Review Away (Ran Away Reviews)

Discuss upcoming, current, and previous song fights.
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Billy's Little Trip
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Post by Billy's Little Trip »

Project-D wrote:after all there's only so much a person can do, and in a week no less. I think there are a lot of songs though, that could go from merely good, to kick-ass with just some minor detail tweaking like that.
I've often thought how great it would be to exchange songs with like minded members before submitting them to get them critiqued first. I know in my case, after recording and mixing, I may be focusing on one thing and missing others. My ears get tired.
Plus, I'm usually doing a final mix hours before the deadline, so that doesn't help much, lol.
SteveHandPuppet
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Post by SteveHandPuppet »

This week seems to be well below average.

The following fell below the Mendoza line:

Nocturnal Emissions: Wake up, dude.
Supraliminal: yuck.
My Chemical Blumpkins: dumb lyrics, and mimicking the Lame Du'jour is not going to fly, I'm afraid.
Luke Henley: ick. Is this even music? I'd rather listen to Don Henley. It's THAT BAD.
Sheail Second Half dance/electronica/techno is not acceptable in my book.
Destruction Enterprise: Useless as tits on a boar hog.
Freddie Love: Useless as a first base coach.
Satin Tails: Useless as a goddamn football bat.
Phunt You Friends: No.
Kerosine Martini: I don't get it.
Ghost Riders: nope.

MC Eric B is the Mendoza line.

The following weren't totally horrible:

Klownhole: Standard Klownhole fare.

Ben Foxworth: I do like the French wordplay, and the basic recording, performance and mix is good enough. But muted acoustic strumming only goes so far in my book. Decent solo bit and backing vocals help break this up, but it's just too basic for my tastes.

Mailbox: I'm not saying this to be an A-hole, but I just can't figure out who actually likes this kind of music. Reminds me of a Ramada Inn Excelsior Room or the kind of mid-70's lite FM snoozers that made punk rock necessary.

db Collective: Genre exercise that gets old pretty fast. Technically ok, just not listenable.

Wages, etc.: The various pieces seem rather sloppily put together, not tight at all. The bass drum is lost, totally lost. There's some OK performances here, but overall it's schizophrenic. At this pace and length, it's rather tedious. It needs some reason fairly early on to bother listening to the rest.

Sheail: First Half Decent fingerpicking and well recorded and mixed. The electric guitar line and production tricks and effects helped spice this up. But then it all goes to shit.

Ham No Burger: I-----ay, ju----ust do------n't thi------nk mu-----ch o-------f the---- wa------y e-----ve------ry vo-------we----l ge------ts dra-----wn o----u-----t. Predictably, the synth wash and obviously programmed drums are big strikes in my book. Really not my thing. Technical production is alright, though.

These were reasonably good:

Signboy: Gets points for being the only entry to go the Helen of Troy route. I'm not really a fan of the industrial sound, but technically this seems to be well put together. Drums are a bit robotic, but I suppose that's par the course for this.

My Clam: HBoYaW? Not quite. There's some nice guitar bits (not just strumming cowboy chords). Good tracking, performance and mix, but there's not much of interest in the actual songwriting department IMO.

Weakest Suit: I'm probably being a bit generous with this one. It's kind of by-the-numbers guy-beating-the-crap-out-of-an-acoustic, but there's a few hooks that I derived some small amount of amusement out of.

These were better than good:

Melvin: The "oh yeahs" at the start detract from an otherwise zippy and catchy Melvin tune. Everything else is nice and tidy. I like the mix: all the elements are well defined and not in each other's way. While not necessarily my favorite Melvin song, it's one of the highlights of the fight (as usual).

Monte Carlo: This has the kind of adventurousness that I appreciate in music; it certainly takes its chances and refuses to play it safe. This time around, I think it mostly works. Great guitar work. Technically it's not as clean and polished as many of the others, and sounds like it is mostly a live performance with overdubs.

The Sober Irishman: Great performance and a fun overall sound. The drums drive me nuts, and almost kept this out of this category, but the rest more than makes up for it. Good tracking and mix, too.

It's really a toss-up between Melvin and Monte Carlo (again).
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chris
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Post by chris »

the sober irishman one is so good. one of the best songs i've ever heard on songfight. way to go yo.
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Sober
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Post by Sober »

Ben Foxworthy: There's something appealing in the ultra cheesy pronunciations and overly Blinkish feel. If you got a full production together and put some balls into your vocals, you could probably be a mega pop punk force on Songfight. The solo rhythm is all over the place.

Db Collective: There are a lot of plosives going on, put a pop blocker on that mic, sing into the mic off-axis and to the side a touch, or back off the mic a bit (which you might not want to do since it sounds like you're using a dynamic mic). As for vocal performance, you're not singing from your diaphragm. Maybe you were trying to keep the volume down to keep from disturbing roommates, etc., but it ends up returning a lifeless and very unprofessional sounding delivery. Also, for authentic operatic diction, you shouldn't use diphthongs and the whole word should be taken up by the vowel (i.e. sing "iiiiiin" instead of "innnnnn"). The production is as expected for midi, but that doesn't have to be the case. Stereo expansion, reverbs, compressors, etc., can all add life to a mix.

Destruction Enterprises: Please spend more than $5 on a mic if you plan to do something other than chat with your guildmates with it. The stock-ass patches you are using are wretched. Find some better patches or at least put some serious work into the ones you have. No legitimate structure to the song.

FreddieLove: I know the track is muddy by design, but you gotta have something to offset that. An even breathier vocal tone with 12-16k kicked up by like 6db and reverb on just that high shelf would sound completely kick ass and give this a lot more atmosphere. Not overly impressive or technically great, but definitely an enjoyable listen.

Ghostridaz: The first rapper is mediocre, and his vocal tone doesn't work. The hook is alright. The second rapper isn't technically impressive, but has a solid vocal tone. The overall mix could use more punch, do some tweaking with multiband compressors. Better than most rap on Songfight, which isn't saying a whole lot, but it's something. Now you just gotta start rapping about Star Wars conventions and make your beats more ridiculous and you'll be superstars in no time.

Hamnoburger: HE IS RISEEEEEN. Or Phil Collins. More reverb on the snaps, that'll up the cheese factor nicely. I love your pronunciation of 'away' and most of your ending words, it is intensely Metallica (proceedehyid). Gloriously tasteless guitar solo, oh! and what a perfectly awful 80's way to end a song.

Kerosene Martini: Turn everything down, and maybe I'll listen to more than 15 seconds of this.

Klownhole: The vocals are far too intelligible. That completely kills the authenticity of this. Maybe run them through guitar rig or amplitube? The dying siren or whatever sample is perfect, and I love what you do with the pitch shift on it. The track is brilliant, everything is perfect and exactly where it should be, the vocals just aren't hitting the g spot. Of my ear. I guess. Also kinda long for not having a 3-minute guitar solo, which actually would have been cool if it was Maiden-level epic.

Luke Henley: The truly aggravating thing about this is that it sounds like you have genuine potential, good voices and melodic lines. Instead of doing something real though, you submit this dickfart bullshit. Come back with some substance or go away.

Mailbox: This is very Ken. The bass is terrible. It sounds like the first chord in what is guess is the chorus is clashing, someone's hitting something wrong. Are the drums real? If they are, the capture is fantastic. Intensely Ken.

MC Eric B: Image

I mean, do you realize you sound like this? Have you seen the movie? You are Kip singing Always and Forever. If this is conscious and intentional, at least up the dork factor even more to make it clear.

Melvin: How many mics are on your kit? Because the only thing that sounds close is the hat. Maybe move some things around or just add more mics. I might bring the bass down a tad and add a little more low-mid to the guitar tones, both channels. Maybe a little more crunch to them as well, but it's your song, not mine. Great performance, great writing.

Mike Lamb: The writing and vocal style feels a little like Flaming Lips, which is cool. Definitely needs more than guitar and voice, and you definitely need an interface to cut back on that bus noise.

Monte Carlo: There's not enough going on in the right channel to offset the sharp guitar in the left. The whole mix is very washy, which I realize is a device of the genre, but everything needs to be simpler and tighter for it to be really effective. I also think your reverb plugin is producing some artifacts. Try a couple different ones and see if your sound is cleaner.

My Chemical Blumpkins: The kick and most of the guitars are completely lost in here. Back the vocals off a bit, unless you want it to sound like a pop record. Mix definitely needs work.

Nocturnal Brothers: Guitar noodling and low vocal croaking with bad bass playing does not a song make. Tune your instruments, get a bass that doesn't sound like complete ass, and generally wake the hell up.

Phunt Your Friends: Maybe you had fun.

Satin Tails: OH NOES THE BRASS PATCHES. You must never use brass patches, especially for a solo. Oh wait, that's all this is. The organ playing is pretty bad.

Sheail: Not a fan of the synths poking their way into the otherwise organic intro, but once it's over, the transition is alright. Doing techno stuff is fine, but for the love of god never do that synth snare roll thing unless you want to be instantly identified as gay techno. If you want roll something, roll the bass. Not much songwriting going on.

Signboy: Truly trashy guitar tones. Don't know about the 80's square synths. Do less singing and more yelling, it'll fit the style way better, and girls will think it's hot. Definitely one with more potential.

The Sober Irishman: I've started using many many high-end plugins, which kills my cpu. I was having to bounce like a maniac, which I think really hurt my mix in the end, since I have no experience with the practice. I also didn't give myself as much time as I wanted, which gave me shoddy vocal takes and a less than optimal mix, I feel. Thanks for the comments so far. *oh, and I guess people think this sounds "french" because of the title, but I was going for, and I think I captured, a latin feel. Meh.

Supraliminal: Do you mean 'superliminal?' As in, the opposite of subliminal? Or like do you drive a toyota supra? You sound like the kind of guy who would drive a supra. Your rapping is obviously terrible, but beyond that, some variation in the beat will make you seem less like a tool than using the same 4-measure loop for 3 minutes. Also, some compression on the mix to give it some punch would be good.

Wages + homies: The bass tone and performance is terrible (and panned, which is a no-no for all but the most advanced special-purpose mixes), I have no idea what's happening with the kick drum rhythms, and the guitar playing is really bad, too. The key is much too up front in the mix. Add some pre delay and throw it a little to the right. The vocal quality is good.

The Weakest Suit: Muddy mess. You are not good enough to do the solo guy & guitar thing.

Overall, Songfight hasn't changed much in the year or so I've been sitting out. Still a lot of people dicking around. Still a lot of people with some work to do, who may or may not ever do it. Still one or two people who know what they're doing. I honestly think Melvin, Klownhole, and I are the ones to look at. Cheers, gentlemen.
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Egg
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Post by Egg »

The Sober Irishman wrote: Supraliminal: Do you mean 'superliminal?' As in, the opposite of subliminal? Or like do you drive a toyota supra?
I don't know if this is a serious series of questions, but I was just working out the differences between these prefixes the other day. Here is a serious answer.

Super means greater in a sort of actual/literal sense. A superman can just be a really really good man (we have the insider knowledge to know that the Superman is actually not a human, but Nietzsche's superman is just an uber dude). Supra carries a connotation that requires things to be sort of on a plane above the super or normal versions.

This difference is well-exhibited in the attachment of these prefixes to the word nationalistic. An organization that is supernationalistic is really really nationalistic. An organization that is supranationalistic is dealing with issues on a global/universal(?)/divine(!?) scale that transcend nations and national boundaries.

Supraliminal is very much opposed to subliminal, so you are very right about that! When something is liminal, it is on the bottom edge of our ability to detect it. Something that is superliminal would sort of just be verymuch on the bottom edge of our ability to detect it. But something supraliminal is just off the top edge of our ability to detect it.

That could be like low frequencies are subliminal and high frequencies are supraliminal. Or maybe it's less literal, and subliminal things are below our notice while supraliminal things are sort of divine/unreachable notions that are above our ability to detect.

I don't know if the person(s) involved in that project drive a Toyota (<<palindrome!)).
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Mendoza line

Post by MC Eric B »

SteveHandPuppet - I googled The Mendoza Line and understand it now, but just to be clear, is your review saying I am the worst of all the entries this week, or are you saying I am better than the 11 other bands you mentioned that were "below the Mendoza line"? If it is the latter, I am fine with that :) .

[quote="SteveHandPuppet"]This week seems to be well below average.
The following fell below the Mendoza line:
Nocturnal Emissions: Wake up, dude.
Supraliminal: yuck.
My Chemical Blumpkins: dumb lyrics, and mimicking the Lame Du'jour is not going to fly, I'm afraid.
Luke Henley: ick. Is this even music? I'd rather listen to Don Henley. It's THAT BAD.
Sheail Second Half dance/electronica/techno is not acceptable in my book.
Destruction Enterprise: Useless as tits on a boar hog.
Freddie Love: Useless as a first base coach.
Satin Tails: Useless as a goddamn football bat.
Phunt You Friends: No.
Kerosine Martini: I don't get it.
Ghost Riders: nope.

MC Eric B is the Mendoza line.
SteveHandPuppet
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Re: Mendoza line

Post by SteveHandPuppet »

MC Eric B wrote:SteveHandPuppet - I googled The Mendoza Line and understand it now...
You had to Google "Mendoza Line"??!?! Do they not teach ANYTHING in schools these days?

SHP
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doorite
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Post by doorite »

The Sober Irishman wrote:


Ghostridaz: The first rapper is mediocre, and his vocal tone doesn't work. The hook is alright. The second rapper isn't technically impressive, but has a solid vocal tone. The overall mix could use more punch, do some tweaking with multiband compressors. Better than most rap on Songfight, which isn't saying a whole lot, but it's something. Now you just gotta start rapping about Star Wars conventions and make your beats more ridiculous and you'll be superstars in no time.

















my vocal tone doesnt work? like cant hold a job? cuz if im making sound, then it works fine , i think, lol. thanks for the feedback , some people dont like my voice, but i even it out by not liking their typing.NO star wars conventions in my raps , thank you, but , uhhh, good idea ? and i think mumbles voice is technically sound and i guess being impressive is a matter of what ear is receiving you. thumbs up.
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melvin
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Post by melvin »

The Sober Irishman wrote:Melvin: How many mics are on your kit?
Thanks for the mix tips, Sober. Here's my situation with drums:

I have a maximum of four inputs on my computer (Delta 44 soundcard). I have one decent condensor mic, which I've just been sticking in front of the kit to capture its overall sound. I have an SM57, which goes on the snare. It tends to get some hi hat bleed, so perhaps that's why the hat sounds close. Finally, I have a chinese SM58 knock-off, which I stick on the kick. So I've got one unused mic input. Mix-wise, I've been adding some compression and EQ to the room mic, then bringing up the two close mics as needed. I've read tons of stuff on the web on how to record drums, but none have addressed my specific hodgepodge of gear, so I'd love to hear any advice you have to offer.

Note: For We Were Not Meant To Be, I bypassed the limitations of my recording set-up by tracking a close and room mic of each drum and cymbal part... individually! I think it sounds great, but it was tedious as hell!
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Kill Me Sarah
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Post by Kill Me Sarah »

The Sober Irishman wrote: The bass tone and performance is terrible (and panned, which is a no-no for all but the most advanced special-purpose mixes),
I realize you are infinitely smarter than I am when it comes to mixing but this baffled me (unless I'm just misunderstanding you). Everything I've ever read has said to pan guitars and bass slightly, relative to what their actual position would be on stage.

Also, I take the blame for all kick drum/mixing complaints. And aside from a little pitchiness here and there, I honestly don't understand people aren't floored by some of Wages vocals here.
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Post by The Weakest Suit »

...
Last edited by The Weakest Suit on Mon Jun 18, 2007 5:38 am, edited 1 time in total.
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Post by bz£ »

Kill Me Sarah wrote:Everything I've ever read has said to pan guitars and bass slightly, relative to what their actual position would be on stage.
Maybe that's a workable strategy for guitar, but the bass you want dead center (or within a few percent). Here's the thing. The frequencies that are coming out of your bass guitar are low enough that the human ear can not tell what direction they are coming from. (This is why you only get one subwoofer, too.) If you pan the bass significantly it is confusing to the ear. Harmonics, distortion and slap sounds are all high enough to be directional but you want those all coming from the same place as the fundamental. Otherwise, again, you get that ear confusion thing.

Another reason is that the bass (plus the kick drum, which is in the same general range) is kind of like the backbone of all rock music. You need these to be a solid foundation, right in the center of your mix. Again, a few percent panning to one side or the other isn't going to hurt either of these sounds but if you can tell that they aren't centered then you probably overdid it.

Sober's term "advanced special-purpose" is pretty accurate. Just assume that there is no good reason to play around with panning the bass, because you'll probably never run into a situation where you do need to consider it. And I'm not saying that to be patronizing-- I've never needed to do it either.
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Sober
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Post by Sober »

Bzl's right on. You probably heard the 'pan everything as if you were watching it in front of you' thing somewhere, and that's fine to an extent. That theory comes from the 60's, though, when stereo was still new and exciting. Following those ideas today will give you an unprofessional sounding mix (not vintage, because there's a whole lot more to vintage mixing than the panning).

If you want to have a live sounding mix, then you can look at what pro live mixes generally have. Kick, snare, lead vocal, and bass are generally right in the middle. The only things that really get panned out are the guitar, keyboards, backing vocals, and assorted drum stuff. Funny enough, that's what most pro studio mixes do. Studio mixes just put a whole lot more effort into it from there.

The purpose, to me, of the stereo field is to make a mix bigger. This (again, to me) is accomplished not by actually panning things and being done with it, but by expanding individual instruments. This can be done by doubling the instrument, actually playing everything twice or more and panning those tracks (very effective with guitar), using comb filters to spread something, or using a stereo enhancer plugin.

On my track this week, for example, the guitar is played in twice and each track is panned out. The organ is a mono capture turned stereo by the leslie speaker simulator. The drums are a stereo capture from my motif that I didn't mess with at all. The vocals are panned only slightly, with careful attention to have things balanced and complementary. The piano on the 2nd verse uses a Waves stereo enhancer. The master uses a little of ozone's stereo expansion as well.

I think the main point here is balance. If you pan a guitar left, something in the same rhythmic groove and timbral area must be in the right (i.e. guitar+guitar, guitar+keyboards, NOT guitar+percussion or guitar+solo flute).

When thinking stereo, think about the Force. Balance, there must be.

I may post this in Help and How to if enough people find it helpful.
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Post by Sober »

melvin wrote:I have a maximum of four inputs on my computer (Delta 44 soundcard). I have one decent condensor mic, which I've just been sticking in front of the kit to capture its overall sound. I have an SM57, which goes on the snare. It tends to get some hi hat bleed, so perhaps that's why the hat sounds close. Finally, I have a chinese SM58 knock-off, which I stick on the kick. So I've got one unused mic input. Mix-wise, I've been adding some compression and EQ to the room mic, then bringing up the two close mics as needed. I've read tons of stuff on the web on how to record drums, but none have addressed my specific hodgepodge of gear, so I'd love to hear any advice you have to offer.
Yeah, that's a tough job. With four inputs, the prescribed studio capture would be two condenser overheads (preferably small diaphragm, though large ones like the c414 are still very popular), a 57 or similar mic on the snare, and for god's sake a real kick mic on the kick. The audix d6 is cheap and it completely kicks ass as a rock kick mic. You can probably get a Guitar Center monkey to knock it down closer to $150 if you don't already have a guy.

With that 4-point setup, you'd have a pretty decent capture. It's good that you're a competent drummer, because edits would be tough in that situation.

With your current setup, I would probably try out have the condenser directly over the drummer's head by about a foot and a half. That'll pick up your cymbals and hat nice and crisp, and you won't lose your toms as much as you are right now.

The snare. I'd try to keep that as isolated as possible. Maybe have the mic come in from the floor tom side rather than the hat side. Maybe mic the underside of the snare. Move around and see what gives you a cool sound with the least bleed.

The kick.

Image

That's the sm58 frequency response. Your knockoff is probably a little worse. That means you really have to get crazy with eq and compression on that mic. The amount of low-end boosting you'll have to do will add noise to your mix, so you'll have to find the happy medium between noise and crappy kick. That d6 would completely change your sound and push you so much closer to a true pro sound.

For the mix, with that setup you should be able to rely on the kick and snare much more heavily rather than relying on your room mic like you are now. Bring those two way up, and use the overhead just to fill in and give us a taste of those tops. Cut the lows and mids on the overhead and try to get some blankets or something on the walls to cut down on verb.

You're getting an ok sound for the pitiful setup you've got, so kudos for that! Your next investment should absolutely be the d6.
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Post by melvin »

That's very helpful - thanks Sober. I should definitely get off my wallet and buy a proper kick mic. Stay tuned....
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Post by doorite »

melvin wrote:That's very helpful - thanks Sober. I should definitely get off my wallet and buy a proper kick mic. Stay tuned....
whats a mic, lol
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Post by Billy's Little Trip »

doorite wrote:
melvin wrote:That's very helpful - thanks Sober. I should definitely get off my wallet and buy a proper kick mic. Stay tuned....
whats a mic, lol
More than one mouseezez.
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Reviews.

Post by Freddielove »

Ben Foxworthy

The food item list is unnecessary. The “now that your with another guy” line is catchy. Backing vocals are nice.


dB Collective

I guess this is French, no English. I can't tell, I guess it doesn't matter though. This is miditastic. Like light opera on a casio.


Deconstruction Enterprise

Oh. I guess someone was bound to take this angle. Poorly made, yes. At least it is short.


FL

Something put together in an evening to test out some new equipment, so not mixed, mastered, blah blah. Deserves about one vote.


Ghost Ridaz

Ha, DJ Screw intro. Ok, lose the spoken word thing, it sucks. Like the backing track, don't know if it's yours or a stock loop though. The rapping is ok. Nice hook on the chorus. I gotta tell ya I like the gotta tell ya part. This could be shorter, especially without any breaks. Not bad. Except the ending.


Hamnoburger

Ew, this is starting out too We network inspirational sounding, or at least what I imagine it sounding like. Work on holding a pitch, you're singing flat, which in a song like this that takes itself seriously is doubly bad. Could have been a When in Rome B-side from 1988. Is that a midi guitar solo? Epic. Well played though I can't tell if its a guitar or keytar.


Kerosene Martini

Get a pop screen, re-record, really, that's horrible. Could be good otherwise. Nice vocals and harmonies and a nice swingy vibe. I can't get past the bad recording. Ok, the kitten thing isn't funny. And pointless.


Klownhole

I never really have anything to say about your songs. And I doubt you care anyway. At least this is funny. Not knowing how to finish a line and just saying “yeah!” is hilarious.


Luke Henley

Long.


Mailbox

Best production of the group so far. Nice chord changes with Rhodes. Bass a little weak. Guitar solo fits well, not over the top or anything. Well played drums. Everything is here, though not especially memorable. Nice listen though.


MC Eric B

Tre Francais. Sounds a bit like TV's Kyle. Singing needs work.


Melvin

Aw yeah. Like it so far. Best thing I've heard yet. Love the high note on “sea”, reminds of the way Chris Martin's voice breaks at ever the right moment, makes me think you carefully planned the key so you could get that just right. That's detail. I should check to see if it's on something weird like A# or something. Nice chord changes through the chorus, different, but they don't sounds academic. Drums a bit plodding, I think you addressed this though.


Mike Lamb

I am expecting this to be Eagle Eye Cherry, ok its not. Not really holding any interest. With G n G, you have to have a really strong song.


Monte Carlo

Love the opening guitar chords. Cool tone. Sounds Arctic Monkeys inspired. The vocals are bit too laid back for that though I guess. Nice harmonies. The French is ok, be nice if it just wasn't repeating the main vocal line though. Like the way the drums are recorded, the solo is sloppy. Worth hearing more from you guys.


My Chemical Blumpkins

Decently recorded and produced. The screaming in the background is too emo for this song. Good guitar work though. Now the screaming is just comical.


Nocturnal Brothers

Hmmm.... mumblecore. Like C Hack on ludes. Compelling voice, if a bit tired sounding. Interesting.


Phunt Your Friends

Here we go again. Lets see where this goes. Kid A meets Red Riding Hood. La la, funny.


Satin Tails

MIDI brass instruments will always be ridiculous.


Sheail

Nice melody to start. Ok, now it went all Pete Tong. I don't get it. Like a '99 remix of Simon and Garfunkel.


Signboy

Wow. Cool start. Reminds me of something, don't know what though. Some brit rock or other. Not digging the vocals. The chorus lyric is lazy. Guitar work still rules. Wish the rest of the song could equal it.


Sober Irishman

Ha, someone has been practicing the guitar and want everyone to know. Love the way the organ comes in at the chord change. Nice work with that. Great rhythm change as well. Great stabs in the solo. Well put together song. Good to hear you again, and good to see you grown.


Supraliminal

This was cool for 5 secs. Then you started rapping.


Wages Feat. Kill Me Sarah and Signboy

Good voice in that grunge way. You need to use that more to your advantage. The drums in the chorus, is that a kick, they make no sense. this needs variation and I don't think its going to happen. Ok, some keyboard just in time. Now the drums are not even in synch. Please fix this. Could be shorter.


The Weakest Suit

Some cool ideas here, they need more work to fill them out. One of those songs I can hear with more instrumentation and better production. Though it would be interesting how you handle the time sig changes.


Good.

Mailbox
Monte Carlo


Really Good

Melvin
Sober Irishman
Everything But the Girl but without the scary big chinned woman

- Furrypedro
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Billy's Little Trip
Odie
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Post by Billy's Little Trip »

I don't get it. Has Sober Irishman been a prick in the past and people want to rip on him?
He CLEARLY has the best song this round (no offense Monty Carlo, very good song) and I don't understand the carnage.
Someone please enplane it to me.
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Spud
Hot for Teacher
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Post by Spud »

BLT, I don't understand your comment, so I went back and read every review of TSI in this thread, and while Sober has been known to be a dick now and again, most of these kids are too young to know it, and there wasn't a bad review in the bunch. In fact, most were kudos of one kind or another.

Your turn to splain, unless you're talking about the voting, in which case - you don't take that seriously, do you?
"I only listen to good music. And Octothorpe." - Marcus Kellis
Song Fight! The Rockening
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Billy's Little Trip
Odie
Posts: 12007
Joined: Mon Nov 13, 2006 2:56 pm
Instruments: Guitar, Bass, Vocals, Drums, Skin Flute
Recording Method: analog to digital via Presonus FireBox, Cubase and a porn machine
Submitting as: Billy's Little Trip, Billy and the Psychotics
Location: Cali fucking ornia

Post by Billy's Little Trip »

I don't even know the guy, but maybe I was feeling defensive for him.
It seems that I was reading nit picky things here and there that I felt weren't merited. Could be the booze too, lol.
It's one of the first songs in a long time that I just really didn't have a bad comment about. Very well done, top to bottom.
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Freddielove
Somebody Get Me A Doctor
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Post by Freddielove »

Meh, the best song wins about half the time. Sober, and CCS for that matter, got robbed on this one.

http://songfight.org/songpage.php?key=cold_sweat

If you make a good song, and you're happy with it, then there you go.
Everything But the Girl but without the scary big chinned woman

- Furrypedro
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