The Song Fight Bulletin Board

daveyboy103 wrote: ↑

Tue Apr 06, 2021 7:30 am

I will take you off the fan club distribution list.

How did I get on there in the first place! I knew I shouldn’t have used Tor to shop for nonstick pans!

jb wrote: ↑

Tue Apr 06, 2021 7:41 am

daveyboy103 wrote: ↑

Tue Apr 06, 2021 7:30 am

I will take you off the fan club distribution list.

How did I get on there in the first place! I knew I shouldn’t have used Tor to shop for nonstick pans!

. Certainly enjoying the robust exchange of views. Rock on.

jb wrote: ↑

Tue Apr 06, 2021 7:41 am

daveyboy103 wrote: ↑

Tue Apr 06, 2021 7:30 am

I will take you off the fan club distribution list.

How did I get on there in the first place! I knew I shouldn’t have used Tor to shop for nonstick pans!

I bet it was Dave who “sold” that scam Atari/Nintendo/Whatever guitar that time for $50. (Whatever happened with that?)

Nothing. Just $50 of my US money *poof* into thin air. Scam city as we all expected. F-ing people.

Apologies in advance these are all going to be kind of short because there's like 30 songs here.
Overall it seems like we got more than the usual amount of 12-string guitar and jangles. Also two different people mentioned gendarmes which is a funny coincidence.

Balls - jangly and 70s. Kind of a Guess Who vibe. Unrequited (possibly-requited?) love song!

Brown - Nice and heavy. Yay for gang vocals. Could be louder. Don't be afraid to compress the snot out of the mix and turn it up. Kind of a MC Chris chant at the end.

Buddy - jingle jangle jangle! idk how you have time to do two different songs in a week. This one is nice.

Cannonade - I can barely understand the lyrics. Which is too bad because I feel like they're probably not bad. The chord progression gets stale. I like the chorus though.

Cazaro - Engaging song. Not sure whether I like the sort of mariachi guitar riff.

David - I get an Erasure feel from this, which is weird because I don't know Erasure very well. Cup + Spoon percussion to meet the optional challenge? Overall I like the vibe and chord progressions.

Duncan - I like it. A love song for the girl out of reach. And man when you're too young to drive they're _all_ out of reach.

heine - well-mixed and arranged. Nice sing-along chorus! There's a lot going on but it doesn't step on itself. Very well done.

hoodmo - Starts out as a pretty simple song, but the harmonies in the chorus "don't get comfortable" kick it up a notch and the lyrics are engaging. Good work.

James - more (quasi-) jangly guitar! With ponderous piano and some soft pads working their way in as it goes on. New-agey vibe in places.

Jeff - Gorgeous string arrangement plus a helping of melancholy. Yes please, can I have another sir?

Jonathan - Yay for singalong choruses (chorii?)! Maybe it's my headphones but there's sooo much bass on your floor tom or something. I do really like this though. idk why it makes me think of Ben Harper but it does. btw there's like 60 seconds of dead space at the end of your song.

Library - This is mine. I feel like the third verse should have had something to build it a bit more but it came out pretty good I thought.

Lichen - I like the groove you started out with, then your vocals trample everything. Maybe put a high-pass filter on the vox to separate out the parts?

Messy - It's a feel good summar jam! I'm loving this. Nothing bad to say at all.

Moody - Little bits of a King Crimson feel in places. Lots of cool textures and intensity. Maybe it goes on a bit long but it's got a vibe

Night - I'm just not gelling with this song for some reason. Sorry man it's probably me. The guitar riffs are cool and the story is intriguing but for some reason it's not my thing.

N' - Legit hi-fi recording with powerful vocals, catchiness, and a ballsy guitar solo.

Paco - You took that awful guitar tone, and threw in a bunch of punk attitude and somehow turned it into an awesome guitar tone. And you did the same thing with all those clashing chords. I have a lot to learn.

Pannacotta - jazzy, with kind of a 70s lounge feel. Nice guitar licks, and the strings come in nice. This would be a nice soundtrack for a Sunday drive in a station wagon in space.

Pigfarmer - I like the bit crushed percussion and most of what you're doing here, but the hard-panning back and forth is just killing me.

Robyn - I can't decide if the guitars qualify as jangly. Nice harmonies and imagery in the choruses.

Rod - Reminds me of Neil Young in more than a few ways, most of which are good. Almost needs a harmonica just to push it over the edge.

Chorizo - Everything is in the low/mid range and trampling on itself. Some EQ or less going on might help a great deal?

Sly - It's like you're sailing on a gentle sea, and then abruptly you hop a locomotive train. I like the harmonies

Sumner - jangles! idk whether it's my ear is tired, but I'm not gelling on this tune. Maybe more bass, less guitar in the mix.

Sweeney - Very strange song. But I think that's what you were going for, so... well done.

Tiny - You have a very nice voice. Images are good, and I like the sort of high brow harpsichord effect.

LibraryDogs wrote: ↑

Tue Apr 06, 2021 9:58 am

It's like you're sailing on a gentle sea, and then abruptly you hop a locomotive train.

That's the best description of my music that I've read. I'll be using it on all promotional material from here on out.

LibraryDogs wrote: ↑

Tue Apr 06, 2021 9:58 am

Lichen - I like the groove you started out with, then your vocals trample everything. Maybe put a high-pass filter on the vox to separate out the parts.

Thanks for the suggestion. I tried that after the fact, and it helped a lot.

Sir Chorizo wrote: ↑

Mon Apr 05, 2021 1:45 pm

•Pigfarmer Jr
the panning vocals is kind of off putting (in headphones at least).

LibraryDogs wrote: ↑

Tue Apr 06, 2021 9:58 am

Pigfarmer - I like the bit crushed percussion and most of what you're doing here, but the hard-panning back and forth is just killing me.

I was looking for a phaser effect and I think I ended up going with flanger. (Honestly don't remember exactly.) I discovered the panning late in mixing process (mix in mono they said, it'll be great they said) and I liked it in the studio. Considering the subject matter a bit of an unsettling effect isn't unwarranted, imo.

Thanks for the reviews. I'm hoping to get to some this weekend but between spintunes and life...

Quick comments, at least as quick as it takes to make my way through this sizable fight. I'll glady answer any concerns you may have over comments when I can. Cheers!

Balls To Monte - Kind of a 70s vibe here that I dig. Video imagery of clouds passing by, perhaps inside of eyes. Easy going and pleasant with a hint of longing. Nice and open.

Brown Word and the Big Whine - Gear change after the opening is cool, I like either groove, and somehow they fit together. This sounds like something off of the Times Square soundtrack. Feels like it ends when it could've kept going, but what to do and where to go? Afternoon beer buzz.

Cannonade Streete - Hero rock inside the Cavern Club. Be net if all the reverb sucked into a hole and the crisp band snapped in and took off like a rocket. Some pegged levels there and/or micro-phonics like an old guitar pickup. I don't know if this is serious or parody, but I'm kinda enjoying it..

CazaroTaro - Interesting progression with strong odors of 60s pop. Just a bit twisted but not too overly weird. Sounds like JB's little brother. Oh man, I was waiting for drums to come thundering in and...the song ended. Boo!

David G. Harrington - Moderny sounding, which grows as the song progresses. The melodies work, if a little undercooked maybe though I like the hanging notes at the mid chorus. Nice breakdown/bridge if missing a small ingredient. Lead vocal could be crisper, on my home speakers, anyway.

Duncan Martin - This is a little shaky but still manages to convey a feel of longing. Backing vocals could be tightened without losing any feel. An arpeggiated guitar or key in sections might be nice. A repeat of the little hook at the end of the verses, on the last verse, might be a poignant stab.

heine - Fiddle sounding start this could actually benefit from some 12 string jangle to push the 60s vibe further. Hooky pre and chorus, well done, I like the drum accents underneath. Catchy radio lines with all the heys and mind loss. End falls down a bit, like it paused and forgot where to go. Well played though-out, though.

hoodmo - This is a pleasant start, vocally and nice acoustic tone. Very good backing vocals in the right spot. The bridge is very good, could almost be a wee bit more relaxed, if that makes sense. Tasty lead section, tremolo included. This could fit into the right movie as a montage section. Nicely done all around.

James Owens - Misty morning memories. I was expecting a deeper 70s guy voice here, which is not a complaint. Very personal feeling, I feel a bit voyeuristic. Interesting pulse to the song, oceanic at times. Good length, I wonder if had continue if it would feel draggy, but there could be something at the last moments to further it out.

Jeff DeSantis - Lovely ballady song. I was waiting for to go higher somehow. It stays in its pleasant surroundings, but wonder if, since it didn't take off to wherever it might go, if knocking a chunk off might make it more powerful emotionally. Regardless, nicely done, brave to try something like this and pull it off. To me, anyway.

Jonathan Mann - Clever melodies with hints of 70s and TMBG(!). Some of those snare rolls are kinda scruffy, but not as important as the structure and composition of the song. Swaying, singalong chorus is the hi-lite here, the mando sounds keep it sunny. Very nice, contender for the win.

The Library Dogs - Oh, lovely opening. I can't count, but like the meter her, but it's the stacks of vocals that are so delicious over the airy but grounded guitar. I like the lead, wonder if it changed to a different instrument or effect/tone halfway would've worked. Very nice job here, I'm hoping that all the vocals are done for real. Just because.

Lichen Throat - Airy with a slight Renaissance feel to it or something. The vocals are a bit rushed feeling, ahead of the beat. But I like your stuff, so that doesn't rub me wrong. Mostly. I've said it before, but maybe a Flash In The Pan approach might work with you: Almost sing-talky, EQ'd dry with little bottom end. Find a signature and make it your own. Rather, you will find it, and make it your own.

Messy Oily Elves - Guided By Who? Works for me! Poppy and rocky both, I dig the progressions and melodies a lot, the overall sound could be a bit more aggressive and not lose any sweetness. Tasty bridge, extended drama and build. I like this a lot, and just want a bit less softness to it. Regardless, very fun and bit of bittersweet.

Moody Vermin - Oo, psychedelic underground, paisley and oil pattern lights from the overhead projector. I'm in! I like the guitar going along with the voice, and the trippy backwardsy sounding stuff. Heady and trippy, the drums trip up a little but it still works. A band pulling this off would be really cool.

The N'Stuff - Oh man. Great intro but the smashing and huge chorus is nuts. Dig the guitar work weaving throughout, well done and placed. 60s Who modernized. Vocals are spot on, the verses are straight up but lead into, again, that great chorus. The bridge is somewhat odd, only compared to where it came from, but thanks for the excellent guitar solo. Yeah, chorus and all its vocals, balls. Or hoo-hoo, if that's somehow politically incorrect.

Night Sky - Sock hop dance, very nice, pony tailed girls and letter/leather jacket guys. A pleasant toe tapper from the bench, my those kids are sweet aren't they? I think the fade is perfect here, wonder if a couple more lines before it or during it would've worked. I like the blueprint here, could tighten up if you care to, but a good bit of fun.

Paco del Stinko - This was supposed to be about someone that eats eyes to somehow see from them. Just didn't want to say it so directly. There was a mental patient that I knew long ago that was fascinated by peoples eyelashes, wanted to touch them, but she'd pull your eyes out if allowed. Scary. Tried to do an anti solo solo.

The Pannacotta Army - Hawaii Harvest Moon. I like the swingy croon and melody over the moon-lit dance outdoors vibe. I think that band would be wearing mating suits, the singer maybe undid his tie by the time this song came up in the set list. I could slow dance to this, at the right time and place, that is. Very nice.

Pigfarmer Jr - Dark and moody, I'm actually glad it's on the short side. Not because it's bad or I don't like it, it actually makes nice contrast for all the dreaminess in the fight. Just rather glum. Hey, I can do glum, I can be that way myself. It moves home the sense of loss but maybe time to move on, too. What a song that would've made.

Robyn Mackenzie - I like the progression, almost oceanic rhythm. Bottom endy sounding, maybe bass is too fat. Regardless, I like the flow to this and the easy going melodies. Glad the harmony vocals come in, this needs some literal high points. Good chorus and the ease into the near bridge is wonderful. Good foundation to further develop if desired, but works as is.

Rod The Bunman - Gotta mention the Neil Young thing here. Straight forward barn song. Tasty leads with an almost mandolin quality to them. Good song for the set list before something a little more rock-ish. Wierd fade, did something go wrong? No complaints, pleasant little tune.

Sir Chorizo - Thought this was going to be a grown up Sausage Boy. The doubled vocals coud be a bit less mumbly, but I like the lazy delivery. Sounds like a late night session. The chorus is simple and easy, works well. Is it odd that the chords are strummed on the up beat? I dunno. What's it like the other way. Kinda rushed sounding for something so laid back, nice enough.

Sly Eli - Guitar sounds good during that nice progression at the start. The melody works nicely, moving without jerking around. I like the subtle but effective pad/string parts. Fun take off at the near mid-point. Good to hear something optimistic and hopeful besides just longing and lost in the dreaminess. Not that there's anything wrong with that, by any means. Odd stop short ending though.

Sumner Sloane - I like the 60s-ish melody and the almost flangey sounding guitar. Chorusy, if it's 12 string, not doubled. Same thing, I guess. I think somethings soft in the mix, like bass needs a little more clarity, percussion too quiet. Still, dig the progression and where this goes. Worth re-working, maybe more full band sounding.

Sweeney Toad - I'm struggling to understand the lyrics, which is a problem for me anyway, but I like the disorientating effect thay put on me. All heavily processed and stuff. Bouncey, bubbly, abrupt-ish ending. I like it even if I don't quite know what's going on. A bit experimental, perhaps.

Tiny Robots - Slinky, groovy. Cool lounge, not cheesy lounge. Although I do enjoy some cheese. I reckon you guys might not as much. Anyway, Pleasant and a hint of sultry, this would make good do with video accompaniment, not that it's required. Bridge is a delight and the vocals are sweet on top of the just right instrumentation, smart lead. Excellent work, should contend.

Those Tiny Robots...damn! Pink Martini meets The Gift. What, do you live in Oregon or something? Loving this!

Paco Del Stinko wrote: ↑

Wed Apr 07, 2021 10:57 am

Heady and trippy

Wow, heady and trippy from Paco? We'll take it! Thanks, man!

jb wrote: ↑

Mon Apr 05, 2021 10:07 am

Library Dogs - Sufjan Stevens called and wants his sensibility back. separate those guitars my man. nicely performed all around. I bet somebody will LOOOOOOVE this. Or they would if you separated those guitars.

Technically I did separate the guitar - but it's only one track. It's duped and hard-panned left and right because for some reason that sounded better in headphones than one mono track in the center.

Paco Del Stinko wrote: ↑

Wed Apr 07, 2021 10:57 am

The Library Dogs - Oh, lovely opening. I can't count, but like the meter her, but it's the stacks of vocals that are so delicious over the airy but grounded guitar. I like the lead, wonder if it changed to a different instrument or effect/tone halfway would've worked. Very nice job here, I'm hoping that all the vocals are done for real. Just because.

The vocals are all done organically (We recorded 3 different tracks of each part and then panned/mixed them) but they do have that synthetic auto-tune vibe because alas there's not time or skill to get them as perfect as I'd like.

I really like the idea of morphing the lead to some other tone mid-solo. That's the kind of thing I don't think of. I'll see if I can incorporate that into future songs.

LibraryDogs wrote: ↑

Fri Apr 09, 2021 7:30 am

Technically I did separate the guitar - but it's only one track. It's duped and hard-panned left and right because for some reason that sounded better in headphones than one mono track in the center.

Ah, so yeah now you need to nudge one of the tracks like 100ms to really hear them as separate.

There are three main ways I know of to get the separation I’m talking about.

1. Dupe your guitar track, pan one left and one right, and nudge one of them a little, to taste. (Nudge too far and it will sound like a slap back delay rather than separation.)

2. Record two guitar tracks, basically just doubling the same performance, and pan one left and the other right. The natural human variation in your performances will cause them to sound nice and separated.

3. Logic has a plug-in called “Sample Delay”. It lets you delay one side of a stereo track by X number of samples. It’s basically #1 above but in a plug-in. Your DAW probably has something similar.

Most of you know but in case someone is lurking who doesn’t know, separating your guitars gets them out of the way of your center channel, where the lead vocal, Kick, Bass, and Snare should be.

That makes your track sound nice and wide, and it means you have to do less EQ overall because stuff is out of the way of each other.

JB

JB, my man. I appreciate that you eleborated on this separation thing. I'm slowly acquiring production rules of thumb from these threads and my my hope is that I won't have to try any harder than that.

Duncan wrote: ↑

Fri Apr 09, 2021 9:51 am

JB, my man. I appreciate that you eleborated on this separation thing. I'm slowly acquiring production rules of thumb from these threads and my my hope is that I won't have to try any harder than that.

Glad to pass on the info. Eventually you’ll have a catalog of techniques that are the “right” way to mix, and then it becomes a combination of time available and effort you’re willing to put in to a any given song. Unless you’re like Heine and perversely want to make a mono mix just, I am certain, to torture me.

To end all the begging. Here's a stereo mix I did in a rush:

Wow, so many! I’ll keep the comments short so I can finish. This was an above-average fight, for sure.

Balls to Monte—I would accept this as an authentic song from 1973. Pretty well done. The vocal style is a good match with the genre.

Brown Word and the Big Whine—I like the intro. The doubled vocal in a completely different style is an interesting idea. I think you’re correct to limit its application, but it’s cool and adds interest to the song. I could go for livelier percussion. I like the bridge, too.

Buddy Hinton—Wow, you sound like Paco. I like the verses a lot. I like how unexpected some of the melodies are—really keeps it interesting. I’m not sure how much value is added by the backing vocals, even though they’re done competently.

Cannonade Streete—I think the complaints that other reviewers have leveled at this are legitimate. Nevertheless, I really like it. I was happy every time this came on. I’d like to hear more from you. Vote.

CazaroTaro—Is this about Bjork? The insect thing reminded me of “Birthday,” and the title fits. I’m guessing no, though. Interesting and creative.

David G. Harrington—I like how this builds as it goes. I could see this approach growing formulaic if you use it every time, but I liked it here. I like the transition from verse to chorus.

Duncan Martin—I noticed you added a little more percussion this week, but I’ll repeat my plea for even more. Very smooth and open feel.

heine—Good times! The mix doesn’t sit quite right, but I like almost everything else about this. Friendly and pleasant without being dull. The “hey!” at the beginning the chorus is perfect. Vote.

hoodmo—Kind of a Jonathan Coulton vibe, which can’t be too bad. Feels like it needs an extra ingredient somewhere to spice it up; the interlude between the first and second choruses is a step in the right direction, but I think you might need even a little more.

James Owens—I think you’ve written something that could sound epic but didn’t quite back it up with epic instrumentation. There is a solid song in here, though; good writing.

Jeff DeSantis—Reminds me of the Beatles’ “She’s Leaving Home.” I like the unexpected melody in the chorus. Pretty good overall.

Jonathan Mann—I like the thumpy rhythm and the virbroverb guitars. The bass sounds like it’s clipping. Solid stuff. Nice chorus.

The Library Dogs—I think the limited instrumentation would be cool for a first verse, but I don’t think its enough for a whole song. I’d really like to hear this with a full band after the first verse.

Lichen Throat (me)—I’m happy with the instrumental music, not with the vocal. Also, this mix is bad; it actually sounded okay to me when I made it, but I must have unconsciously gotten used to it or something.

Messy Oily Elves—Nice ’90s sound here. I wouldn’t mind more effects on the vocal (to match the rest of the song, not to cover anything up). I like how the music resumes forcefully right at the end of the chorus.

Moody Vermin—Good musicianship all around. This is genre-defying, which is cool. I think a speeded-up bridge (or a shredding solo) would have complemented the song more than a slowed-down one.

Night Sky— I picture a bunch of guys in matching colored jackets playing this in about 1962. Maybe on American Bandstand. I’m not sure if that was what you were going for. If so, you nailed it. The performance is nice and tight.

The N’Stuff—I like the metal-toned guitar in an otherwise pop punk arrangement. I don’t think you need the clip and the solo; it kind of took me out of the mood you had established. I liked this a lot overall. Vote.

Paco del Stinko—I had trouble finding a handle for comments. Everything sounded okay, but nothing grabbed me. The drumming sounds good, both in tone and arrangement.

The Pannacotta Army—The overall sound takes me to a summer night at one of those resorts in the New York mountains where people used to go to escape the summer heat. Evening dance under the stars. Not my kind of music, but impeccable performances.

Pigfarmer Jr—I took an immediate dislike to the tone of your drum machine, but the rest of this is good. I like that you’re being more adventurous with the melody. This is among your better work. Maybe a vote.

Robyn Mackenzie—The bass is dominating the rest of your mix; it kind of muffles your vocal, which is a shame, since I think the vocal is really good. Good lyrics.

Rod the Bunman—This sounds super weird at first, but then it settles into a cohesive song. I feel like this probably sounds like Bill Monroe, but I don’t really know who that is. The fadeout seems too quick.

Sir Chorizo—Your voice sounds a little too hot in the recording. The basic structure of the song is good, and I think the vocal would be good with a different recording setup. The solo is a perfect fit.

Sly Eli—So beautifully lonely. That’s enough for me, but then the strings come on and give me the chills. Wonderful. Vote.

Sumner Sloane—To me this doesn’t stand out from the pack, but there’s nothing to complain about. Aficionados of this genre would be pleased, I think.

Sweeney Toad—I’m not sure if your lyrics are sexist or female-empowering. I’ll give you the benefit of the doubt, I guess. I like the chorus melody, and the autotune doesn’t bother me. I like that you’re branching out from your signature sound.

Tiny Robots—This would probably be the best Bond theme song, if it was used as one. Gorgeous vocal. Vote.

JB! Mad props for takin the time to elucidate on the guitar separation. I’ll put that in my bag of tricks!

Just some short thoughts/reviews – Miss Lovely Eyes

Balls To Monte – I really like the atmosphere. Nice chord progression. Drums seem to be played and not programmed – that's a pro for me!

Brown Word and the Big Whine – I like the glam rock feel! But the vocals seem to disappear in the verses. (If I'm not sure if the vocals are on the right level then I turn the master fader down so that the whole mix is barely to hear. Then I hearken if the vocals are understandable. If they are they'll be fine in the final mix. If they seem too loud, turn them down a bit and listen if the words are still clear to figure out.)

Buddy Hinton – Is this a 12 electric guitar? I dig the background vocals. A nice song, but to me the chorus seems to be the weakest part.

Cannonade Streete – Are you Irish? It seemed a bit repetitive but then the middle part set in. Vocally it sounds to me like Bruce Springsteen after enjoying some cider.

CazaroTaro – I dig the funny lyrics. Even musically a fun song.

David G. Harrington –There's too much reverb on the vocals for my taste. The progression of the drums is fine. I really like this composition.

Duncan Martin – Very laid back. It has nice verses and a chorus that stays in mind. Great!

heine (me) – So this was my first dive into mono. It is quite a different approach to mix. Things like reverb got really absorbed. It was an unusual experience. I think I prefer the raw mono mix of this one because it suits this song. (I recently got an original worn out mono single from the Stones' "Let's spend the night together". Man, it sounds so driving and powerful. The stereo mix on my CD in comparison lacks a lot of power and drive, it's just dull. I once read that Lenny Kravitz mixed Vanessa Paradis' "Be my baby" completely in mono and no-one seems to notice first. That's funny.)

hoodmo – This has a pleasant folk feel. I'd prefer a little more variation, maybe some more guitars, vocals or stuff. I would keep it a little bit shorter to keep it more focused.

James Owens – Wow! This one is great! Very tasteful orchestration and playing. Great harmonies! Guitar and Keys have so much room, so the vocals should have some, too.

Jeff DeSantis – A waltz! Very unusual instrumentation but very pleasing. It stands out in this fight.

Jonathan Mann – This is a fine production. But I preferred the drums a bit straighter. Well sung. A simple but nice chorus. The gap at the end is a bit annoying.

Lichen Throat – The instrumental backing is fine. Putting a distortion on the vocals is a nice idea. Your vocal delivery is a little erratic. The parts where the syllables are in sync with the beat are great; the others seem to be a bit off. (When I start writing I take care of the measure [poetic metre]. When I recorded it and my timing really seems to be off then I cut out the wrong syllables and move them right on the beat. This can help a lot to push a song forward.)

Messy Oily Elves – This feels like American indie music from the 90s to me. Some parts feel just like Buffalo Tom to me. (Big Red Letter Day is a great album!) Oops, cheesy synth? Wasn't prepared. I like synths a lot but for this genre I would have preferred a guitar line. But nevertheless a very, very good song!

Moody Vermin – This song is okay. The chorus grows more and more on me, but I guess it could be much bigger if the instrumentation would push a little more and the drums were less overambitious. The highlights for me are the various effects. Especially the backwards effects. They are great.

Night Sky – Some 50s/60s Rock and Roll inspired tune. Sha Na Na. No sax? The double doubled guitar line at the end is cool.

Paco del Stinko – The vocals could be a tad louder in the mix, especially the backings should be more audible. I really like your guitar work, it gives a nice blend of proggyness. There seem to be some click-sounds coming from your mouth. (This happens to me quite often. But because I find it so annoying, I mostly rework it until I have a clean track.) I like this one for the approach of not writing a pop single.

Pigfarmer Jr – 8-bit sounds. Oh, guitars! A funny mix. Is this what it sounds like when you put your head between two Leslie speakers? But overall I really like this song.

Robyn Mackenzie – 6/8 time signature. I would suggest using the flanger for the guitars not throughout the entire song just for certain parts to keep it more interesting. Your vocal harmonies are very fine. I don't know what it is; even though the vocals are panned they don't seem to be open and wide in the mix. (Sorry, I don't know how to describe it better.) Maybe adding a bit of reverb could help.

Rod The Bunman – Well sung and played. The solo is nice. It's short enough to keep it interesting. Great!

Sir Chorizo – Are this distorted vocals? Nothing wrong with it. Reminds me a bit of the folky Neil Young work.

Sly Eli – I love your voice. All of your songs I've heard were sung really confidently and beautifully. This one has very tasteful orchestration and playing. Musically I preferred the part before the drums set in.

Sumner Sloane – Well written, played and sung. Maybe the high-hat could be a little bit quieter.

Sweeney Toad – The nervous kick drum makes it hard for me to enjoy the rest. The song would profit a lot if the drums were a bit straighter. The vocal melody of the chorus is so strong, but has a bit too much autotune (for my taste). This song is like a rough gem that needs to be polished to shine brightly.

The Library Dogs – I love this one. It creates a light folky atmosphere. The vocal harmonies are perfect. It even has odd time signatures that fit perfectly. Really great!

The N'Stuff – The Ken Stuff. I love this production, it sounds great; especially the drums have a lot of room. Great guitars in there. A cool single for the college radio. I love it!

The Pannacotta Army – I would give a lot to hear this covered by The Carpenters. But sadly it's not possible anymore. The high strings are simple but great in effect! Great orchestration. That's music for a lazy, rainy Sunday afternoon. Stay on the sofa and enjoy!

Tiny Robots – I love that the bass gets prominent in the intro. We need more bass. I love the vocals. The "Bap bap bada" is nice. But the harpsichord (?) sounds way to synthetic; I'd prefer a piano or a picked guitar. But overall it's a very nice song.

Some of these are probably not at all constructive, but it’s still fun to read someone’s reaction, right? I am going to place a lot of emphasis on lyrics as I vote, or maybe not as I review. I like to listen to these and think how they stand up as campfire songs or even as a capella – if they have a fundamentally solid melody, and if the lyrics seem like they flow well and have a purpose behind them (purpose can be broadly defined). I know that’s not the only measure of a good song, but hey.

James Owens: This has a cool 60’s folk sound to it, like Tom Rush or Fairport Convention, and sort of like Jesse Winchester’s “Biloxi” too. I am a sucker for the big bed of strings, and the piano on top of it. Really good sound and melody here. It might be a tad too melodramatic and renaissance fair-ish for me though

Night Sky: This intro has a good catch right off the bat. I think I like the verse openings best -- with that Four Seasons sound. The guitars sound great. I think the vocals would be improved by speeding it up or really nerding out on the 60’s whine, since your voice is naturally lower.

N’Uff Stuff: Immediate flashback to listening to Baba O’Reilly in my bedroom with that intro riff. I like you harmonies in the chorus – kind of a nineties sound there. Is that one vocal track on the verse or a really well synchronized second part? I wasn’t all that sold on the verse lyrics because they were painting a picture but I kept waiting for there to be a twist or a comment on it. But it sounds good.

Jonathan Mann: Let’s get to the point, let's roll another joint. This takes me back to seeing Strangefolk at the Addison County Fairgrounds around 2001. I really like that relaxed verse into the chorus harmonies, and just the subtle dips in your voice on certain words. I like it. I’m hearing the loud distortion on that bass or drum too.

Moody Vermin: Some cool effects here – the reversed guitar was cool. I like both parts but it kind f sounds like 2 separate songs that are being forced together. I think recognize that “document out histories, expose us for the world to see” melody – it’s similar to something that used to play all the time on CBC radio. Which means one of like 4 different bands that just rotate constantly, but I can’t place it.

Panacotta Army: So lounge-tastic. I like these lyrics. Too late to un-see Miss Lovely Eyes. Kind of like the Chris Isaak Wicked Game conundrum.

Cannonade Street: I always welcome a Bruce impersonator, and have dabbled myself. It's a whole feeling, and it feels good. It’s a lot of reverb, maybe a bit too much.

Cazaro Taro: That sounds like a frustrating family dynamic. I like that jangly guitar before the verses. This song reminds me of “the Good Son” with the flavour of the King of the Hill theme song

Balls to Monte: I feel like this would fit right in in the Who’s “Tommy.” I like that vocal effect you have. That instrumental has a cool Buffalo Springfield sound to it. Sort of like “Nowadays Clancy Can’t Even Sing.”

heine – the intro makes me think I’m in for new country (maybe replace the violin with a something else), then it’s something else, then it’s kind of like Steve Harley & Cockney Rebel or Squeeze. That chorus is great. Well-done on the harmonies. Great job.

Buddy Hinton – Sort of a Velvet Underground thing there. I like how you have those kind of chaotic call and response harmonies there.

The Library Dogs: I couldn’t tell if you were talking about Miss Clavel from the Madeline books, or something else. She is a nun, so there couldn’t be a Mr. Clavel. But there is a Clavell Tower in Dorset, London. I googled it. That seemed fitting for the feel of the song. Then I looked at the actual lyrics and it wasn’t about either of those things, but something more allegorical and compelling. Great interpretation of the title and a real twist in the third verse. I like how you make eyes into a verb. Heavy, mythical. Or maybe about three kids in the sandbox. Either way, great song.

Paco del Stinko: psychedelic! I can only take that in small doses, but I like it when I do.

Jeff Desantis: A bit of a Leonard Cohen-ish verse with a Peter Grudzien-ish chorus. Overall I really like the atmosphere you create. I would take out one chorus or change up the “around and around” part since it’s one of those really conspicuous rhymes.

Sumner Sloane: It’s a nice tune and has some good lines, although I think that the narrative stays sort of the same throughout. I like those jazzy chords. Great singing and playing throughout with a pleasing mix

so many songs!!!!

Messy Oily Elves: I really like the chorus melody. BUT, The lyrics and recording sound very Disney alternative to me. That’s probably a bit of a compliment sandwich – it’s well produced and catchy, but needs some dirt or sloppiness or offensiveness or confusion, for my tastes. This coming from someone who also sang a song about a crush.

Tiny Robots: Love this song – maybe more ba-ba-ba’s than necessary, but who cares. The lalalalalalas are a cool touch. This one stuck in my head.

hoodmo: Really good melody. I think the chorus needs something other than a repetition of the same line. Great voice, harmonies, and mix. Could probably be a little shorter.

Rod the bunman: nice little mellow stringband accompaniment. A common complaint from me, not always expressed – I don’t know if the lyrics have a very compelling narrative. Not that they need to tell a story, but I can’t tell what they are getting at.

Robyn McKenzie: I love these lyrics, and great delivery. Miss Lovely Eyes is a bit of a faery on the moor. Sort of a mirage in the distance. A manic pixie dream girl. Reminds me of how some people portray themselves online or at festivals. I don’t think even Miss Lovely Eyes is even like Miss Lovely Eyes when the camera is off her. She’s farting and worrying about taxes and eating peanut butter with a spoon and fussing with clutter like the rest of us. The verse where MLE dies is a real twist. I didn’t see that coming. If I had any critique I think there could be something there to disrupt the fairly even ocean swells of the main beat. Some accents of some kind.

Pigfarmer Jr.: Cool guitar. I like how you separated them. I am getting vertigo with you phaser panned vocals. That distorted bass drum sounds like body sounds. I think the chorus needs to get LOUDER. I like how this evokes a bit of a “cold and wet songs of the old country” vibe but very electric.

Sweeney Toad: **see Lichen Throat’s review** I have nothing to add. You do you. Ok I’ll add something. Juices and useless is a fun rhyme. I think the chorus is the strongest part musically. Especially how you say “eyeees.”

David G. Harrington: I like syncopated piano on this. The atmosphere has a cool retro 80 thing. It maybe needs to be less panned early on.

Sir Chorizo: I like this song a lot lyrically and melodically. Nice internal rhymes. Simple but effective. The vocals in my headphones seem to be clipping somehow. Something about the amplified & duplicated quiet vocal gives it a weird effect that works sometimes, but then lets in a lot of duplicated mouth sounds and clip-harmonies. That’s more of a guess.

Duncan Martin (me): I started by trying to sing the chorus like Barry Gibb would sing it, but couldn’t hit the notes, so I switched to more of a Herman’s Hermits/Gerry and the Pacemakers style. The lyrics were a double fantasy: 1, about growing up on the seashore, and then 2, what it would have been like to kiss the pretty older girl at the snack bar. I’ll learn to turn up the drums and separate those guitars one day. But I thought the overall effect worked pretty well. I could have put in a few more instrumental accents between verses to give it a little punch

Lichen Throat: Clever spin on the title. I like the story and persona you conjure up. I think some natural instrumentation thrown in after you vocal would help voice+music synchronize better.

Brown Word and the Big Whine: I like how you throw your voice and play with the words so much. Also the dashing and sashay alliteration is cool – a generally cheeky tone that works well for a cryptic lyric. I am picturing some kind of bionic woman who the narrator is intrigued by, and maybe even attracted to.

Sly Eli: Musically I like both parts of this. Lyrically the first movement seemed more complete and poetic. When the drums come in, the lyrics commit 2 sins for me: 1) rhyming ramble and gamble, and 2) using the word “boulevard”. Neither of those things are themselves bad, they’ve just been done too many times for me. It does kind of work though, because I’m picturing an English dude getting swept up in this magical Parisian scene, then snapping out of it and being just some dude again, trying to get back to that feeling. I like it now, but I bet you could keep working on this one, tweaking things here and there, and get a really good result.

Duncan wrote: ↑

Sat Apr 10, 2021 1:54 pm

Balls to Monte: I feel like this would fit right in in the Who’s “Tommy.” I like that vocal effect you have. That instrumental has a cool Buffalo Springfield sound to it. Sort of like “Nowadays Clancy Can’t Even Sing.”

Wow. Thanks. Can't ask for a nicer compliment than that.

I pop in every 6 months or so and Its great to see so many entries. I'm blown away of the overall quality of this fight. I love hearing how the productions compliment the styles and everything sounded great.
Was there a harmony side-fight? Seriously, not an iffy one in the bunch.


I'm sorting in bed post vaccine with a big grin listening. Thank you all for sharing these songs!


Jeff DeSantis: I love how your mic/vox work together. What mic? Love the big sound with the minimalism. Feels like the soundtrack to an honest Guy Ritchie love film. Nicely done!

heine: lighthearted and nice harmonies (I struggle with these).  Love the edge on the guitars.

The Library Dogs: I'm three songs in and this one is easily the best. As someone who continues to 'find a voice', yours comes across confident and full of life. Wes Anderson will be in contact!

Moody Vermin: love how the layers come go. Felt like just when things would slow, another wave pulled everything back up. David Bowie meets Thom Yorke. Lots of ear candy as I listen with my mdr7506's. I love this so much. Great song.

Jonathan Mann: drums feel a *touch crispy but otherwise I love the progressions. Great melody and lovely voice.

Hoodmo: I love how your acoustic guitar sounds. Harmonies abound, nice change ups and interesting throughout.

Sir Chorizo: I don't know why but the vocals remind me of growing up in and out of dive country bars. I feel like this song would come up at the end of a night hustling drunk congressmen at darts. A smokey memory, for sure. Thank you for the trip down memory lane.

Robyn MacKenzie: I know people hate comparisons but those vocals and guitars feel so much like Varuca Salt, and its terrific. Love the lyrics.

Sweeny Toad: Maybe consider a metaphor or two? (Lol) love the vocal treatment and that kick drum. I'm always down for some edge and this def stands out from rest.

Lichen Throat: bass line is pretty fat. A lot going on!

Paco Del Stinko: love this. Feels like I'm in the story. Always dig your guitars.

David G. Harrington: I didnt see the piano coming, nicely done! Elvis Costello and Ben Folds get mixed up in the transporter. Love the chorus a bunch.

Night Sky: Indubitably happy! Time for a malt and some hula hoop after this one.

Duncan Martin: Great melody. Great lyrics. Who hasn't had a crush like this? I really enjoyed listening to this.

Buddy Hinton: theres something really interesting how you juxtapose the chords in the chorus with the lyrics. Sarcasm? Pardon if I missed it. Great tune!

Brown Word and the Big Whine: love the dirt on the guitars, I wanna hear more of em! Feels like Siouxsie Sioux  ran into the garage band picking up some smokes.

Sly Eli: great reverb - big and airy but not overdone. I wish I could put chords together like this. Really well done.

Sumner Sloan: great vocal control. I'm jealous (and need to practice a lot more). I like how big this is with so few instruments.

Cannonade Streete: proves that just a guy and a guitar can get it done. Again, please pardon but my buddy and I were talking about Bruce Springstien last week and this reminds me of the Boss himself. Sprinkle in a little Mark Kozelek and boom.


The N'stuff: Sounds really good and simply great. I love a hot lick and this delivers in melodic waves of rock and roll dipped cotton candy bars.

Rod the Bunman: Neil Young's grandson? Delicate artwork and nice warmth.

Tiny Robots: seriously, this fight is making me self conscious about my vocals these are so good. Really cool melody and I really like the back and forth between the guitars and keys. The end was great. Did everyone hire the same awesome lead guitar for this fight?

Balls to Monte: I'm not trained in music but there is something about how you put together this that really feels like a push and pull that keeps everything in balance but continually threatens to go into dark, shameful places. I mean this to say I really enjoyed it. I wish I knew more about songwriting to articulate why I love this.

James Owen: kinda similar to Balls, I can tell you're doing things that I don't know how to do and it's really nice to listen to. Moving notes around like this is something I hope to learn.

Messy Oily Elves: tight! Fun and loved being pulled along for the ride. I was never bored and my foot stayed tapping.

The Pannacotta Army: This might be my favorite. I love this song. I'm pulling this up later over wine and plan to nod my head.

Cazaro Taro: Partially smothered hamsters? WHO HASNT BEEN THERE? Lol. Wiccan Cookies? What's not to love?

Pigfarmer Jr.: I might relisten without the cans. I wouldnt mind the verse vox sitting a bit more middle, once the chorus kicks in everything sounds terrific.