Re: Review A Little Bit More (Love Me reviews)
Posted: Fri Feb 06, 2009 10:04 am
Oh, you ain't done yet! Hopefully, rare. Tee-hee.BLT wrote:Stick a fork in me...

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Oh, you ain't done yet! Hopefully, rare. Tee-hee.BLT wrote:Stick a fork in me...
man hugPaco Del Stinko wrote:Oh, you ain't done yet! Hopefully, rare. Tee-hee.BLT wrote:Stick a fork in me...
Else: Rik G., Evil-E, roymond feat. BLT, Noel, Hostess Mostess for liking their songs more and more. Also Melvin (first impression: well, some ordinary radio tune, but after listening some more times... yeah, it's great). And Steve Durand because it's your chorus I was singing for the last two days - and that's telling me: it works! (Although you promised me some fights ago to take care about the vocals - mixing them just as clear as your instruments...?!?)Heine wrote:Sure: all D's (Durand Durand, deetak, Dutuva), Maggie Kanuka, PiGPEN and Slats.
Excellent point. I tried to do a *little* of this with the tv static at the beginning and end, but I think you're right that this could be a good way to go. Thanks!mrbeany wrote:Why use lyrics to get it across at all? It sounds like the perfect place to use some careful sound effects.Pet Squirrel wrote:Granted, I'm aware I'm not the greatest lyricist in the world, but IMHO there's some more interest to the lyrics when one knows the premise. I'll have to think about how to better get it across in the actual lyrics though....
An intro with a TV being turned on, possibly with someone sitting down, turning the TV on and being called out of the room -- or just a TV being left on in an empty room. You could use a fade-in/fade-out like someone is walking in to a neighboring room.
If you want some examples of what such effects could sound like in finished products, I'd recommend "Alan's Psychedelic Breakfast" from Pink Floyd's Atom Heart Mother (my favorite of their albums) or perhaps the Radio KAOS album by Roger Waters.
So this discussion made me go back to PS's song, listen a few times, and do some thinkin'. While I'm using Mr. Squirrel's song as an example, my goal here is broach the topic of how we can use what we've learned from neuropsychology over the last few decades to create more compelling song structures. It will also be the longest review Pet Squirrel is ever likely to receive.Pet Squirrel wrote:Excellent point. I tried to do a *little* of this with the tv static at the beginning and end, but I think you're right that this could be a good way to go. Thanks!mrbeany wrote:Why use lyrics to get it across at all? It sounds like the perfect place to use some careful sound effects...An intro with a TV being turned on...If you want some examples of what such effects could sound like in finished products, I'd recommend "Alan's Psychedelic Breakfast" from Pink Floyd's Atom Heart Mother (my favorite of their albums)Pet Squirrel wrote:Granted, I'm aware I'm not the greatest lyricist in the world, but IMHO there's some more interest to the lyrics when one knows the premise. I'll have to think about how to better get it across in the actual lyrics though....
Heh, actually I was recording it in the shower. Now that I look back, that was a bad, bad, bad idea.Teplin wrote:The Sky Looks Pissed - Harmonica, frantic guitar, and.... horror movies strings? That's kinda cool actually. Are you in an actual garage? You sound like the manic phase of how the weakest suit used to sound. I like some of these lines "flash without a camera, shaving without a beard". Hahaha, "that was angry". I have to admit, by the end you've won me over.
Yeah, it's a harmonica. I got a chromatic harmonica as a Christmas gift.Teplin wrote: Steve Durand - If that's harmonica, you're the cleanest, most precise harmonica player I've ever heard. Not my favorite of yours, but good.
This post reminded me that the first time I got to the end of Johnny In the Corner's "Mean to Me" the last line was such a delightful surprise I literally laughed aloud and clapped my hands. (For those that have not heard it: http://www.songfight.org/music/mean_to_ ... er_mtm.mp3 )reve wrote:1. Get people's attention (someone is murdered)
2. Convey the plot (find out who did it)
3. Stimulate their interest (a clue is discovered)
4. Resolve their interest (the clue becomes understood in the context of the mystery)
5. Repeat steps 3 & 4 as necessary (but not MORE than necessary!)
6. Resolve the plot (the [surprise!] murderer is revealed)
Did I do more than one version? Those be BLT vocals, not mine.Generic wrote:Roymond - There's some trademark Roymond weirdness right there. Your vocals are more frenetic and higher-energy than just about anything else I ever remember you singing. It's crazy, like some early XTC. Still, I think BLT's guitars added something that, in this version, seems to be missing. If I'd heard this version first, maybe I'd like it more. Who knows? All I can say is, I'm voting for the BLT version and not this one. Good song, though.
roymond wrote:Did I do more than one version? Those be BLT vocals, not mine.Generic wrote:Roymond - There's some trademark Roymond weirdness right there. Your vocals are more frenetic and higher-energy than just about anything else I ever remember you singing. It's crazy, like some early XTC. Still, I think BLT's guitars added something that, in this version, seems to be missing. If I'd heard this version first, maybe I'd like it more. Who knows? All I can say is, I'm voting for the BLT version and not this one. Good song, though.
... or to tweak neuropsychology to find more song structures compelling? Reviewers ought to be asked to drink, smoke, screw, meditate or study algebra before listening.reve wrote:how we can use what we've learned from neuropsychology over the last few decades to create more compelling song structures
Tension-release can work for the music too, in addition to the lyrics. Even cross that over. But being a survival mechanism, if the tension's too big you get 'flee! or kill!' rather than 'hm explore'. There's other brain tricks too, like familiarity comfort. Dire Straits comes to mind as a subtle blend of comfort and curiosity. And skillful execution.reve wrote:Future Boy had catchy music and clever rhymes, but he won the fight by having the sense to exploit how our brains process information. As a species, we have had great success in large part due to our brain's ability to predict future events. When we can't predict what's coming, we get interested. At the most base level, this a survival mechanism --
That's interesting. I hear Dire Straits and want to either flee or kill someone. Somewhere Darwin is smiling down at us.PlainSongs wrote:Tension-release can work for the music too, in addition to the lyrics. Even cross that over. But being a survival mechanism, if the tension's too big you get 'flee! or kill!' rather than 'hm explore'. There's other brain tricks too, like familiarity comfort. Dire Straits comes to mind as a subtle blend of comfort and curiosity. And skillful execution.
Thanks for this thoroughly informative post. A lot of good stuff in here that I'm definitely going to think about when writing in the future. Its concrete analysis/advice like this that is truly helpful, since its so easy to get lost in the "something's wrong but what the hell is it" realm, especially when analyzing one's own work.reve wrote: So this discussion made me go back to PS's song, listen a few times, and do some thinkin'. While I'm using Mr. Squirrel's song as an example, my goal here is broach the topic of how we can use what we've learned from neuropsychology over the last few decades to create more compelling song structures. It will also be the longest review Pet Squirrel is ever likely to receive.![]()