Might as well call this a review thread, I guess. (HBFY)

[Paco Del Stinko]

Quick comments. I listened to the fight many times. I must state that I'm (generally) a very patient man. As always, feel free to ask for clarification and elaboration.

Berkeley Social Scene - Some later era Rush type keyboards might actually work here during the pre bridge section. I hear something there which might be implying that, but it doesn't have the bite or soaring feel that I refer to. Anyway, good playing all around, lyrics are decent, and sounds good if indeed not as bright as other songs of yours. Tuned out at 4:15

Billy & The Psychotics - Pick up your recording pace, yo yo yo. I would have loved to have been part of this one. No idea what I could have contributed to it but would love to have been part of the psycho funk fest, creepy and menacing while still pounding face. Denise is loose but nice and reckless feeling too. Lacks hookage but hardest rocker of the fight. Tuned out at 2:51

Dejected Motives - This is, as mentioned, a muddy mess. But I think that even if it were easier to hear, I would be put off by the auto-tune vocals. Other than an occasional effect for 'modern' music, they are a lame crutch. No idea what you're singing about either. I read your pre-emptive apology and while I understand where you're coming from, agree with JB. Song meanders too long anyway. Tuned out at 8:41 (once) 4:55 three or four times.

Dirge & Sara - This is fine but could benefit from a different arrangement. I love wah and agree with your comments and other reviews that it's too much. A clean, picked pattern after the lead would be a nice change up. And during the lead, how about keeping the wah, with a more solid supporting guitar? Dun-dunt...dun-dunt would be more effective. A wetter vocal and some supporting vocals would be nice as well. Decent tune, dark, a bit undercooked. Tuned out at 3:49.

Faight From Fire - It's driving me crazy that I can't recall the song that the main melody here is a near exact copy of. An old classic from the 60's, I'll mention it when it comes to me. This could be whittled down some. Fewer lyrics, less of the repetitive descending progression, and what's with the cartoon voice? It's a good start as far as trying to include varied textures go, but again, could be better arranged. Tuned out at 4:23.

The HATE Noise featuring Mean Gene Goatee - This is energetic and well crafted. The vocal delivery is on the money and easy to undertand. I agree that things are too 'PC' nowadays, but hope this is tongue in cheek social commentary and not some would be gangster shite, or legitimate gay bashing. For your sake. I'm neither shocked nor offended, just saying. Again, very well crafted. Tuned out at 2:50.

Ken's Super Duper Band 'n Stuff - Psyched to hear a heap 'o Ken. A favorite progression of mine, I now have to wait longer until I can use it. Thanks. I like the easy-going pace here, but wonder if just a couple more BPM faster wouldn't have hurt. I dig the bass riff/hook but would also like to hear it maybe alternate every other time, or even have a 'set' for each verse, a different hook for each line. Great defintion on each instrument, sonically. Is the Beatles melody at the end intentional? Tuned out at 3:11.

Klownhole - Ha! Not everyone turned up for the last jam, eh? I'd have played bass for you if I were 3000 miles closer. The lead vocal is a bit self conscious and doesn't turn balls inside out like Klownhole should. Good foundation here, good heavy riff if you ditch/re-play the more noodly lead guitar. I don't understand where the Sweden bit comes from but it's goofy fun the first time. Tuned out at 3:04.

Monkey Touchers - This is too self consciously crazy, deliberate and more about trying to state who you are than making a song to the title. Not very fun either. I'm not impressed or wowed by fake craziness. Any professioanl help you may require, as suggested, should be musically directed. Tuned out at 2:39.

Paco del Stinko - I found some drum out-takes of mine and made my lame concept fit the drums, I must confess. This would account for the "it just...ends" comment above. Tuned out at 2:41.

Pigfarmer Jr - Yeah, nice try trying to cram a new line in here to fit the song into the fight. File it away and do a new one. A scruffy demo at best, its strongest feature is the energy of being new, to you anyway, and a who cares attitude. It's not bad, just needs more effort. Tuned out at 2:09.

Shambles Square feat. MC Heapey - I enjoy the synth sounds here best, from the temple scrunching squeezy tone at the start to the slide whistle sound that should annoy but manages to escape punishment somehow. J$ is too far back in the mix and while I find the main voice somewhat pleasant, and the lyrics containing some good lines and commentary, I am still hoping you'll try some melody next time. Glad you made it into the fight, though. Tuned out at 3:03.

Signboy - I like the fat, excuse me, phat, bass. Female voice is nice and while coldish, softens things up nicely. Love the Great White North angle and was that really a frozen clam going by? You could've turned the "cold don'tcha know" into a mob chant under vocals, maybe fun. There are enough sections in this song where it doesn't feel as long as it says it is, yet doesn't stray far from it's main direction. Glad you made it into the fight. Tuned out at 3:10.

The Sportswriters - This is probably the strongest song of the fight, although I am a bit skeptical. Is the end line, tying it all together brilliant, or a bit of luck for being a line in a song already composed prior to the fight? I enjoy stories like this and from that perspective, so well done, regardless. The voice is borderline off key at times but the guitar playing is excellent. Production-wise, the keys are fine, maybe they need to be softer and dreamier, in a fog. The voice sounds like it was recorded in the bathroom of a giant tin can. Tuned out at 2:53.

Tye Lemery- This is a nice song suffering from production that's too gentle, although that is secondary to writing. It could benefit from an edit, perhaps keeping the intro, but dropping some of the rappy stuff or even a verse or chorus. I mean, it doesn't really drag and it's pretty well sung, but a leaner arrangement might make it grab you better. What if that spacey bridge was cut down into just one descening line leading into the chorus? Tuned out at 5:03

[godescalc]

Long-time listener/lurker, a lot of stuff I like this week so dropping by.

BSS: good tune, lyrics interesting in places but don't grab me much. Vocal performance doesn't grab me. The guitar solo at 2:50 takes slightly too long to get off its butt and become interesting.

Dejected Motives: there's the makings of a really good song in this, but, what others said. I like the beat, I like the tune, call me when the couch-cushion-strapped-to-the-mike issue has been fixed. There's some promising synths in the background which would probably sound pretty cool if I could hear them. It would be better if you had taken more time and submitted late: a touched-up version of this would be worth leaving for posterity in the "late entries" section.

Dirge & Sara: Good tune. I like the vocals but they're slightly... weak? Off-key? - in places. Could easily be about 20-30 seconds longer. Guitar solo is good. The squealing guitar sound during the chorus doesn't fit the singing.

Faight From Fire: this song is like a yo-yo between goodness and suck. The lower, more processed-sounding vocals and the guitar are great (though the bass of the instrumentation should be louder – the music calls for some deep bass rumblings there I think). The lyrics have interesting moments but that kind of "setting soul on fire in flames of desire" stuff needs better musical support to work. The higher, quavery vocals (at 1:05 and 3:55) sound awful – these sections are part of the balance of the song so I wouldn't recommend getting rid of them, just improving the vocals. The rap section is well-executed. At 4:08 it should either end or repeat the chorus or have a solo or do something – repeating the cadence once more with just basic guitar is just pointless.

Billy and the Psychotics: Not sure the different sections always flow into each other well. Otherwise: great noises there. Energy, style, and what Billy said about Texas babe hollering.

Ken's Super Duper Band: I almost really like this song. Music's good, nice to hear a song about contentment and stuff. But it is hard to make a song about happiness and contentment without something sounding off (or too saccharine and sentimental); here, it's the vocals, which don't have a totally happy and contented sound to them, they sound slightly sarcastic. (Is the “I believe in yesterday” musical quote at the end intentional?) On relistening: it grows on me each time I hear it, though.

Klownhole: I like, sort of. Hard to make out all the lyrics but understanding is probably optional in a song which rhymes “shibboleth” with “crystal meth”.

Monkey touchers: what
no, really, what

(...on relistening: leave a moment or two silence at the end of your songs so the transition to the next track in the playlist isn't too abrupt, plzkthx. Also I cannot listen to it without cracking up.)

Paco del Stinko: Lyrics lack edge. Vocals and tune are so-so – I am never sure whether to like your voice or not. Instrumentation and guitar work are great, though.

Pig Farmers: Fun song. The story it hints at could be explored a bit more, but that's a minor quibble. The solo sounds like it was played on a cheap, 10”-long electronic keyboard; at first I was like “what the hell” but then I laughed. (EDIT: Seriously? You accidentally wrote this for the wrong title 4 hours before the deadline? Win.)

Shambles square: I like the creative lyrics and rhymes, and the overall sound (I'm a sucker for british rap that doesn't try sounding american), but j$'s singing of the title line doesn't entirely click (it might be better to just chant the same note there and also make it blend into the background less?). The computer-game chirps don't totally work either. Overall, though, fun.

Sportswriter: this song succeeds in what it tries to do, almost perfectly - almost, as the gratuitous change to a major chord in the last moment is a bit of a mistake, I wouldn't mind having a version with that fixed. Otherwise, really good, tells a story really well; and the strings work quite well, I think. (You say you have another recording of it. I express interest.)

The HATE Noise: I like the music, the rhythms, the catchy chorus; less keen on the noise-full-of-hate aspect, but no-one can accuse you of false advertising. The egocentrism I'll write off as a genre trope of US rap.

Ty Elements: I like. Nice, laid-back tune, good performance. Lyrics to archives, sil vous plait. The relaxedness makes it good background music (not a bad thing), or the kind of track you put at the end of a CD or between the catchy singles; I arranged the playlist in alphabetical order, so it makes a good coda to the rest.

---

Signboy: downloading this now. Connection speed just dropped to less than a KB/sec when halfway through; I may be waiting a while. (...oh wait the ethernet cable had fallen out of my computer.) The first 1:30 are good though.

Overall, a pretty good week – something to like in virtually every song, none that I really hate. Votes:
Sportswriter, my favourite of this week's offerings;
Billy, Shambles, Pig Farmers, Ken, Ty Elements, for worthy efforts;
Monkey Touchers, because there is a special place in my heart for anything that makes me go "what the hell" in quite that manner.

[sara957]

Ken's Super Duper Band 'n Stuff- Well balanced, comfortable. I like the keyboard/piano accents. Sweet, lyrics maybe a bit too "cutesy" at times though.

Dejected Motives- I like the ominous beat, but same as other comments the muffled quality is too much to handle for entire length of the song.

HATE Noise- Funny contrast to hear "Walk like a Man" in background of your vocals. I like the line "Murdered everybody like a damn career". The lyrics are perfect for the style. How much credit do you have to give that songwriter for using that song in the background? I guess that isn't an issue though, for SF.

Shambles Square- I have listened a few times, and my overall thought is that it feels way longer than it is. I have no problem with giving advice in a song, but something needs to be added to keep me interested.

Dirge & Sara- As our first joint song attempt I'm happy it was accomplished, but feel I still hear two styles here. Is this because I know our backgrounds, or because it is apparent in this song? - Maybe both. I feel like my voice sounds too "fluttery/unauthoritative" next to his guitar. I'd like to try to better match the tone of his music in our next try. I do like the effect of "kinds" ~2:24, and wish we did this more.

Monkey Touchers- Sad/funny tone? I'm not sure which was intended. Gives the impression that it was recorded in one take, all at once and without much thought. This makes it hard for me to enjoy, but perhaps I'm missing the point.

Tye Lemery- Love this, though I must say (like others) on the first listen the intro and super-rhyming lyrics were a turn off and I switched to a different song. I did come back and try again, and was surprised to hear the rest, starting at about 0:43. Nice work:)

Faight from Fire- Like Paco noted, I was distracted by the resemblance to another song (...I'm walking in the rain, Tears are falling and I feel a pain...I Wonder, I wah-wah-wah-wah wonder...Why...) I heard those lyrics from that song on top of yours. Probably wasn't intentional on your part, I'm guessing. (1:21-1:30, 1:37-1:48, 2:12-2:20 - Especially reminded me of that song.).

Sportswriters- I thought the delivery and style was well-done. On first listen I felt this was the strongest entry, because it was very focused and seemed to accomplish what you had intended without any changes necessary. I would say you might want to work on your patience, but if we're just judging work for what it is, I guess it doesn't matter if you are nice.

Paco del Stinko- "Happy" riffs are a nice contrast to the tone of the lyrics. I like the ideas too, but felt that only one of these lines should have been used, since redundant: "you can't see" and "have no eyes". Not a huge problem though.

Klownhole- I felt I had to strain to hear your vocals and this bothered me. I could only hear bits of words: spiral, crystal meth, failure will, has been for years, SWEDEN! On multiple listens I could make out the lyrics better, but on one listen they were lost.

Billy and The Psychotics- I like the edgy, precarious sounding vocals. I think they work well with the music and lyrics. Nice work.

Pigfarmer Jr- I like that the vocals are prominent, clear (a theme with me), and the idea was clever for the lyrics. I didn't realize that it was about a stolen baby (Right?) the first time I listened. Upon first hearing "got me a little boy...all he does is shit and cry" I thought it was about not enjoying a new addition to the family. That seemed not funny, but annoying. And yes, like Dirge mentioned I did think it sounded like the submission had been intended for an "Out of A Hat" entry, and the lyric "has been for years" seemed randomly tacked on. Now I've read that you said it was on accident that you were working on the wrong song fight, so we'll see what you come up with next time without that being an issue.

Signboy- I like the "crystalline" sounding opening, goes with the cold theme. Hmmm...I don't think I'd have "a frozen clam in my britches" no matter how cold it was. I don't like that particular lyric. However, entertaining and successful mix overall.

[RangerDenni]

I like that. precarious. that was .... smiley. and awesome. particularly since this week I agree I had some snarfaflickittyness or whatever.

[Tig]

Tye Lemery- Love this, though I must say (like others) on the first listen the intro and super-rhyming lyrics were a turn off and I switched to a different song. I did come back and try again, and was surprised to hear the rest, starting at about 0:43. Nice work:)

Thank you for the feedback everyone. I am actually going to remix the song with the intro cut and a few mixing tweaks added. Good advice everyone, I really appreciate it. Cheers. Tye.

[Pigfarmer Jr]

Pigfarmer Jr- I like that the vocals are prominent, clear (a theme with me), and the idea was clever for the lyrics. I didn't realize that it was about a stolen baby (Right?) the first time I listened.

Absolutely right. It probably needed a bridge to make it more apparent, but I like having it not be obvious.

[faight]

Thanks for pointing that song out, lol! No it was not intentional. I actually had to work real hard not to sound like crocodile rock 'la, la la la la la...'. I guess that's the problem with a standard Dm, Cm, A#m, Am walkdown, too common cord progression.

I leaned a whole bunch on the song and definately will be deepening it based on the constructive feedback.

[Spud]

...I'm walking in the rain, Tears are falling and I feel a pain...I Wonder, I wah-wah-wah-wah wonder...Why...

That would be Del Shannon's 'Runaway'.

[Paco Del Stinko]

That would be Del Shannon's 'Runaway'.

Thank you!

[j$]

Shambles Square- I have no problem with giving advice in a song ...

Seeing as you're the second person who has mentioned this song as giving advice, which wasn't intended, I have posted the words into the lyric thread. I don't think any song that rhymes Pigs In Space with Will & Grace, mentions grannies gambling in Vegas, and has the lead singer claiming he is broadcasting via wireless from the toilet, should be taken entirely seriously. The opening line refers to the current badly named scottish band http://wewerepromisedjetpacks.com/

j$

[glennny]

Sara,

Any thoughts on the Berkeley Social Scene song? There's an elephant in the room with it, yet no one has mentioned it yet. Song Fight Gold to the 1st person to mention it.

[Andy Balham]

Berkeley Social Scene
I found the music to be well played and produced, but it didn't really grab me. I like the lyrical ideas, but I felt the lyric for the chorus should be more concise and it could be made to stand out more in a musical sense too. For me, it went on a little too long. I would have sacrificed a verse and chorus myself. Just my two-penneth.

Billy & The Psychotics
Again, I thought it was competent playing and production (though the vocal doesn't sit as well for me as with previous entries). For me, the music is missing that vital hook and I found the chorus somewhat underwhelming. I did like the breakdown and build up after the first chorus. I just wanted a hookier chorus really.

Dejected Motives
There's not a lot going on for me here. The music is fine I suppose. I never care for auto-tuned vocals at the best of time, but I do like to be able to make them out what with being old and all. Overall, I would have liked straight vocals higher in the mix and more variation in the music.

Dirge & Sara
I found this a strange one. The individual parts struck me a perfectly OK, but the arrangement didn't work for me. I felt the dynamic kept changing too dramatically from one bit to another. I don't think the drum beat helped this. Arrangement issues aside, I did like it as a song and I did like the guitar solo.

Faight From Fire
I like the opening riff. It has a certain familiarity to it that I can't quite place. For me the double-tracking doesn't work as the vocals aren't tight enough. I liked the sound of the backing vocal at that point, it had a Velvet Underground sound to it. I did enjoy it in a strange way. Perhaps it was the sheer ambition of it. My suggestion would be to be less clever with the vocal processing next time.

The HATE Noise featuring Mean Gene Goatee
Maybe this is all a hilarious joke that I am missing out on. Maybe I'm too old to get it. Maybe it's just old fashioned trash-talking. Whatever it is, I definitely don't care for it.

Ken's Super Duper Band 'n Stuff
This is a little schmaltzy for my usual taste, but this seems to be dodgy my usual cynicism. I thoroughly enjoyed it. Did I hear a little Beatles at the end there?

Klownhole
This isn't really grabbing me. I'd like to hear the vocal a bit more upfront and delivered with a bit more conviction.

Monkey Touchers
I feel my time has been wasted.

Paco del Stinko
I like the lyrical idea, but in large part I thought the music didn't match the lyric. The part with 'We have every comfort - yet we still complain' starts to work better for me as well as the part with the small guitar solos. For me, the chorus is just too jolly. It was a fun listen though as usual.

Pigfarmer Jr
I liked the directness of the lyric here. I guess the simple instrumentation helps. For me, the chorus doesn't seem to fit that well with the verses. Surely the fact that you have kidnapped a child is more interesting than how you are to name them?

The Sportswriters
Again I like the directness here and the storytelling. I also appreciate the subtle changing of the instrumentation as the song progresses that keeps the interest. I liked it very much.

Tye Lemery
I found myself thinking of Flight of the Conchords whilst listening to this for some reason. I don't know whether this is good or bad. It seems well played and produced to me, but it's all a little pleasant and laid back for my taste.

Signboy
You lost me at bitches. It was a bold rhyme with britches, which is a word my grandmother was fond of using. She had a bitch called Muffin. Make of that what thou will.

[Andy Balham]

Shambles Square feat. MC Heapey - ...to the slide whistle sound that should annoy but manages to escape punishment somehow.

If only my wife thought the same. Apparently, acoustically, playing slide guitar with an EBow sounds like weeping children. Not in a good way either.

[hillbilly]

Stink--- You are wierd,(cant see have no eyes) but thats okay.Nice guitar work, killer tones man.
Hate----Can I be a groupie
Pig----Good sounding guitar, what it be?
Klown Hoe----Shake and bake brother
Tye---nice voice

[Billy's Little Trip]

Billy & The Psychotics
Again, I thought it was competent playing and production (though the vocal doesn't sit as well for me as with previous entries). For me, the music is missing that vital hook and I found the chorus somewhat underwhelming. I did like the breakdown and build up after the first chorus. I just wanted a hookier chorus.

Thanks for the review, Andy. You being one of the accomplished musicians here I like that puts out some great music, let me ask you point blank. If you were in charge of this production, what would you have done for a hook? And if you want to just leave it at "it just didn't grab you" that's cool too. But if you could, what would you do for a hook? Thanks.

[RangerDenni]

Putting aside a discussion of whether or not a thing is Pitchy (my vocal), which could perhaps be Had - at the moment...

could a case ever be made for a melody Not having hook overly ladled upon it? Such as wanting to bring out something in the accompaniment part? Wanting to point forward to something? Could a case be made for a meander-y snakey line?
I realize I didn't really pull off my intent, but I am kind of looking for an answer to the question: with fine tuning, *could* I pull off my intent. There's something about the bridge I want to shoot toward, with not so many hooky distractions.

DJRD

[nyjm]

There's plenty of great music that isn't loaded down with hooks - most of Ani Difranco's catalogue comes to mind, as well as Tori Amos and whole swathes of The Butthole Sufers, The Toadies and The Breeders.

So, the short answer is "yes."

BUT, I think many of us look at B&tP as a hard-rock band and that idiom is full of hooks both in both the music and the vocal melodies. I, personally, like the way that most of your lyrics and vocal melodies meander, working against (outside? in counterpoint to?) generic expectations while Billy's guitars provide all the hooky greatness. But, others are probably looking for "the whole package" according the conventions of the genre.

... Oh, your question was probably rhetorical...

[The HATE Noise]

Sara - I give no credit where credit is due. I firmly believe that if sampling were still legal, modern rap music would be a lot more interesting. The drums in this song were sampled from a Billy Squire song, too. Him and Frankie Valli can both bite a dick if they gots a problem. Sampling can be totally lazy, but when done right, it is an art. So call me fuckin' Rembrandt.

Paco - Don't worry. It's all in good fun. The only truths in this song are that I do, in fact, hate all (or most) people, I was actually out of weed when we recorded this, and that the second verse did have more curses than the first. Also, it was 2'55, so I'm glad I held your attention for the majority of the song.

Dirge - Thank you. You might be thinking of my submission for 'After Hours,' which was a total Burzum ripoff...

Hillbilly - Sure, go for it.

[Paco Del Stinko]

The only truths in this song are that I do, in fact, hate all (or most) people

That's the way! Either hate people on an individual basis, not because they are yellow, gay, Jewish, or whatever OR like me, pray for a pandemic. Also: I did listen to your song, in its entirety, many times. I guess I noted the length wrong. Good work.

[dirgetheband]

Dirge - Thank you. You might be thinking of my submission for 'After Hours,' which was a total Burzum ripoff...

Ohhh, I have to go back and listen to that one when time permits. Blasphemous black metal on SongFight! - I'm giddy like a young school girl.

Also, interesting that you mention Burzum in a discussion about sampling, since Varg stole all his riffs from the boys in Mayhem, who in turn had stolen all their riffs from, like, everyone ever. I guess what I'm saying is there's nothing original anymore.

[roymond]

Billy & The Psychotics
Again, I thought it was competent playing and production (though the vocal doesn't sit as well for me as with previous entries). For me, the music is missing that vital hook and I found the chorus somewhat underwhelming. I did like the breakdown and build up after the first chorus. I just wanted a hookier chorus.

Thanks for the review, Andy. You being one of the accomplished musicians here I like that puts out some great music, let me ask you point blank. If you were in charge of this production, what would you have done for a hook? And if you want to just leave it at "it just didn't grab you" that's cool too. But if you could, what would you do for a hook? Thanks.

Not that anyone asked, but I'm thinking this isn't a song that needs hookiness. I see waves of head banging through the whole thing, propelled by it's inertia. I don't see them ready to suddenly look up and pump their collective fist in the air, mouthing the chorus.

[roymond]

fragmented reviews:

When I hear The Sportswriters, I think "oh shit. Game over." Some great writing, arranging, and storytelling.
But then Paco comes on and reminds me what music is all about.