Welcome to the reviews indeed.
I can’t believe I’m voluntarily subjecting myself to this, but I felt obligated because I had a song written and, once again, failed to make the deadline. Anyway, in alphabetical order:
<b>Bax</b> My first, second and last thoughts were AC/DC cover band, which may or may not be offensive to you. If it’s the sound you were going for, congratulations because you found it. It’s recorded well, and the playing isn’t half bad. The guitars sound fucking great, I’m talking great! I personally think the whole Satan thing is played, but write what you know I always say. Again, the mix is good, everything sounds well balanced and recorded, it’s just a 20+ years old sound, nothing ground breaking.
<b>BeWells</b> I like the instrumentation and the backing vocals a lot. The lyrics tell a solid story. The mix is solid and well panned, but there were times I was thinking things were a little too hot when recorded and there’s no real way to get rid of that type of distortion. I went through and rechecked all of volume levels and I was still getting a hint of it, mostly in those backing vocals I like, but a little on the guitar as well. And then, whoops. I found the issue. My daughter had the EQ all messed up. I know you’re thinking this doesn’t help, but it should. Always account for any variable when mixing, including 18 year old girls without knowledge of EQ.
<b>Brainpipe</b> This has a little to much echo on the drums. It’s to the point of being distracting. The lyrical content leaves a little bit to be desired. It’s original and all but I’m wondering if it’s a story that needed to be told. I would rather just stick my food in and heat it up, as little as I use one I just don’t think it’s as evil as you’re making it out to be. Anyway, the mix could use some tweaking and by that I mean less effects. I don’t know if you could sing the song any straighter and keep the ridiculousness of the intent I suspect you’re going for, but it’s worth a thought.
<b>Corn on the Cob</b> I like those backing vocals a lot, nice ooo’s. I think that’s the hardest thing to accomplish sometimes. This is really, really solid in it’s construction. It’s got a solid pumping rhythm, a nice melody and good drive throughout. I’m not wild about the ending, I just feel like it could have been better served going out straight without the effect on the end. That may be the hardest thing to accomplish, knowing when to leave something as it is. Practice this phrase: Less is more, less is more.
<b>Cow Exchange</b> I love your stuff because of it being piano based and I wonder sometimes if I don’t cut your songs a lot of slack because of that. They say guitar players like me are just frustrated piano players, and bass players are frustrated guitarists, and drummers are just plain frustrated people who take out their aggressions on their instruments or innocent bystanders on the Internet. So maybe I do give you a lot of slack because I wish I could play like that, or write songs as clever and well put together as yours are. But then again, no, this is just another well written, cleverly composed, well mixed song by one of my favorite Songfighters.
<b>Dr. Worm</b> I really wish there was more of this song to like. Other instruments would add a lot to it. Lyrically it’s not bad, the chord progression is fairly rudimentary though. I think you’re a little bit out on a limb with the highest parts of your vocals, but you do stay in key. You just need to practice it a little bit to perfect it is all. Keep working at it, it will come.
<b>en passant</b> The beginning of this song is so unnecessary it’s beyond my ability to describe it. The rest of the stuff, the conversation in the background for instance, is just amateurish. There are times when the main vocal is off key. I remember being in a band like this a long time ago and we spent a lot less money to produce something this bad. Oh the ending is just as unnecessary as well.
<b>Excuse the Production</b> That’s not bad production my friend, those are bad notes on both the guitar and the vocals. Despite what some jazz players might tell you, there really are some notes that don’t fit together, and you’ve found them. Now if you remove them and come up with something that does work together, you might have the start of something.
<b>his name is dan</b> For some reason I was under the impression people in Indiana were more talented than this. Aside from the Ukulele, I’m not finding anything to like about this. The drum machine is cheap sounding, the lyrics are barely so-so, you don’t sing very well and the tape hiss is annoying as hell. I kind of like your name though, but you might be better served with Earl. At least people could go "His name is Earl".
<b>Hostess Mostess</b> Beautifully played guitars that are recorded about as well as guitars get recorded. The percussion is just the right fit, but probably doesn’t need as much effect on it. The harmonies at 1:45 need to be tightened up, but I’m guessing you know that. Was the child in the background at the end an accident or intentional. If it was an accident then I feel for you, I’ve got some of those sounds on my earlier recordings. I still get them every now and then, but I’m hoping when I hang this
sign outside my studio, that might help. However it worked out, it kind of works for me.
<b>Jim of Seattle</b> OK Jim, you know the rules yet you flaunt them anyway. Is it fair that such a well thought out, incredibly creative, soundly constructed and terrifically recorded instrumental should be discounted simply based on the fact that it doesn’t have lyrics? Well yes and no I guess. Rules are rules and you would get a ticket for running through a stoplight. But the song contains a “reference to the titleâ€
I'll talk to what I was going for anon, after I review everything else, which is a higher priority right now.