise well-supported by the music.

Duncan Martin:
It’s good idea for a story, and the genre is a good choice for this type of storytelling as well. I really did want a bridge section to describe the turn of events that you have happening in V3, so that V3 and Ch3 would put a button on the story, as a return to the theme after a change, to me the instrumental section there doesn’t quite accomplish the same effect. Similarly, the instrumental section after the final chorus doesn’t quite capture the feeling I think I want to have, which is a sort of resignation. I also think it would make sense to make a call back to the phrase “better days” in the final chorus, to really hit hard with the sardonic punch.

Glenn Case:
From the opening this sounds to me like a rock opera type of song, with the dramatic pause before “well at least not as much”. I’m a little confused about how many perspectives are being represented and who’s being spoken to. This is another one where maybe a little more specificity in the situation would help feel the story more deeply. Right now it feels a little more like a series of very sardonic statements and some excellent wordplay but I’m not super clear as to the message—I guess just the sardonicism itself is the friends we made along the way.

timtomflufken:
Intro is one cycle too long, although the guitar hook is really catchy!. This chorus is pretty good. Although it could use a little more of a feeling of a lift, it’s a nice piece of writing. Solo section is placed really well. The chorus coming out of the solo is also done nicely. This song should come with cocktail recipes really, it captures a feeling well enough that I want to go on to talk about mixing and blah blah blah but I won’t because I’m being good about my stupid rules (I’ll just say I expected that little hook to get more developed over the course of the song, added harmonies, more rhythms, etc.). I assume it’s a Vom lyric because Vom lyrics are pretty much always conceptually tight, develop an idea, launch it into the chorus and bring it back with growth over the course of the song instead of just staying in one place.

orat0rical0rator:
I think the setup is not quite clear enough, the first couple of lines are sort of abstract (and two lines starting with “but” kind of doesn’t work for me also), and don’t really tell me what the better days or better times they mean are, so when we get to the different world section, it doesn’t really feel like a great contrast. The turn of “we’ve all seen better days” into “ok but here’s what real better days would be”, like those better days were an illusion, for my taste needs to punch a little harder. Otherwise, I think it’s kind of hard to fault a song that managed to get so much concept into 1:24. The choice of sounds fits perfectly and captures the topsy turvy feel of the past week or so.

Kamakura:
In V1 and V2, the rhymes are little forced in a way that calls attention to them, possibly look at reworking or maybe it’s just delivery that will make that work. It’s all very Dream Syndicate. Again, I don’t really see a progression of concept from V1 to V2 to V3, so to me it ends up becoming a bit monotonous bc I feel like you finished your story after V1. If other verses were about specific things we tried, or different phases of lockdown or something—I don’t know you, but I feel like the lyric shies away from taking risks that would elevate it.

Brother Baker:
The bit coming into each verse is really nice. I can’t resist one mixing comment-every part of the song sounds like it was in a different space, especially the vocals against each and the instruments, and they really need to sound a little more like the same universe. The pickups into the choruses need to be sharper and lead you into it a bit more. The wordplay is cool and all, but again I think you’ve reached the limit on how far you got with this premise after V2, playing with the two voices and day/night. It’s a pretty good trick but to me it still needs to go one more place, like what’s the obstruction, what are some of the depths of that feeling—more better/bitter play again is cool but I want more from the idea—I’m not saying cut anything, I think there needs to be more, another section or something.

The Gross Tones:
Well the good news is that the music matches the lyric and concept execution really closely. The bad news is that in this case, I mean that both of them are slopfests.

The Idiot Kings:
The key change to the chorus is a nice touch. Nice add of harmonies in the later iterations. The first line of the chorus sounds like a folk song and I can’t put my finger on it, Scarborough Fair maybe? Anyway it’s a good touch echoing that protest 60s feeling in a song like this. You make all the couplets work well, but for my taste, there’s not clear movement between the verses, like it’s a good movement from V1 to V2, V1 sets things up, and you continue with the Trump idea but then flipping it around to Zoom feels incongruous to me, V3 is a good place to turn it back to the personal level as opposed to national, but then that’s also half a verse. I felt like if there was a way to recombine V2 and V3 so that the national stuff stayed together and the personal stuff stayed together it would sit better to me.

Walrus Volcano Banker:
My god these background vocals are phenomenally lush. The C1 to V2 transition is also really great. “To come find me” is also awesome, but you guys know this, you put in all these great details, a really good guitar solo, breaking it down for V3, the mando fills, all of that. This lyric is the kind that really fits, takes you on a journey with a defined logic from V1 to V2 to V3. I’m going to use this song as time to say that one of the things I really like about this fight in general is that the instabands all really shone to me. I don’t know what every band was like internally, but you can really feel how the chemical recombination of each individual element together created a really artistically fulfilling whole. It’s all the details that matter to each person but now they’re all together, and not to say that everyone’s individual songs aren’t great, but you know, like in a real band, everyone pulling together just sounds different. My criticisms of this song aren’t conceptual, but more about mix choices I would have done differently, so I’ll leave that for if anyone asks.

JP Nickolas:
Opening with this flurry of hammered arpeggios is always a crowd-pleasing move, kudos. The basic message of the lyric is good, but your pounding adherence to the “-ay” rhyme, while technically impressive, detracts from deciphering the message whilst listening. The song is basically one line of thought, which is a choice I clearly am often not a fan of, but it’s really a function of how much time gets spent to reiterate a finished thought. In this case you’re completing a thought all the way through, so I’m totally cool with it. The prominence of the rhyming device really makes it seem more like an exercise than a song to me. And, I guess I’m going to do this here, and I could’ve done it on any number of other songs, but here we are: the vocals. Pitch I’m guessing you already know is not great; the sharpness of the rhythm is also lacking. It’s something that really kills the feel of any song, and metal really suffers with lazy rhythm unless it’s the intentional Tom Araya-type rubato style, but even that actually has a pretty rigid internal rhythm that he’s working with. You can be sort of weak on weak beats but weak on strong beats sounds grating. The melody itself is functional but not memorable, so that’s something to look at as well, although of course that’s often part of the genre. I mention this mostly because everything else you’re doing is really good, well-played, interesting, energetic, fun, and the vocals are just glaringly not on the same level.

Venison Rebels:
The V1 treatment is really nice, a sort of mini-breakdown after the sax lead intro. The bridge does some good work as well changing the feel and building it back up. For this kind of song I don’t know that I prefer a chorus right after V1, it’s not a bad choice, but I feel like it would’ve been effective to delay it and let it hit you a little harder. And I would’ve preferred a V3 that took the concept elsewhere, along with more development of the sax lead theme, let that morph (white or otherwise) a bit more.

Night Sky:
My first takeaway is, good for her. That main character sounds like a real winner and I expect to see his AITA post on my feed any moment now. But seriously the lyric seems mostly functional to me, metrically some lines seem to cause you to force the rhythms. I think getting left by a woman is of course a classic theme for a blues, the sort of upbeat groove gives you a nice dose of sardonicism, I suppose. I don’t think I’d hear this song on a nice yacht though, maybe one that’s about to be repossessed. Once again, the whole groove is a little monotonous and I’d consider doing more to break up the flow, a bridge, or re-arranging how you introduce or remove layers to get a little more feeling of build, tension/release.

Phlebia:
Fuck that’s loud, and not in a pleasant way. The lyrical subject is cool, I totally feel that pain. I like the idea of the vocal rhythm you’re sketching out here in the verses. The chorus melody doesn’t quite sit right though, and I’m not a fan of how you have everything collide together in the chorus either. To be fair, it does mimic somewhat the experience of not being allowed to get any sleep, but also that makes me not want to listen to it anymore. It’s a good idea, I just am not a fan of the execution.

Moon Logic:
Ok so this is kind of an ambitious lyric, about them to make a relationship work, somebody fucked up and has a astronomical way of thinking about love, time, and strangely feels both cute and terribly insincere, gives me a reaction of “a lot of words, but show me the money” as it were. This is a song of a lot of actually really good ideas (the astronaut radio! The well-phrased lyrics! The little fills!) that to my taste doesn’t quite gel together, and I’m not really sure why, I’d guess some of it is the drum loops and the weirdly inconsistent pocket. I think also when I finish listening to the song, the melody didn’t leave a strong impression on me, or a hook, or something musical that stuck.

Sumner Sloane:
Groove doesn’t quite gel in this one either, but I do like the verse melody. I like the melodies generally, they all work even if they’re a bit generic, that’s not necessarily bad. Again, this is another song that had one idea and then never really ups the stakes lyrically, you really could sing all the verses in a different order and not have too much of a different effect—I don’t feel like I’m being taken on a journey.

Pigfarmer Jr:
The drums are in a bit of a different groove from everything else. Verse melody works, the guitar leads work too, although I was hoping for a longer statement from the instruments as the lyrics did their job, I thought that was fine, and really gets the feeling of despair and desperation, nailed it. But, and contrary to popular belief I’m not gung-ho for guitar solos all the time (I mean, kazoo is cool too you know), but this is a song I really wanted to hear another version of expressing this feeling, if the lyric/singer is stuck in a place, does a solo reinforce that or try to talk him out of it? The rest of the song is a great foundation for a really profound musical statement. Maybe someday you’ll add one?

Lichen Throat:
I love this opening. Your talking lyrics are great, and the delivery is great. Its very interesting to me that your speaking is so good, and then the singing comes in and immediately loses a lot of the same rhythmic sense. I wonder why that is. I really like the lyric, you have great ideas and you convey them clearly and compellingly as bits of writing. The music is very fun to listen to.

Wimpy Piano Boy:
Really captures a mood. Blowing up nostalgia but you evoke nostalgia really well with this. The interlude really nails it home too. I look forward to hearing this in a Pixar movie.

thanks, brain:
The layers enter nicely. It’s a good presentation, and a good lyric. The middle eight is a good idea but something about either the chord progression or the melody on it needs a kick of some kind I think, it’s a little bit too, let’s say generic. The V3 unlayering is a good choice too. Good song, could be great.

Firebear:
Nice harmonies, they liven up that old chord progression, don’t they. I kind of want to hear you finish this in full, the idea seems like it wants to be developed more.

Brown Word & the Big Whine:
One thing I appreciate is that you guys usually have a concept and go for it. I can’t complain about the consistency of the lyrics or the message. You have a style and while I think some of those things could be executed better, I don’t have anything to complain about structurally or artistically, you do you.

Sly Eli:
Between the verses could use a little more something to build tension. The chorus has some nice moments. The verse melody on the repeated “gangster” is reminding me of something on the tip of my tongue but it’s just not coming to me. My main issue is that I don’t really know what the better days has to do with the rest of the lyric. Like great, the gangster is on the run and he’s a winner right, but what are better days to him? The bridge could be a place to establish that, is it getting out of the gangster life? Is it being on top even more than he is now? Is it just the urge to crush your enemies, see them driven before you, and to hear the lamentation of their women? I think it’s necessary to define what better days the character wants, or else the lyric just kind of happens and yeah there’s catchy bits but it doesn’t really gel.

The Magnetic Letters:
You can’t really complain about a 1:31 song with saw. I mean I suppose you could but what kind of heartless chode would you be. That being said I am not sold on that much reverb on the vocal. I am 100% not equipped to try to interpret the lyric, this kind of evocative surrealism can be very divisive. I sometimes like that sort of thing, in this particular song I don’t get a strong emotion out of the images, but YMMV. I could see this as an interstitial piece between longer songs on an album.

Seemanski:
I also cried when I gave up my last keypad cellphone. My main comment is that I think especially this kind of song needs a build, so start from nothing and add, or a breakdown, something to add a little more movement in the actual structure, otherwise when it’s sort of full tilt all the way through until the end, it gets a little boring by like minute 2 or so. I have to say, the vocal is low and probably a little too much reverb, I want to hear a little more vulnerability.

Lunkhead:
Ok so I mean, it’s good, your craft is solid. The verse melody is good, but not terribly memorable. The chorus is more so, especially the “every tomorrow is a rerun of the one before” line is nice. The bridge into the solo is a cool moment. And as I’m close to the end I just want to say thank you for being in tune when you bend notes, Songfight reviewers thank you for your service.

Sweeney Toad:
I mean fundamentally a hip hop track needs a phat beat and this one kind of sucks. Zero head nods and so much biting Eminem’s style is sadly not my recipe, with regrets, I leave the liking of this song to others. It's not me, it's you.
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Re: Come on, Pa! Tell me about those (Better Days Reviews)

Post by slyeli »

mo wrote:
Sat Feb 06, 2021 11:21 pm
Sly Eli:
Between the verses could use a little more something to build tension. The chorus has some nice moments. The verse melody on the repeated “gangster” is reminding me of something on the tip of my tongue but it’s just not coming to me. My main issue is that I don’t really know what the better days has to do with the rest of the lyric. Like great, the gangster is on the run and he’s a winner right, but what are better days to him? The bridge could be a place to establish that, is it getting out of the gangster life? Is it being on top even more than he is now? Is it just the urge to crush your enemies, see them driven before you, and to hear the lamentation of their women? I think it’s necessary to define what better days the character wants, or else the lyric just kind of happens and yeah there’s catchy bits but it doesn’t really gel.
I'd been thinking that the switch into the chorus was too abrupt and there needed to be more of a build up. Your idea of developing the story there is a good one. I was vaguely thinking of the Godfather films when I wrote it, ruthless, killed brother, guilt, etc... That was a helpful review, thanks.
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Re: Come on, Pa! Tell me about those (Better Days Reviews)

Post by lichenthroat »

Great cover art this week!

Brother Baker—The drums sound good. The verses seem a little slow to me, but I love the chorus. The overlapping vocals and exuberant performances are interesting and appealing. Since you guys are actually brothers (I think), the similarity between your voices makes them work well together.

Brown Word and the Big Whine—I think I’d like a full, clean vocal on this. A lot of the instrument tones are on the thin side (which seems appropriate for this genre), and I think a fuller-sounding vocal would make a nice contrast. The lyrics are interesting, and I like the variety in the song structure.

Duncan Martin—I like the vocal a lot. The music isn’t quite my style, and I’d like the bass drum to be more prominent. The vocals are really cool, though, so that’s what I focus on and remember. Good rhymes too.

FireBear—This song captures the feeling of ennui that I think you were going for. A little ennui goes a long way, so I think you were correct to keep this short, even though I wouldn’t mind it a bit longer. I like the slow, drawn-out vocal lines.

Glenn Case—I like this one; it’s among my favorites of yours. There’s just enough weirdness to make it interesting, but so much that it becomes unapproachable. I particularly like the guitar lines. Nice work overall.

The Gross Tones—The loose, reggae-like vocal doesn’t quite work for me. I’d like a tighter vocal to match the snappiness of the instrumental rhythm. The little bells fit in well. I’m probably a little burned out on covid songs by now.

The Idiot Kings—Your production is excellent. There’s a nice sense of progression and movement through the song, even though the structure is fairly orthodox. The guitar tone in the solo is good; I like the reverb on that first part. I don’t have a strong opinion on the “contagious” controversy.

JP Nickolas—This cries out for a faster drumbeat. I like all the repeated rhymes, and the solo is impressive. Perhaps your best lyrics so far.

Kamakura—I like the atmospheric guitar tone and sparce arrangement. Lyrically, the first verse sounds like a super generic covid song, but then you’ve got some interesting lines later on, like “frogs/hogs”. I think I like those weird plinky sounds, too.

Lichen Throat (me)—Someone described this is “counter-musical,” which is not an unwarranted description. I had a lot of trouble with the chorus, and it shows. I’m mostly happy with the spoken-word parts, but I don’t know how much enduring appeal that concept has. I’ve noticed that when I’ve tried that approach in the past, I haven’t wanted to listen to the songs all that much.

Lunkhead—I didn’t like the intro all that much, but then when the main body of the song started, it picked up a lot. I like the transition from verse to chorus and back again. I also like the added instrumentation in the second verse.

The Magnetic Letters—The vocal has a great classic feel. I’m not sold on the instrumentation, particularly the theremin, but since the song is short, it doesn’t completely wear out its welcome. I think this is successful at what you were trying to do.

Moody Vermin—The contrast and compliment between the different sections of the song is wonderful. The slower parts are interesting, and then the exuberant chorus delivers exactly what I’m looking for. Thumbs way high up.

Moon Logic—This is my instaband. I was probably too conservative in composing the drum track, but I like how this came out overall. It was a fun experience, and I woke up today with the song in my head, so it has to be at least kind of good. Thanks to my insta-bandmates!

Night Sky—Strong groove on this one. I know I can’t talk too much about Morphine in this thread, but the comparison did come to mind. This seems like a song where you might have been tempted to use a transistor-radio effect in the vocal, but I’m glad you didn’t.

orat0rical0rator—I’m not sure whether the lyrics are ironic or earnest, which probably means they’re ironic and you wrote them correctly. I’m also not sure what’s going on with the tempo acceleration, but it’s funny.

Phelbia—I like your vocal on here. I also like the nu-metal-toned drums used in a different style of song. The chorus line is funny and recalls the Beatles’ “Hard Days Night.” Even though I don’t have any children, I feel like I understand exactly what you mean.

Pigfarmer Jr—Your musicianship has taken a step up lately. It sounds like you’re recording exactly what you had in mind. The music reinforces the lyrical concept.

Seemanski—The synth layers are cool and establish the right atmosphere. Your vocal delivery is a good match with the lyrics and music. Good transitions between sections. Pretty solid overall.

ShoehornTC—The beginning of this reminded me of Bishop Allen’s “Chinatown Bus,” but the rest of it isn’t too similar. Still cool and well-made, though. Good craftsmanship throughout. The interplay among the instruments is a very good.

Sly Eli—I like how you can sound unique without being weird. You might want a bigger step to a flashier bridge or chorus. I like all the individual parts you have, though. Great ending.

Sumner Sloane—I sense kind of a 70s pop sound here, which is cool and unfamiliar (to me). If there’s anything you can do with the mix to make the instruments sound more distinct from another, that might be a potential improvement. Overall, though, this feels like you got pretty close to your bullseye.

Sweeney Toad—I laughed a couple of times during the lyrics, so good job with that. The rhythm feels like it has a discontinuity in each measure that detracts from the groove. I’m not the first to say it, but the “zero-leaf clover” line is good.

thanks, brain—The vocal is mellow and pure, and it fits with the song well. For me, the cricket sounds overstayed their welcome. This definitely has a morning-after feel. It reminds me of The Final Cut-era Pink Floyd. Structurally, a stronger focal point might help, but I think what you have here works well. Listening to this really calms me down and draws my attention to the song.

Timtomflufken—The continuity of the rhythm makes this feel like it keeps going through any obstacle, which is good. The piano bridge is cool. Very solid overall. I don’t love it, but I definitely like it.

Venison Rebels—Just when I think maybe this song might be a little boring, the chorus bursts forth, and it’s wonderful. This is a very intriguing instaband grouping. I like how you all brought your different styles into a cohesive song.

Walrus Volcano Banker—This reminds me of Heavenly, The Catenary Wires, or any Amelia Fletcher project: great female vocal with male vocal accents. I like the jangly guitars. Obviously quite good. Lots of nice little flourishes too.

Wimpy Piano Boy—The piano sounds great: very well recorded. I like the unexpectedly enjambed line on “storm-y skies,” as well as where a similar concept recurs elsewhere. I think might have had a subconscious bias against this initially, but the earnest tenderness eventually broke through. I like it.
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Re: Come on, Pa! Tell me about those (Better Days Reviews)

Post by the idiot king »

mo wrote:
Sat Feb 06, 2021 11:21 pm
The Idiot Kings:
...you continue with the Trump idea but then flipping it around to Zoom feels incongruous to me
The only Trump reference is the one about Biden likely shitting himself (but at least the last guy did too). The verses were written as a big terrible thing followed by the narrator rationalizing that things are not that terrible, be it macro or micro.
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Re: Come on, Pa! Tell me about those (Better Days Reviews)

Post by slyeli »

lichenthroat wrote:
Sun Feb 07, 2021 10:42 am
I’m mostly happy with the spoken-word parts, but I don’t know how much enduring appeal that concept has. I’ve noticed that when I’ve tried that approach in the past, I haven’t wanted to listen to the songs all that much.
I think it can appeal to people if you're saying something with passion that resonates with them. The Sleaford Mods are spoken word (maybe more shouted) and I think their songs stand up to multiple listens (if you like that sort of style). If you're interested, here's a link to one of their songs https://www.youtube.com/watch?v=5lJPtChIW-g.
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Re: Come on, Pa! Tell me about those (Better Days Reviews)

Post by lichenthroat »

slyeli wrote:
Sun Feb 07, 2021 1:15 pm
I think it can appeal to people if you're saying something with passion that resonates with them. The Sleaford Mods are spoken word (maybe more shouted) and I think their songs stand up to multiple listens (if you like that sort of style). If you're interested, here's a link to one of their songs https://www.youtube.com/watch?v=5lJPtChIW-g.
Thanks for the link. I've never heard of those guys before, but I liked the song. I can certainly see how it would have enduring appeal, but the vocalist seems to have a lot more musicality in his delivery than my song this week did. Perhaps I should aspire to be more like them, however.
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Re: Come on, Pa! Tell me about those (Better Days Reviews)

Post by mo »

I mean I’m not suggesting that you go spoken all the time, I’m just saying that the rhythmic placement/phrasing of the spoken is really good, so I think you should be able to find your way to phrasing a bit more cleanly in your singing. I mean I’m sure you’re tired of hearing it, so sorry I didn’t have much else to say. The music was super fun and I had a good time with it too
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Re: Come on, Pa! Tell me about those (Better Days Reviews)

Post by lichenthroat »

@mo: I thought your review was friendly and insightful. I realize that as long as I continue to be bad with the timing, people are going to complain about it. Obviously it doesn't come naturally to me, but I'll keep working on it.
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Re: Come on, Pa! Tell me about those (Better Days Reviews)

Post by jast »

lichenthroat wrote:
Sun Feb 07, 2021 5:50 pm
I realize that as long as I continue to be bad with the timing, people are going to complain about it. Obviously it doesn't come naturally to me, but I'll keep working on it.
I wrote about this in a review thread last month but I think it deserves some more detail.

Probably the main reason why you're having trouble with the timing is that you struggle with intervals - it takes you a while to find the right pitch and that slows you down each time. This tends to happen if your technique is a little sloppy - that's extremely hard to fix because of all of the intricate details in the voice - but you can practice nailing the pitches anyway. It's completely fixable!

I think the reason you haven't managed to fix that by "just singing more" is that you're being "careful" to get the right pitch, which automatically slows you down. When practicing, don't be careful. Just immediately go for the target pitch - no correcting yourself if you're a little off, no worrying whether it will sound "good". If the pitch ends up being wrong or the note sounds weird somehow, that's no big deal, it'll correct itself as you keep practicing. What you want is "confident delivery". At the beginning it may happen to be "confidently bad"... but if it is, that's the necessary first phase that will help you transition to "confidently much less bad", and then "confidently good".

Initially, do it without any reference. Sing an arbitrary note. All that matters is that you keep your vocal pitch mostly stable, any pitch will do. Now sing a sequence of a few notes (take your time, you don't need to do a dozen notes per second), not too far apart in pitch (scales will work, for instance, but it doesn't even need to be a full scale, something like F-G-A-G-F works just fine). Don't worry if they're slightly off, all you care about is a rapid transition to each subsequent note - the faster, the better! Over time, start trying this with larger intervals between notes, with and without rests, legato and disconnected notes, faster sequences, and so on. The only point of this is to learn to be more aware of how you begin notes (which is the critical first step to "cleaning up" your pitch - and, coincidentally, the timing, the easier it gets to nail the notes straight away), and to notice when you manage to avoid smearing the notes - everything else happens on its own. No tryharding required, just treat it as a sort of tinkering.

For the next level, record a reference melody with an instrument (MIDI or real, doesn't matter) and some chords, and just keep going through it and singing along several times. Pay attention to nothing but whether your pitch is sliding around. Over time it will happen less. Sometimes certain combinations of intervals and/or consonants and vowels may trip you up a little (still happens to me, too), but the more you do this with different material, the less often it will happen. As long as you notice that it's happening, it absolutely can be fixed, and the more often you find and fix something, the more everything else will tend to correct itself on its own.

If you want to invest time into your vocals, don't bother working on anything else except this for now. Don't even worry about the timing in your performance before you feel you've made progress with this. It will become much, much easier then.

There is, of course, always room for improvement in many different areas (we're all amateurs here after all), but I promise you that this will make the most short-term difference by far.
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Re: Come on, Pa! Tell me about those (Better Days Reviews)

Post by owl »

I wasn't going to review this week because there are so many songs, but I found myself starting to write notes anyway so I could figure out who I wanted to vote for and before I knew it, I had committed to reviewing everything (I'm being a bit more brief than usual though, and this is all based on one or two listens each so I may have missed important things, sorry in advance if so).

Brother Baker: I'm sold on the kinda emo verse and the interplay between your two kind of exuberant messy vocals. I like the chorus as well, but I think I like it as part of a different song, I really have trouble reconciling the relationship between the two. The "bitter"/"better" wordplay is fun, reminds me of "Autobiography" by Sloan. I can't make up my mind about those barbershop backing vocals, I like them but they also seem a bit cheesy... either way, they kept me thinking about them later, so that's good I suppose.

Brown Word and the Big Whine: I like the heavy guitars, sounds totally awesome with the whistling melody going on, kind of Ennio Morricone-esque. The spoken word stuff works better for me than the delivery on the sung parts.

Duncan Martin: Great, goofy folk song lyrics, that first couplet is awesome. The musical setting feels very kid's song or novelty song to me, which I'm not very into, I would have preferred it as just a G&G and kind of a tongue in cheek 60's folksinger feel. I like the minor chord under "that's how it goes."

FireBear: This feels like it was over before it even started! Not a bad idea, but it doesn't seem fully formed yet. Has kind of a Kurt Weill/Bertolt Brecht feel for the first minute.

Glenn Case: The distorted guitars all sound great. I really love the "very bare minimum" melody. Good stuff.

The Gross Tones: I like glockenspiels. The song feels kind of jammy to me, would love to see the arrangement tightened up.

The Idiot Kings: Strong chorus melody, that's a really nice melodic hook. But argh, that "CON-tagious" grates on me every time I hear it. Just to revive the dead horse for a few more light slaps, I'll just say that I think you could have kept the exact same lyric and melody if you just shifted the phrasing a little so that instead of holding out "smiles" over two notes, you had "smiles" on one note, "are" on the next, and let the "ta" of "contagious" be emphasized and held over two notes, "SMILES are AS conTA-a-gious..."

JP Nickolas: Man I bet you can't wait for this metal challenge, haha. The guitar work is impressive as always. Vocals are generally a bit rough, I think you could have used a few more takes here, is it possible to approach your vocals with the same critical ear you use for lead guitar when you're settling on a take? The lyrics are conceptually cool but you definitely notice what you're doing with the rhyme scheme, I think I would have preferred something that felt a bit more natural, so breaking it up here and there or maybe doing a bit more as far as rhythmic flow so the end rhymes aren't all that same one.

Kamakura: I like the drums. Good contrast between the somber music and the "hakuna matata"... chorus lyrics. "Crazy as a box of frogs" is a good phrase but I think rhyming it with "passel of hogs" blunts the impact a bit. I think the COVID-19 lyrics are a bit unrefined, I would prefer to see it hinted at a bit more. The general feel of the song was very draggy and dirge-like to me without getting all the way into goth misery either, didn't really make me want to come back for more.

Lichen Throat: I like the spoken word stuff, as mentioned elsewhere I think your rhythmic flow on the spoken word stuff is natural and well paced. Great lyrics, "a poodle on every skirt" made me laugh. The sung parts need some work performance-wise. I'm not sure how well this translates to singing vs instruments, but for what it's worth, my guitar teacher always suggests slowing down parts as much as I need to until I can play them correctly and then slowly speeding back up, because you need to develop the physical sense of where you're going and not develop bad habits, and I think it's good advice.

Lunkhead: Great chunky guitar, what an intro. I like the 90's power pop/alt rock feel. The harmonies and high guitar parts you add in verse 2 are gorgeous, really nice touch. The verse melodies go in some unexpected directions, which I like--it's great where it goes up the higher notes. Nice! I almost forgot to listen to this one because it was added late and didn't go into the podcast episodes.

The Magnetic Letters: I love the saw, oh my goodness. Strong melody and interesting lyrics, especially considering it's February, not sure what to make of them. The bells or whatever that is are nice too.

Moody Vermin: I really love the drums/percussion on this song and the way the guitar part interlocks with them. Great dynamics, sounds lush where it opens up into the chorus and then unexpectedly sparse where everything drops out. There are some really nice moments in the vocal phrasing. Nice work, this is one of my favorites this week.

Moon Logic: Charming arrangement, nice delivery! I like the harmonies although I would have liked to have heard them a bit louder. Fantastic lyrics, especially verse 2. I think my main issue with it is that I didn't feel like the song had a lot of movement to it, I would have liked more movement or a strong hook to help carry the strong lyrics.

Night Sky: I like the structure of the lyrics, and the saxophone work is great. Really nice funky feel although it feels slightly low-energy to me, maybe speeding it up a few bpm or doing a few more different things arrangement-wise as you go through the song would help kick it up to the next level, or maybe it's just how the instruments relate to the groove.

orat0rical0rator: This is interesting, the music kind of feels like it was built by an AI that's been ingesting 80's and 90's TV show themes.

Phlebia: I like the MBV feel of the guitar parts--actually this kind of reminds me of Medicine more than MBV. I would like to hear the mix be a bit more in that direction, more effected and washed-out-shoegazey, I think it's all a bit too present and dry for that aesthetic, don't know if that was what you were going for but it's one direction I think could work. Nice melody, goofy lyrics (do you really say "paci"? I've never heard that).

Pigfarmer Jr: I like the structure where it picks up in the chorus and drops back down. Guitar sounds lovely. The chorus melody and rhythm don't quite seem to match up with the content of the lyrics to me--I think the feel of the music is kind of fun and the lyrics decidedly aren't.

seemanski: I love the way you phrase the verse lyrics, they mesh really well with the rhythm of the instrumentation. The chorus seems a bit weaker than the verse. I really like the lyrical content as well, too many songs for me to close read this time around so I think I probably wouldn't have even noticed what the song was really about if mo hadn't commented on it!

ShoehornTC: This is nicely done. I think there are other songs of yours that are a similar feel that stuck with me a bit more in the end. I did like the "screw the pooch" lyric, that stood out.

Sly Eli: I really enjoyed the progression and melody; nice performances, and I liked the instruments you chose, that toy piano thing and the drone synth were lovely touches. The music doesn't feel like it really matches up to the lyrical content to me, which gave it a bit of a jokey feeling to me that I don't think it was intended to have. The solo and the key change or whatever coming back out of the solo felt a bit awkward to me. edit: just finished writing this review and realized the melody/chords in the "gangster" parts remind me really strongly of "Love Is On the Way" by Saigon Kick, haha.

Sumner Sloane: OK, the verse melody in this one reminds me heavily of "Complicated" by Avril Lavigne. Not the chorus, which I think has a nice progression. It's a nice strong melody but something about the harmony and arrangement kind of reminds me of a TV theme song, which I don't know, maybe you were going for. The lyrics are great, a nice vivid list of contrasts.

Sweeney Toad: Enjoyed the verses ok but the chorus(es) didn't really click with me, they felt like filler. Nice punchy beat although it kind of hurt my ears coming on right after Sumner because I'd turned up the volume, haha.

thanks, brain: Your vocal sounds really nice and warm, nice gentle arrangement, this has a 70's singer-songwriter feel. I like that loop sound. I think I'd like a bit more variation on that one piano arpeggio part, it sounds a little canned after a few repetitions--when it's a really stripped-down arrangement like this, it's hard not to overthink each part as you're listening.

Timtomflufken: I love that call and response riff, it's fabulous. This grooves along nicely and the echoey "better days" vocals have a bit of a psychedelic feel. The piano is subtle but a nice touch in the arrangement, it really elevates it. Nice solo, I like where it goes up to those higher notes. This was another of my favorites this week and I'm not just saying that because the band name makes me laugh every time I see it.

Venison Rebels: That sax intro is so nice. Lovely vocals. I was in a Cranberries tribute band one Halloween and I don't get a Linger vibe from this aside from that one little part in the chorus, the general groove and vibe are quite different IMO, but I don't know if this is one of those things where I was too close to it to be able to judge? Personally that "dumpster fire" line actually reminds me more of the "sun shines through the rain" line in "Eternal Flame" but again the feel of the song overall is quite different. Solid performances all round and a nice mix.

Walrus Volcano Banker: This is us, I'm pleased with how it came out and it was fun getting to do the instaband thing with three super talented musicians! Definitely different from how I would have ended up arranging it solo (I had imagined more of a crunchy power pop kind of thing with a driving beat originally) and I think the alchemy of what you end up with is part of the fun.

Wimpy Piano Boy: This is really lovely. Beautiful piano and vocal performances. I think in less skillful hands, that melody and piano part could have sounded too simplistic, but you sing and play so expressively. The lyrics are nicely crafted, I like the whole camera scene. Another of my favorites this week.
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Re: Come on, Pa! Tell me about those (Better Days Reviews)

Post by Duncan »

owl wrote:
Mon Feb 08, 2021 6:42 pm
Duncan Martin: Great, goofy folk song lyrics, that first couplet is awesome. The musical setting feels very kid's song or novelty song to me, which I'm not very into, I would have preferred it as just a G&G and kind of a tongue in cheek 60's folksinger feel. I like the minor chord under "that's how it goes."
Thanks for the reviews everyone. Owl, I agree about trying for something other than the novelty song. I must say the subject matter makes it a tough sell as anything but a novelty song, but maybe a straight-faced folk sound or goofy Phil Ochs delivery could work.
Something to try when the band can reconvene one day. Can I ask what G&G is? I googled it and all I could find was this long list of incorrect answers: https://www.allacronyms.com/G%26G
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Re: Come on, Pa! Tell me about those (Better Days Reviews)

Post by jast »

Duncan wrote:
Mon Feb 08, 2021 8:00 pm
Can I ask what G&G is?
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Re: Come on, Pa! Tell me about those (Better Days Reviews)

Post by owl »

G&G = Guy or Girl + Guitar

Yeah “straight-faced folk sound” is basically what I was trying to say.
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Re: Come on, Pa! Tell me about those (Better Days Reviews)

Post by slyeli »

owl wrote:
Mon Feb 08, 2021 6:42 pm
I was in a Cranberries tribute band one Halloween and I don't get a Linger vibe from this aside from that one little part in the chorus, the general groove and vibe are quite different IMO, but I don't know if this is one of those things where I was too close to it to be able to judge?
I probably should have been more specific with my "Linger" comments. It was the chorus I was referring to. They're clearly very different songs, I just noticed some similarities in the bass line, the chord progression and little sections of the melody which gave it a pleasantly familiar feel.
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Lunkhead
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Re: Come on, Pa! Tell me about those (Better Days Reviews)

Post by Lunkhead »

orat0rical0rator's music really reminds me of Bill Wurtz https://www.youtube.com/user/billwurtz
Maybe crossed with Carol Cleveland Sings https://carolclevelandsings.bandcamp.com/
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Lunkhead
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Re: Come on, Pa! Tell me about those (Better Days Reviews)

Post by Lunkhead »

Walrus Volcano Banker wins! Instant bands did well overall, with Venison Rebels tying Wimpy Piano Boy (who's actually a long time highly successful fighter under a pseudonym) for second. Glenn Case came next followed by the rest of the pack of instant bands. Yay instant bands!
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mholland
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Re: Come on, Pa! Tell me about those (Better Days Reviews)

Post by mholland »

Congrats, Walrus Volcano Banker! All in all the best vocals came out on top!
Night Sky is Sally on lyrics, Steve on drums, and Matt on the other stuff
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Duncan
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Re: Come on, Pa! Tell me about those (Better Days Reviews)

Post by Duncan »

Well deserved! -- congratulations WVB
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Re: Come on, Pa! Tell me about those (Better Days Reviews)

Post by Caravan Ray »

Lunkhead wrote:
Wed Feb 10, 2021 8:54 pm
Walrus Volcano Banker wins! Instant bands did well overall, with Venison Rebels tying Wimpy Piano Boy (who's actually a long time highly successful fighter under a pseudonym) for second. Glenn Case came next followed by the rest of the pack of instant bands. Yay instant bands!
Yay!! High five team!!!
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