The Song Fight Bulletin Board

Billy's Little Trip wrote:

Steve Durand wrote:

Heine wrote: Steve Durand - Cool flute! Nice winds. All instruments are really clear in the mix. But in my opinion the vocals should be also a bit clearer in the mix.

Yeah I did some EQ and compression on the vocal track that I don't normally do trying to make my voice sound more "cool".

I never learn.

Steve, you know what you should do is do all of your lead vocals through a megaphone. It will become your "thing". Kind of a metaphorical statement to the world as to say, "my horn is my voice." Pretty deep, huh?

Better yet, sing through your trumpet.

More unwelcome comments...

Ford's Theater Disaster - I love the trippy intro/outro, but the song seems too straight for that context, I wish it were intertwined even more as it does in two places. Save for the couple breaks, there's little dynamic happening, so the verse/chorus is pretty flat throughout. Vocals need some punch.

Heine - I like the little counter parts and bouncy-ness in the breaks, also the destorted parts in the mix. I also thought there was clipping but see a pretty clean wave form, and the main vocals are clean. It works that way. I think mixing it up between parts, arrangement wise, would make this more engaging.

The Hell Yeahs - I always love your phrasing. It doesn't make sense at first read. or second. It ain't for reading. Like the drum accents, and that snare crescendo. Nice and short, too

Howl Down the Chimney - I'm caught from the first beat. This is great. I think the claps could hold off during the "For on the other side" breaks, where they're far too invasive. Same for the mandolin solo. Yeah, lose the claps there too. Great vocal work, but the reverb is a little...verbose. Excellent lyric as well. This is near the top Big vote.

Jan Krueger - The phasing between your guitar tracks is lovely, and the changes against what you do vocally is really cool. Your vocals absolutely rule. At first they hinted of weak and wimpy, and by the third line it's all dire and genuine. The panning throughout is very effective, but becomes a bit predictable once the verse/chorus is established. Not sure what it needs but the lushness and intrigue save it from being anything other than a nitpick. Love the final cadence where all but the lead voice fade out. This is beautifully done. Major vote.

Jeff Landgraf - Both the simple verses and the chorus where melody follows the changes so closely, beg for counter parts, like simple guitar melodies or keyboard parts to layer in. That would offer some interesting texture against the ... inspiring lyric

MC Milk-Plus - Yeah, love the pulsing bass someone mentioned earlier. This is very entertaining, nice mix and it comes around. Are the vocals doubled or micro-delayed? Some horn solos in there would really bring it down.

Monkey Throw Feces - Did you add the burp-talk-track to make the g&g "interesting" or is that where the deep meaning lies? It doesn't help things.

Paco del Stinko - Here are the counter parts that Jeff Landgraf needs. This can go a little faster, can't it? God this is so 1981 I love it! I like the Andy Partridge solos and the crazy harmonic shifts. Where's the video? Yeah, keeper, vote, all that.

R. Mosquito - Oh hell. We all knew Brecht and Weill were alive and well and living in San Diego. Must be those fish tacos. This brings an ambiance and theatrical whimsy we all need more of. Great arrangement and the mix is impressive. Total vote.

Ross Durand - It's almost too slick for the lyric. But beautifully presented. I like the counter lines that come in the third verse cause it was starting to get a little repetitive with all that antiphony. Could use more counter parts.

roymond - Just some inner tension working it self out, looking for change ahead. I had a full and sort of bizarre arrangement in mind, but had only two hours to record and produce this. The mix also got shorted, but I liked playing in some sorta irish folk chant thing as i strummed in open tuning. Only a 6 string, but I guess the open tuning makes it sound like 12.

The Sergeant Stomp Explosion - There's real clipping in this. Ouch, keep those levels down. Make us turn it up if we have to. But cute little arrangement and I like your voice. Someone said game sound track, yeah, I agree. The breathing at the end doesn't fit very well though.

Signboy - Sounds all squashed and over compressed and the wave form bears that out, there's absolutely no dynamic happening. Good for AM radio I guess. The guitar lines keep this together. Otherwise it's a little straight and predictable and what not. Like the break at the end, but it could start fading sooner.

Slats - it's a bit long and repetitive, but I love that bass thing that's pulsing in stereo.

Steve Durand - i think there's been some discussion about sprucing up your vocal eq. High pass might give it some space of its own. The flute sounds good. Great horns as usual. Nice horn entrance second half of the big break.

The Styop Quoons Experience - The opening horn rhythm section is fab. I like the buried vocals as the guitars are so tinny. Neat mix. There's a nice restraint to the rhythm parts, and the break's backwards gibberish keeps expectations in line. Not sure how to build the parts more to sustain the 4 minute run time, but there's a vote here.

The Tedward Nixon Experience - This has a Byrne-Eno simplicity that works really well. I was going to go off on the simple form and bla bla bla but it fits really well and ends swiftly, as appropriate. Cute.

The Weakest Suit - Well, you have your own medicine. And I think that's fine.

roymond wrote:However, my objective is to try to get into what the songwriter is trying to do and give some feedback about it they can use.

like this?

roymond wrote: The Weakest Suit - Well, you have your own medicine. And I think that's fine.

I realized that it was silly for me to use genre bias as an excuse when I'm known to regularly search for new styles of music. From now on I'm going to take a second look, and try to separate short-term genre bias from long-term genre bias. That is, last week I used the term for genres I don't currently enjoy. Now I'm going to refine my use of the term and only use it for genres I have never enjoyed and do not foresee enjoying in the future.

Some of the reviews are longer than others. Sometimes I have a clearer understanding of why I like or dislike a song. It was either leave them short or pull stuff out my ass to try to fluff them up.


Barfnecht - I sort of like the song, but I'm having a hard time making out the words. Upon listening to it a second time, I conclude I like the song, but have no idea what is being said.

Billy's Little Trip - It rocks, I dig it.

Cabin Fever - A nice somewhat mellow piece. I'm diggin' it.

Cell Block E Musical Enrichment Group F7 - I really think if I was younger this may be hillarious. Of course, I think I may need to have been like eight or something.

The Chadderandom Abyss - In a word: Abyssal.

Collaboration Station - I'm definitely diggin' it.

Deetak - It seemed to be two different songs stapled together. Was the echo in the first half on purpose or a recording artifact? If it was on purpose then it totally wasn't working for me.

Elaine DiMasi - I sort of like it, I couldn't understand the words. On the second time through, I could make something out about Legos, which made sense with the sound of Legos in the background. Were real Legos used? It was a nice effect.

Ford's Theater Disaster - "I have a spade. I'm diggin' babe." Is that right? I couldn't quite understand it, but I was kind of diggin' it.

Heine - I have no specific complaints about the song, but somehow, I just don't dig it. There's nothing that really grabs me, and I think that may be my problem.

The Hell Yeahs - A pleasant little tune about problems with an incendiary device. I dig it.

Howl Down the Chimney - The story here is more along the lines of what I expected with the band named "Cell Block E..." (Boy was I surprised there.) Had it been much longer, I would have said it seemed to be running long, but I think what you have here works, and works nicely for this week's title.

Jan Krüger - This reminds me of the movie "Spoorloos" (1988). I dig it. I think the instrumentation works well with the imagery. I can picture you buried alive, and hallucinating that you have a guitar and singing with yourself.

Jeff Landgraf - Did you process your voice, or was that an artifact of the location? The instruments sounded fine, but I would have enjoyed the vocals more if they were a little sharper and clearer.

MC Milk+ - I was going to say genre bias. I listened to the whole thing and it actually was kind of catchy. I couldn't quite make out most of the words, but that seems fairly common for me.

Monkey Throw Feces - I think I can make out the grunting of a pig or something. As near as I can tell the song is about acne. I'm not digging it. Call it a issue with your subject matter. I suffered with cystic acne in my youth.

Paco del Stinko - I can't quite make out the words. However, I can say I dig it.

R. Mosquito - This is fantastic! This may be my favorite of your songs that I've heard. Yup, I listened to it a second time, and it was just as great.

Ross Durand - Is this about coal digging? Wait. Do you ever actually say why you're digging? It's really got a bit of an old time folky thing going on. Somehow this reminds me of the episode of "Little House on the Prarie" where Pa had to go do some mining work as the crops were poor, and a neighbor he meets along the way doesn't make it back.

Roymond - I dig it.

Sergeant Stomp Explosion - I wasn't sure what to expect, not recognizing "Sergeant Stomp Explosion" from previous SongFights. (It is a concern any time I hear the word "explosion" combined with something another artist has taken in an anal context.) I was pleasantly surprised. I'm diggin' it.

Signboy - You did all that while fdrinked? While I did enjoy it more than some, it left me just sort of luke warm overall.

Slats - Before the song was half-over, it felt like I'd heard everything going on, and it was just taking too long to get to the end. Overall, though, it seemed like I could have liked the song, it was just either too long, or missing something to provide interest in the middle. Once I actually got to the end, it seemed so abrupt that it almost seemed like even you couldn't quite think of how to end it.

Steve Durand - Very hip. I really liked where you went with the title this week. I also thought it worked really well with your style of music.

The Styop Quoons Experience - I'm afraid I just wasn't diggin' the experience this week.

The Tedward Nixon Experience - Having seen the lyrics before I heard the song, I was half-expecting a 50's style beach number. Unfortunately, I was left feeling a little disappointed.

The Weakest Suit - I couldn't quite make out all the lyrics. I think I may have enjoyed it more if the guitar were as loud as your voice, and your voice were as loud as the guitar. I mean, it really sounds like your voice is mixed to be the accompaniment to the guitar, and not vice versa.


I still need to decide which songs to vote for. (I may see if there are lyrics for some available first.) There were a lot of good ones this week. It's a great way to start off the SongFight year!

The Weakest Suit wrote:

roymond wrote:However, my objective is to try to get into what the songwriter is trying to do and give some feedback about it they can use.

like this?

roymond wrote: The Weakest Suit - Well, you have your own medicine. And I think that's fine.

Well, I thought that was pretty positive feedback for lyric that were well presented in an appropriately straight forward way. I didn't have anything to offer in that case. Didn't have to do with my "mood" or whether I liked it or not. I suppose I could have said that with more words. Sorry to keep you wanting.

My comment was in the context of someone who had a high percentage of "not my thing" reviews, which I don't really understand. Having little to say is a different story. But now I'm explaining too much. Point taken.

mrbeany wrote:Ross Durand - Somehow this reminds me of the episode of "Little House on the Prarie" where Pa had to go do some mining work as the crops were poor, and a neighbor he meets along the way doesn't make it back.

I probably shouldn't ask but... is that a good episode?

Note: Everybody gets a suggestion this round in response to some recent comments. Please feel free to ask for elaboration. I understand as well as anyone that there is a short time to produce these, so don't go there, girlfriend. If you don't like what I have to say, that's certainly fine as well but if you get all bent, wah. 'Sides, I'm a softy.

Barfknecht - This moves better than it should with the stiff-ish keys. I like the opening riffs a lot and how it fills in nicely around them. Danceable, for those that can. Good arrangement that doesn't feel repetitive and the end mounts in excitement nicely. Good spot for a fade although a 'proper' ending chord would've worked nice as well. Suggestions: Work on the vocals on pitch, levels, and clippage/distortion.

Billy's Little Trip - Makes me want to drive fast although that would be dangerous and wasteful. The chorus is a nice sing/yellalonger, if brief. I like the musical drop out for the alone vocal bit, but it feels rushed somehow. Like maybe a riff that plays a little longer because it has an extra beat or two in it would buy the brief time it needs to feel less hasty. Love the bridge end section the best, a couple more times around with that and I might wet my pants. Suggestions: More Paco, but only to season to taste.

Cabin Fever - Robbie Robertson on Valium. I'm totally digging the dreamy vibe of this, even with its slight chill. The slide guitars and tiny piano noodles add the secret magic but the lead guitar tone is warm and tasty. One of my favorite SongFighters for all of the reasons here, I don't know if it's all 'toph or whomever, but what a nice end result. This gets better after repeated listens. I have to join the clear up the vocals camp, although I usually suspect my myself for not hearing clearly. Suggestions: More, please, as this is well done all around and nicely balanced.

Cell Block E Musical Enrichment Group F7 - I like the ambiance of this track the best. It gives it an old timey feel that's quite convincing. Nice playing all around and mixed well to boot. Doodle-bug makes me smirk and I can appreciate the lyrics on a certain level that I don't visit too often. Slide solo is pretty weak and loses confidence as it goes. Suggestions: Tighten it up as it gets sloppier as it goes, and an simple ending that resolves might be better than the fadeout.

The Chadderandom Abyss - The guitar sounds almost piano-like initially. I'm not sure that I enjoy the random tapping sound here. maybe if it were puled back in the mix more, and vocals up a bit. The droning buzz sound is kind of disturbing and I like that. The length here is good as it makes it feel less of a chore to get through than a couple of your longer pieces. But besides that, it says all it has to say and moves on. Why belabor the point? (not that I'm probably innocent of that) Suggestions: Bring up and center the voice, bring the clicky thang down. Try a different vocal pattern as well.

Collaboration Station - Sounds like recent rock. I like the chord progression during the verse and the chimey hooks during the chorus. Not a fan of the chorus vocals, it sounds like the bands I probably wouldn't listen to. Still, catchy enough if not for a long dose of hookitude. The instruments sound good as well. Suggestions: Try the old clean vocal switcheroo to distorted for impact versus pretty much constant distorto. Work out a better ending if you take the song further. Pauses are maybe too long or misplaced.

deetak - What a convincing delivery and so nicely sung. The melody is pretty when after it gets going and the peak right before the Daniel Johnston piano is wonderful. A return of the vocals after a piano interlude would be even better, nice ending, though. I hope this song does well vote-wise, although I suspect we won't hear much from you again. Glad to be proven wrong. Suggestions: Recording techniques. While song trumps science, it wouldn't hurt to hear this clearer and stronger.

Elaine DiMasi - I like this right from the opening pulsey throb. I find the synth parts to be warm and comfy somehow and think they are layered wonderfully. I dig the melody harmonies and little skip in the timing. Absolutely do not like the panning rattly thing though. Maybe if it came and went once for effect, but I find it way too distracting. Lyrics make me wonder if this is a childhood memory of yours or of your child. I understand if you keep me guessing. Suggestions: Drop the panning rattle, at least so consistently, and dry up the lead vocal. It wouldn't hurt to have it stand a bit more up front.

Ford's Theater Disaster - I like the pogo bounciness to this. The verses work better than the chorus, which lack catchiness. (not that mine contain it) The lead guitar licks accompany well, and the rhythm ones sound nice and crunchy, more so on the right side where it's far less trebley. But the lead one is too piercing. It doesn't hurt to roll the tone down on your guitar, but I suspect it's more of an amp or emulator setting that needs a rollback. Decent tune a little under-baked. Suggestions: Soften the edge on the vocal and bring it up a bit in the mix. And don't be scared to ease up on the guitar treble.

Heine - The verses are catchier thanks to the synth horn sounding accents but the Banana Splits chorus is sweeter. I like the chord progressions here. They may be kinda traditional, but are fun and hooky. Nice little lead too. Right when a think "boy, the chorus repeated here would nail it" , it does. Too bad it fades out there. It could almost repeat again and end with a snap. I'm a little split on the bridge as it works but feels a little underdeveloped. Suggestions: Work on the beat. It feels stiff and a bit misplaced. Vocal had a nice timbre, but a little wimpy delivery.

The Hell Yeahs - What a sweetly menacing opening. I never thought that I would picture Heather driving over all of the neighbors mailboxes whilst laughing crazily, but this helps conjure up the image. Great drums and guitars and digging the synth snibbets very much as well. Lyrics may be beyond me but I'm sure they are dirty. If not, I guess they make me feel that way. Thanks! I stand among the legions who would love to see you guys up on stage. Suggestions: While I like the stuttery feel of this, and length, a drums and bass breakdown that just drives no-bullshit straight ahead would kick ass. Establish a cruising speed and introduce the slide solo/vocal shriek jambo.

Howl Down the Chimney - Hints of the Monks of Doom, but better. Great organ accompaniment and sound, the whistles are totally fitting as well. I love the dark feel of this and don't find it to be too cold despite the vibe and topic. Melodies are just right, both simple and memorable, and the song structure is well balanced and not overdone in any one section. I like the long reverb decay at the end as well. This should contend for victory. Suggestions: All mix issues. The claps are too loud, as many have mentioned, and the bass could come up as well.

Jan Krueger - What a chord progression to open with. Man, that's dark. The melody sounds like one of yours, duh, but is accompanied nicely by the wordless section after the chorus. Great vocal work and I like your voice up in falsetto area or higher register. The dark topic is great and well done without getting too literal. I like that you kept the mix coffin dry and the lone voice at the end is appropriate. Very nicely done all around. Suggestions: Little. I almost wanted to hear a muted boom during the chorus, like earth hitting the coffin, but I guess that would be dumb as you're already in there and 'processing'.

Jeff Landgraf - Well, the guitar tuning is a mess, but the chords are nice and dark initially. The vocal melody is OK, if a little stiff, somehow. Maybe a time to work with it issue, I suppose. Your voice gets better sounding as the song goes and I get used to its timbre. The song loosens up a bit as well towards the end as maybe the whole thing becomes less self-conscious. Some nice imagery in there, but also a little corny feeling at times as well. Suggestions: Tune the guitar better, maybe after a new set of strings. A little less room ambiance on the voice and guitar wouldn't hurt here.

MC Milk-Plus - Great groove and syncopated accents. I like the dry vocal and whatever the effect is on it. Good backing vocs as well. I really like the little bass run up to the chorus, I think "where's it going?" as it climbs up and get all happy when it gets there and glees out. Digs been dug is a line right out of the place that a love lines to come from. Pseudo hicksville. Suggestions: Maybe a brief psychedelic bridge or something to break up the borderline sameness. The song is short and relatively busy, but maybe just a splash of new color. Eh. I got little.

Monkey Throw Feces - Sounds like old four-track stuff from days of my youth. sigh. Cheap and tossed off feeling. Surprisingly, I don't like the slowed down gurgly voice. Suggestions: Keep having fun, but give a stronger effort next fight.

Paco del Stinko - True story about finding ticks on my scrotum after a walk through the woods with a gal. Suggestions: Don't get half nekkid in the woods.

R. Mosquito - I like the weirdo moodiness of this and the emtrance of the emperor theme at the start. This one also reminded me of Monks of Doom for some reason. Also better than them. The second half makes for an interesting departure from where it started, that's for sure. The return of the trumpet at the end section is less menacing and more mournful. I think this song works well passing through each section and not returning to them in a verse chorus manner, as that most likely wouldn't have worked. Maybe another different section and back into the end part would've worked though. I like this a lot and its length makes me want more. Suggestions: Vocals are little buried, but sound nice. They could maybe afford a notch or two of volume.

Ross Durand - I found this to be a neat cross between your folksy traditionalisms and a strong dose of Zappa. Not kooky Frank, but even the voice is similar here. Nice vocal work and haws especially. I like the theme as well like the working my way to get you ideal. Not sure if the lone voice counterpointing under all the others works, but get why it's there. Good work, and length. Suggestions: Maybe more of a clank and bang rhythm section, like pick axes and whatnot, instead of the wetter sounding slurry sound.

roymond - I almost expected this to turn into an Aerosmith type rocker, but that's just the boneheadedness of being me, I reckon. Love the guitars and find them appropriately earthy yet floating on air. The vocals are nice and I have no complaints about any subtle mirroring of the guitar lines. I picture your guitar work as being effortless for you and making it all look easy, yet stumping others. The small bridge section works well and I like how the song keeps setting itself up to "now I'm digging out". Here's to the change you are seeking. Suggestions: Shorten and use as an intro to an Aerosmith type song. (kidding) Actually, I like it just voice and guitar, so maybe just bring it to a coffee house and share.

The Sergeant Stomp Explosion - The bleepy intro tones are fin until the voices stand a little too tall. Regardless, the melody works here like some army of cheerful people armed with a tiny arsenal of beep-boop weaponry. Sounds more we're diggin' than I'm diggin', though. Kinda falls apart there at the end, but I like the mood. And sax. Suggestions: Production issues like clipping and distortion should be heeded, as mentioned elsewhere. Work out a more solid ending, with maybe a dialog or new musical idea. Or shovel sounds.

Signboy - The serious attitude is effective here and sure sounds like something important is going to happen. I don't hink your voice is bad at all but it seems as though you're only singing a couple of notes all the way through the song. I don't know that that is bad, necessarily, but it feels a bit one-noteish right before the guitar leads. Totally liking that section, as it lightens up a bit without losing its seriousness. Neat synthesized voice work there as well. I'm not sure of the fadeout there, but maybe it's good to have not returned to the body of the song. Suggestions: As mentioned elsewhere, compression and squishitude should be examined. Could still sound big with less processing.

Slats - The dissonant guitar is...totally working for me. The bass line not as much, but I like it when it walks. The progression is right out of my land of likes and very enjoyable. Beat works well as you kept it leaner than other entries. I'm guessing the lyrics are about your creative process of late. I like this despite its uneven stance. Suggestions: Get in better tune overall, but keep the dissonant riff. Balance the mix better so the keys don't just pop in and out as much.

Steve Durand - Well, I think you're on a heck of a run since your break ended. The flute is a great treat and surprise, and your trademark horns are just extra delicious when they announce themselves. The main melody is catchy and well balanced, and the chorus short and sweet. But your arrangement is tops here. Nothing's overdone and things come and go at just the right time over a great progression. Going for another win with this one. Excellent. Suggestions: Just keep them coming. Although everyone hits peaks and valleys, you sound you than you used to.

The Styop Quoons Experience - I like the syncopated intro and the chord choices, although almost reversed as far as which 'should' be major or minor, are moody and weird enough. The chorus is less effective, but makes and interesting contrast. The accents though the verses are nice but a subtle change in, say, the second verse, might've been good. But I like the backwards type sounds in the vocal-less one. While the easygoing flow of this is fine a wacked out bridge section or interlude might've given the whole song a stronger overall dynamic. Suggestions: Whittle a bit of this off or add some more variety. Nothing fancy, just a hint of spice.

The Tedward Nixon Experience - The catchy progression is fine. I'd like to hear something on the upbeat, not too ska-like, but something to imply that the song possessed a bit more pep than it does. You could've gotten away with another verse there as well, nobody would've minded, as it's catchy in spots. Vocals work better when you're not overreaching your range. Fun, if a bit incomplete feeling. Suggestions: Harmonize the mandolin sounding parts with a higher part. Just bring it back in the mix. Electric guitar could use come punch as well.

The Weakest Suit - It sounds like you were learning this one as you played it. I gotta say that I really don't like the piece by piece, etc., part. I think it's the chord progression more than anything, but I like the ooo-ooo part just prior to it. Demo-ish and incomplete feeling. I know that you work quickly, maybe more so than others, but this toss of the dice didn't win the kitty. Suggestions: Try new chords under the part that I mentioned, or even just inverting the ones that are there.

MisterQuoons wrote: Elaine DiMasi - I find you a bit pretentious. However, I have to admit that this has some potential ... you should rewrite the lyrics to this song so that it is about felching cats, and find someone else to sing it, preferably a fat Russian guy with a vocoder.

roymond wrote: Your comments for Elaine and deetah are useful bits of both detailed feedback and gut response stuff that makes people say "I got to him" or "I can use that".

Totally. I can and should be WAY more pretentious than this. I can look down on you guys from angles we've barely explored - probably beyond your ability to comprehend - astonishingly, beyond my own power to explain! And I'm going to start posting as - what did BLT call me? "Miss Fancy Pants". That is all.

-- I love the Diggin' Out playlist. I had it on this weekend for hours and hours. Can't wait to set aside some time to review it.

Awesome fight. I always save a handful, but this time I'm tempted to master the whole thing to a CD.

Cell Block E - Belongs on a mix tape with Jeff Robertson singing "keep yer cooter clean" ... but, you know, congrats for pulling this off and pulling me in. It's musical and you, like, emote. Harmonica just right.

Deetak - All this quavering is a little hard to take in the first half. I'd have like to hear a firmer foundation. The piano sounds lo-fi to me, now I get an image of a youth group practicing for a mummer's play in the church basement just before epiphany. Definitely a cool addition to this mix, but doesn't stand on its own in the greater sea of music.

Collaboration Station - The execution seems right for this genre. I rather think it'd only work for me if the vox were pitch-perfect - really stable. But I can enjoy the general hookiness of it.

Chadderandom Abyss - The guitar chimes that sounded like doorbells got my attention, since I'd already read what the song was going to be about. This is songlike for you, but still frustrating when the words are submerged. It's weird how literal they are, actually.

Cabin Fever - I like a song that demands to be taken seriously amid all the fun and games here. All kinds of thing to appreciate here - bass and drum parts, stretching your voice range to its edges. And the phrasing on repeats of Diggin Out. Good job.

Billy's Little Trip - You rock, and you're so california! It's better and with more cool details the more I listen. There was a swirly descending synth going by which I thought was great. Criticism - if you could make a "lite" version with 1/3 less cliches (does it really have to say "digging out of the hell I'm in" along with all the other ones) that was still full-bodied, I'd buy a case.

Barfknecht - I love the crawly bass groove and overall Beckification. That's what's memorable.

Weakest Suit - You're out-rocked in this week's playlist. Your tune came on and I shut off right away saying "yeah, this is the kind of thing he does". On closer listens, I just think this song is at a local maximum of not much strength. I can't see how you'd make the lyric stronger, the tune stronger, structure, anything. Recommendation is to leave it as is and go for the next one.

Tedward Nixon Exp - Cute! Catchy! And the mandolin stuck in my head for a good while when I turned it off and went to do errands. Plus points for vocals that pull no punches and for tying it up with a bow.

Styop Quoons Exp - The initial verse texture is nice, the one for chorus at 1:01 much less so. Your chorus with its exact repetition of four melodic repeats is just annoying. Overall, I can't make up my mind about the gimmicky processed sounding voices - should the song be designed that way (never mind how well you can really sing) or not? Not sure. Glad there were new sounds at 2:15 but the thing still got boring, and I left off caring what the words were.

Steve Durand - Flute: gorgeous. Not just "wow that's a flute, how different" but every last element of how and what is played. Story: not bad. "To coin a phrase", good. I expected "I've got a lot of catching up to do" to be "I've got a lot of diggin' up to do" or something like that. Yep, song works even if there's no surprises in the structure.

Slats - Far as the song goes, I love the straight-ahead design. I'm not as much calling for more development or less length than others - I like the one-riff thing - but I do think this does not work as background music. Turn my back on it, I've lost my place, then find out it doesn't really matter, story-wise. I think it should be assigned to being played live where you could be riveting. (Maybe I'll learn this on piano so I can imagine sharing in the glory! It really gets stuck in my head.) As far as the recording goes, I've listened to this on every set of speakers I have. There's a bassy growl (on 1 and 2& mainly, so I think it's in a bass or guitar track) that does not belong, and it carries a big rack of noise with it. Maybe you cooked the bass and splattered what should've been its harmonics all over the place, burying everything. The keys should be chiming brightly above your vocals, but they can't. You were talking before about using stereo outs from your bass - I suggest you try not doing that. Next time confine the bass to one output in a "tube" of low frequencies panned to the center. Not because this is "right" but because you have to check whether it solves your muddiness problem. And yeah, you know my opinion on the laptop speakers. Mantra: the laptop has no speakers. the laptop has no speakers. the laptop has no speakers. ...

Signboy - First impression: whoa, reprise of Paco del Stinko Stomach For It! Guess I'm not very discriminating when about that guitar sound. Or might it be a cliche? So, I really like the anthemic melody with the huge leaps. Unfortunately I think the performance has to be pitch-perfect to pull that off, even considering the considerable amount of attitude you have to have. Your backing vocals sound a lot better and help a lot. I like the song structure too, very much, there's really stuff going on. The hook alone, as lyrics on paper, eh. Better as a recording. I don't mind the fade as others do. But, well, ok, points off the song structure after all.

Sergeant Stomp Exp - It ain't pretty in any way, but it's got charisma. And my attention, even with the bloop-bleeps. Good job on the lyrics and the why-the-hell-not high notes and chord vocals.

Roymond - The open D tuning is like a cool fountain after the above. Unfortunately, the too-high vocal reaching is comparatively harder to forgive, for the same reason! I think the melodies are all good, though. A challenging range for sure! The lyrics are ok. The character doesn't come from or go to anywhere surprising or unique, but what they are is executed with nice details.

Ross Durand - This is mesmerizing! The voices are so strong and there's so MANY of them, more then more then more. The mortal songfighters calling for more development or less length in this are nuts. I'm shaking my head grinning every time you get to "you'll think you made me dig too well". As for the comment about negro authenticity, I don't think you're trying to be the real McCoy here. It works for me as a song that would be as in their mind.

R. Mosquito - Surprising! and I like that. You, um, also sound like music written for the Civ II video game. Neat, this keeps being surprising even as it comes into focus as a musical theater piece. Wow, great execution!

Paco del Stinko - LOL! even as I have no clue what this is about. And I like that the guitar is a "nice and easy" version of what you do. But it's kind of long (even though it's short) if I have no clue what it's about. I tried to fetch the lyrics but the site is crashing .. maybe later.

Monkey Throw Feces - Your band name sucks. Or I'm just humorless? Maybe I am. I can't listen to songs that sound like they're emerging from the gastric system.

MC Milk-Plus - Haha, cute start. Ok, your rapping is golden the whole time. There's lots of other music in this too, and it's totally groovy for two minutes. I think that even as I was grooving, the third minute let me wander away. Yeah, even though you're giving me your all with the vocal. Maybe it's like, how far does this theme really go after all? I'm thinking now that there's some magic repeat length for song sections. If they're really short like the two-chord riffs, I can listen forever. If song sections are big so a three minute song has just three or four of them, it also works. Something in the middle sets off a "that was too many" alarm unless there's something really interesting happening.

Jeff Landgraf - Hey, welcome to the fight, Please Be Awesome. The melody here really is fine, I especially like the syncopated hits of "why're you diggin a grave". I'm a little less interested in the words "diggin for my life", "dreams I couldn't save", "search for paradise": cliches. And the country-scape of "man on the mountain". Even if it's metaphorical. Oh, and I've clearly wiped the floor with you in the Legos sidefight! So next time you better tune that 12-string, no matter how much of a hurry you think you're in.

Jan Krueger - The opening falsetto makes a bad first impression, but I soon forget it on the strength of the continuing vocals and then the harmonies. Very nice choice of when and where to harmonize. I figured out what it is about your songs when you choose a downer as a topic. Someone else called your voice "somber". I think further, it sounds resigned. And lyrics to match. Maybe that's just not my favorite flavor. Landgraf is in a hole, but he's questing. Slats is in a hole, but he sounds defiant.

Howl Down the Chimney - LOVE IT. On the first listen, I was going "what's not to like?" Great music, great coloration, and grit too. Ok, adjustments to the handclaps, maybe everyone's right, but that's about it. When you told me what the topic would be I didn't know how you'd get there without too many "explanatory" lyrics. But you really pulled it off, and the track doesn't let me out once it starts. I'm going to vote for a bunch of stuff here, but this is my FTW vote big time.

The Hell Yeahs - Wow I love that this is huger-than-radio-huge and I wish I could rock like that. Unfortunately you don't have a story going here that I want to get into - or a hook that pulls me in against my will. Tune is so indefinite! But obviously on purpose. Great crunchy guitars between the vocals, that's my favorite part.

Heine - Yep! The happy color looks good here! The sunny chord changes in the "na na na" are the highlight for me. I usually go for a longer sustain on the synth for less "blip". You've guessed correctly about my affinity for 80's mix tapes though! So I am enjoying your track. I'd be a perfectionist about something though - are you doing "na na na" or "la la la" or both carefully chosen on purpose? Choose!

Ford's Theater Disaster - Ok, I love your voice and your vocal delivery. It's distracting, because I, like, want to marry it. Same goes for the overall sound of the band too, so I automatically dig the song. If the antennas are confusing and the lyrics a little abstract, so much the better. Ok, but the song is not perfect: I hate the middle chord in the chorus "to dig you babe". Unlike some others I like the simple guitar lines and the needly tone, but I agree that only 80% of them sound like a simple line you intended, and the other 20% are simple like you haven't made up your mind what to play yet. I had to go read the lyrics too, but I can't decide whether I'd want you to clean it up too much since I love the grit. It's funny anyway since you evidently don't like your voice, you usually bury it much further down in the mix than this, when you're not trying to find someone to replace you. After listening to your Nerds scratch track, I couldn't imagine why you thought someone else would be better. And are New Wave vocals really "warm"? To me they sound distinctly cool.

Elaine DiMasi - I love everybody else's simple synthy sambas so much, I thought I'd show you what it sounds like when I make them. Electronic elements: Roland SH-201 with one arpeggiated bass patch, and the other patches all played live-no-midi (which is why stuff is not in sync). Live elements - three voices (usually), one drum set, and several slooshes of Legos being poured onto the floor. I thought I'd be able to smith that sound into something much less annoying, but I gave up after a while. Yeah, the vox echo. I have such a habit of mixing my voice high and dry, I'm trying to revise, maybe this went too far.

Now the only challenge is how to order these tracks for the album.

Thanks for the reviews,
roymond (good point; I sort of don't think a lot about panning, I just set it to something that sounds decent and forget about it. I may have to work on that),
mrbeany,
Paco (I tend not to think a lot about ambient effects in songs, so that's something else I should put on my list),
Elaine (well yeah, I want to see you immediately scream away if you wake up disoriented in an unfamiliar dark place, foggy in the head due to lack of oxygen. The "resigned" piece is extremely deliberate this time. I was thinking of people who are terrified of being buried alive when I wrote this song. Being buried alive doesn't give you much of a position to fight from, does it? Nevertheless, after this song I guess I'll head somewhere else for a while).

I've got to apologize for taking so damned long with my second batch of reviews. I've given everything an attentive ear, but it's been such a busy weekend/day that I haven't had time to sit down and critique the rest of everyone's songs. I'll get something to those fine folks I've neglected by tomorrow night.

I predict Howling Down The Chimney is going to take this one, though. That song kicks too much ass NOT to win.

And thank you all for your remarks on my thingy! Glad some of you are grooving to it. And MisterQuoons: I think you can take the lyrics literally and figuratively. Like, sometimes I'll imagine hell's janitor with a mop and bucket cleaning harpy guano. The voices I've sampled in there are particular passages of Dante's Inferno read in Latin. I don't know, I wanted to write something optimistic.

- dust

My turn.

Jan Krueger - You do good vocal harmonizing. A nice blend of chords and melody to give a wonderfully dark delivery.

deetak - I like what you're going for here. It's a little pitchy in spots, but you are getting your emotion across nicely.

The Hell Yeahs - This is groovin' punk. I love how the cowbell break works on the "I'm pissed". Nice touch. Good energy the way I like it.

The Chadderandom Abyss - Brilliant!

Jeff Landgraf - Nice guy and guitar. The guitar high string are out of tune. Good lyrics and delivery.

Barfknecht - I like this quite a bit. It has a clean yet dirty groove. Vocals sound cool. I'd like to hear that Latin vocal bridge louder. You broke things up nicely to keep the song from getting repetitive. Nice arrangement.

Howl Down the Chimney - Cool lyrics and vocals. Clapping, whistling, mandolin bridge. You did a good job on this.

Heine - I'm sure by this point, you've heard enough about the distorted toms/snare. This is a really good and fun song. Sunshine pop is always an easy sell around here. You have a good easy to listen to voice.

The Sergeant Stomp Explosion - This is a cool song. How can anyone listen to this without a big smile? It's like the circus came to town, but with passionate vocals. I like your edgy voice. Very original.

Elaine DiMasi - Ok, let's hear what MFP put together for us. Oh, going electric this week. Hey, I like this. The deep reverb gives a nice effect with the marching drums. Great voice as usual and really nice harmonizing. You really know how to work those keys. The whole arrangement and effects work real well together. Lyrics are great, too.

Cell Block E Musical Enrichment Group F7 - You have a potty mouth. Ha, this funny. I dig the music. The fade out fits the old style, except how it cuts off. What's a doodle bug? LOL.

Cabin Fever - Nice flowy music. I like when the vocals are sung higher. The intro vox are a bit odd. Nice harmonizing. Cool guitar bridge, well done. This is a good song.

Paco del Stinko - Ha, this is classic PDS! This is the stuff I remember you doing when I first started hanging out here. The guitar riffs and lead are shaaaweeet! The keys are fun and bouncy. I love that little solo break for each of the instruments before the guitar solo. This is good. How can anyone not get in a good mood after listening to this?

The Tedward Nixon Experience - I think someone mentioned talking heads. But who cares, this is good. The bridge could of had more of a purpose, like some spoken bit or additional instruments jamming. It just sort of seemed empty and dragged, but it sounds fine. This is a good song and I like it.

Steve Durand - Yeah, Daddy-O. I've never heard you play flute, I don't think. Great sound. I'm like, diggin' this crazy groove, cat. I think I may even be diggin out. Great job all the way around on this, Steve.

The Weakest Suit - HeY! I heard you counting! You cheated! If someone stole your guitar, would you submit G&_ songs? Oh, back to your song. It's good.

roymond - I'm not sure why I thought this was a 12 string when I first heard it. I guess because the double tracked guitars. This song really has a luring melody to it. Plus you executed the delivery perfectly! This is G&G at it absolute finest. With the arrangement and changes it doesn't give me even a second to get bored with it, which is a feat in itself for a G&G song. Great work.

Slats - It sounds like something is out of time in parts. This is pretty good actually. It has a INXS kind of feel to it. It's really a cool groove and good vocals. If it were more alive, it would pop more, but that's ok, I can hear past that to hear a damn good song here.

Collaboration Station - Starts like, "Do you want to be my girl". But this grooves right along nicely. This is a good poppy tune. A little bit of mixing practice and you'll be putting out radio ready songs in no time. I like it.

Monkey Throw Feces - Well, you seem to sing with emotion. The slowed down voice was making me gag a little. So kudos for that, lol.

The Styop Quoons Experience - I like the music quite a bit on this one. Love the panned horn sounds keeping the beat. This is a pretty cool tune. I like this better than some of your other stuff that I've heard. I may be mistaken, but I think I just had an experience.

Billy's Little Trip - They're having a two for $3 big mac sale right now. Can I barrow 3 bux? I'll gladly pay you back Tuesday for 3 bux today.

MC Milk-Plus - This is really damn good. Groovin' bass line. Shake it, shake it. Fun, funky and grooven, good work. Even better if you played everything. Isn't there already a rapper from the UK called MC Milk Plus? Are you him?

R. Mosquito - This is so different from you usual noisy rock. Sounds like the beginning of a movie. OOoo, nice. Sounds like something that would fit nicely on The Wall album. Very cool.

Ross Durand - Chain gang music. Cool idea! Great harmonizing.

Ford's Theater Disaster - This rocks good. I like the radio tuning intro then how the song kicks in. Pretty good production, too.

Signboy - The hallow sound has already been mentioned and you said you tried out that ozone plugin for the first time. So putting that to the side, this rocks pretty good. The drums need to come way up in the mix to keep the song hitting with a solid beat. That's the trick with loud guitars. A louder drummer

Billy's Little Trip wrote:The Weakest Suit - HeY! I heard you counting! You cheated! If someone stole your guitar, would you submit G&_ songs? Oh, back to your song. It's good.

HeY! i've submitted a couple songs with no guitar at all:
Purple Tongue was made with Jam Session for the Nintendo DS and the Micro BR
Everybody Calm Down (a.k.a. "I am a Joy") was made with only my Ibanez Bass and the Micro BR.
once i learn how to use the korg-10 ds cart, i'll be submitting a bunch of G&DS. i know you can't wait.

Ross wrote:

mrbeany wrote:Ross Durand - Somehow this reminds me of the episode of "Little House on the Prairie" where Pa had to go do some mining work as the crops were poor, and a neighbor he meets along the way doesn't make it back.

I probably shouldn't ask but... is that a good episode?

Come on, when was there a bad episode of Little House?

I remember the episode fondly enough. Of course it was a bit of a sad episode, as someone did die, but...

I find Steve Durand's description of your song odd, but perhaps that's due to the last worksong I heard being an Irish worksong. (Which did, in fact, involve coal mining and death at the end.)

jast wrote: Elaine (well yeah, I want to see you immediately scream away if you wake up disoriented in an unfamiliar dark place, foggy in the head due to lack of oxygen. ...

Just keep the fat russian guy with the vocoder out of my coffin, and I'll remain calm.

ElaineDiMasi wrote: Billy's Little Trip(does it really have to say "digging out of the hell I'm in" along with all the other ones)

I don't know. Did Picasso have to use so much yellow?

Paco Del Stinko wrote:a couple more times around with that and I might wet my pants

That's what I was going for.

Steve Durand wrote:BLT sounds pretty

Oh, why thank you.

Paco Del Stinko wrote:Suggestions: Harmonize the mandolin sounding parts with a higher part.

I just played around with this idea for a few minutes - damn, it sounds good. Wish I'd have thought of it in the first place.

MisterQuoons wrote:Is that a piano or a guitar?

Man, I wish I had full access to a piano for recording purposes, then I could bring my full on horrible, awesome Tom Waits impersonation to the masses.

ElaineDiMasi wrote:Roymond - The open D tuning is like a cool fountain after the above. Unfortunately, the too-high vocal reaching is comparatively harder to forgive, for the same reason! I think the melodies are all good, though. A challenging range for sure! The lyrics are ok. The character doesn't come from or go to anywhere surprising or unique, but what they are is executed with nice details.

I often think I can do things I can't. Good thing that doesn't include flying quite yet or I'll be making the French look like Falcons. But I'm worried if I stay in my comfy range I'd only be able to sing certain Jobim covers. If that. I know the character is limited but it's largely autobiographical so, that explains it. But I mean to focus more on lyric this year (a forgotten goal from that other thread.)

ElaineDiMasi wrote: Elaine DiMasi - Yeah, the vox echo. I have such a habit of mixing my voice high and dry, I'm trying to revise, maybe this went too far.

Understandable! I put nothing in my mix at all this week due to not having any time to think about processing beyond my template settings, but I also started keeping things pretty dry a couple years ago to force me to improve my vocals through intimidation and exposure. It's time to apply appropriate effects again, apparently.

SongFight Reviews: 'Scuse me if I ramble, I'm doing this in one marathon session, and I'm feelin' all ADD tonight.

Barfkne... Barfknech... Dust - Alright, nice way to kick off my evening of listening. This is bringing back some pleasant memories of the likes of NIN and something in the groove is evoking the spirit of Depeche Mode. Yeah, I switched over to listen to 'Enjoy the silence' for a half a minute, and there's definitely some 'peche goin' on here. Ohhh and does anyone remember the band "Self"? It's reminding me of dozens of other songs I like, but I don't wanna make it sound like I'm saying this is completely derivative, because that's not it at all. The groove is just making me bootyclap, like the songs I'm thinking of.

Billy Tripowski - Oh, too short. Is that you? I think this is the first time I'm hearing your actual voice. Is it ALL you, because those background vocals do a really good job of sounding like a band for just one guy. I like the "Here's to the hopeless and the broken" line. I think I heard some cowbell. Yep, this one makes my neck bootyclap. I second Paco's comment about wanting to drive fast. Billy, you're gonna get someone killed!

Cabin Fever - Pulls me in right off the bat with that unusual percussion hit and slide guitar. Man, I'm digging this too. The whole laid back vibe of it. High percentage of awesome this fight, indeed. I can hear what others are saying about mud, but I think the vocals are very pleasant in the context. This is a song for sitting sitting next to a swimming pool in San Diego at night, watching the reflections shimmer on the stucco wall.

The Prisoners of Cell Block E - I really hope that you are an actual group of prisoners recording a song through the same sort of program that goes in and gets prisoners to perform Hamlet. The song itself sounds like what I'd expect, so, yeah... I'm going to go ahead and believe that you are, because that's the only context in which this song works for me. Good work, boys. Beware of Bootyclap!

Chadderandom - This feels like it fits after last week's song in a cryptic concept album. The percussion definitely reminds me of someone shoveling on fast forward. I like the creak at the end and the part where it goes "wrrrrroooooooo" like a dying tape recorder. Is there a name for that sound?

Collaboration Station - See also the intro to "Lust for life". Hard to ignore some of the quality issues, like clipping static, but man.... MAN... I wish I'd had you to record the handclaps for my song, because THOSE are some tasteful and well done handclaps. I'm being completely serious. I was not able to get my handclaps to sounds like that, and I tried. Oh, and the rest of the song is alright too.

Deetak - I'm finding this really, really appealing, largely because I'm picturing it being sung by a group of star-nosed moles, stop motion animated in the style of 'Wind in the Willows' (the 80's version). They're in their subterranean parlor that's decorated with victorian doll furniture, including a tiny piano, singing as they put on their little coats and scarves to venture out into the world. Plosives mar it slightly. The piano is lo-fi in the best possible way. Weird reverb is great. Yeah, on second listen I'm kind of loving this and want to keep it forever.

Elaine - My second listen to this one . Hey, are those references to my Nerds entry? I think we had the same childhood. My own lego collection was pretty modest, none of the big playsets or huge boxes of legos like my friend had. The one themed set I DID have was the astronauts, though! And I did accessorize them, sometimes with 1 or more extra head because.. ahhhhhhhhh! Space Radiation! There were little satellite dishes with that set that I made tops out of, and send them spinning around like some out of control...space... thing. Anyway, the song! These synths are like a big warm blanket I can wrap myself in. Love the synths. This may be my favorite of yours so far. I like the delay on the vocals, but you know what a junkie I am. Great atmosphere. I didn't get that those were legos being poured the first time through, I was thinking rain stick. And my only quibble would be that they come in a bit too often.

Ford's Theater Disaster - I like it when songs start of with a radio. WOOOEEEEOEOOEE. I like your vocal delivery and the energy of this song. Clipping is ow. I like the radio cameo. Good stuff.

Heine - The chorus makes me want to skip down Candyland Lane. Verse vocals need... something, don't know what. Maybe it's just that they're so dry they suck some of the energy out.

the HELL! YEAHS! - More cowbell! Fond memories of Veruca Salt. Doesn't wear out it's welcome, which is good because it's chaotic, in a good way, but also in a way that could get tiring to listen too if you had to listen to it for too long. I can't tell you're drunk. So far, I can't tell that ANYBODY is drunk. You all function suspiciously well, and I'm starting to worry that you all have a serious drinking problem.

Jan Krueger - Is there anything scarier than the prospect of being buried alive? How come there aren't more songs about it? *shiver* I dig these chords. It sounds weird coming from me, but I think you absolutely made the right choice leaving it dry and claustrophobic. Stellar harmonies as always.

Jeff Landgraf - The out of tune-ness and weird reverb make it sound creepier than the song itself is, which.... yeah I think that's a good thing, in the mood I'm in now anyway. I'd like to hear some background vocals come in, by the time it gets to the second verse and beyond. Some really doom-ful oooh and ahhhs. Maybe the sound of a churchbell. Teutonic Gloominess a-go-go!

MC Milk Plus - It takes a lot for hip hop to impress me. This pretty much does. Your flow sounds pro and your sounds are pretty fresh. Or at least fresh to my ears. I like the Austin Powers-ish flute part. Bootyclap!

Monkey Throw Feces - I think there's something wrong with your recording equipment. Let me listen a little bit mor.... yeah, no, this is worse than I feared. You've got Satan trapped in your 4-track. And he sounds angry. Or hungry. Both, maybe. Don't bother taking it in for repair, you've gotta cut your losses. Douse it in holy water, watch while it smokes and dissolves into a black stain, and be more careful next time! Satan is NOT a toy.

Paco - Madcap! Is the word that comes to mind when I hear this... I.... I don't even know why. It's got kind of a kooky ska feel. Like the kind of music Shaggy and Scooby-Do would have cruised around to if they'd been in the 90's. (No, the movies don't count. The movies are dead to me.)
Yeah, kooky ska, good tune, amazing guitars = good times. Now my brain is gonna be saying "Kooky Ska!" all week.

R. Mosquito - Woah... percussion... nice. Brass... WOW. Accordion part.... deja vu. Based on our songs in this fight, If I had a band and you had a band in the same area we would travel in the same circles and end up doing a tour together and it would go together like peanut butter and chocolate and go down in the History of Awesome. And then I'd marry your sister, and we'd cut our wrists and tie them together to become blood brothers. How could I not love this? Turn up your vocals in places, that's all. Believe me when I say we should collaborate sometime, and not just because I really covet your brass band.

Ross Durand - And based on this song, Ross should definitely be part of the aforementioned awesomeness tour. Except he'd have to clone himself somehow... hmm, we'll look into that one. Man, this is my favorite thing of yours so far. You've always had the goods, and hearing you do something unexpected like this fills me with glee. Soooo good. I'd like to know what you used for that shovel sound.

Roymond - Great guitar tone. This isn't the usual G&G offering. Chords and guitar style reminds me of the Tea Party. Have you heard of them? I hardly ever meet anyone who has (except for canadians), but they're amazing. Anyway, yeah, this is right up there. Good work, man.

Sgt. Stomp - I wish it wasn't so clippy, it's so good otherwise. Well, and if it were a little less bloopy, too. These are the kind of background vocals I adore. And the general aesthetic is likable. Even the random heavy breathing is cool. And the song itself... yeah, really close. Next time.

Signboy - Ok, I can maybe tell that you're a little drunk. But it sorta adds to the song. This is pretty rockin' even when it sounds like karaoke night.

Slats - There's something distracting about the production. Like the bass is coming from a weird place? Can't put my finger on it. Great acoustic guitar tone, though. I always end up remarking on your guitar tones. You are the tonemaster.

Steve Durand - Dig those flutes. The usual high musicianship. The vocals can't quite keep up with the rest of it, but I think it's partly a production thing, and I wholeheartedly second Billy's recommendation about the megaphone. One of those old timey megaphones, not electric.

Mister Quoons Does Not Love Me - Aha, the fat Russian with a vocoder is opening for you? This transports me to the lowest level of a haunted underground parking garage, which is a place no other song has ever taken me. And we dig relentlessly, not even stopping when we discover a long forgotten race of blind, albino, backwards talking dwarves. Too weird NOT to like. Well played, sir.

Tedward Nixon Has Got An Experience Too - I feel like I'm listening to a long lost shiny happy people era REM track, during an time in their career where they fired their bass player for a couple of months and hired a happy little robot to replace him. And, I dunno... Alice Cooper, stopped by with his guitar. I mean all that in the best possible way. It makes me wanna dance with my hat on sideways.

The Weakest Suit - You know, I like your full band stuff, but it feels nice to be back in this beanbag chair in the corner of your bedroom at 1:30 am. Is that a new poster? Yeah, this is comforting in a way few things are, and the perfect way to end my listening session.

What a killer fight to kick off the new year. A tip of the hat to you all.

Howl Down the Chimney -
Thanks for the reviews and kind words, everyone. It's fun to see different interpretations of who the prisoners are. So far... WW1 soldiers, zombies, and pirates. If anyone imagined another type of prisoner I'd love to hear about that too.
The hardest part of recording was finding percussion that fit. I knew I wanted handclaps and started with a modest handclap track. Then I tried tambourines, hitting cardboard boxes, anything. I finally found a good shaker (a coffee can full of broken glass), but nothing else was working and meanwhile I kept nudging the handclaps up and up to compensate until they're these MONSTER HANDCLAPS that have taken on a life of their own and they're goin' "Hells yeah lets hear some mother effin' HANDCLAPS up in here!", and I don't even notice because I'm having percussion insecurity issues.

So yeah. Fixed and fixed, and I brought the bass up a tad too, so if anyone wanted to keep this and wants the improved track, PM me your email address. Geez, I should really look around for some free online storage, since I don't have anywhere to put a stray mp3 anymore.

We interrupt this string of reviews for this important message.

Lol, I just wanted to say how kewl it is that so many people are reviewing this fight. It makes me sad that I didn't make it in this time. I really hope the reviews are this plentiful all year.

roymond wrote:Wish the bridge was longer, and maybe ventured farther from the source.

I did consider it after it came together because I liked the feel of the bridge. But I am trying out new ways of arranging and I didn't want to deviate from my plan. I figured I'd wait for some feedback.

jast wrote:Interesting bits of randomness in some guitar parts.

I'm trying to think outside the box more these days. Truth is, I accidentally locked myself out of the box and I'm having a hard time getting back in.

Teplin wrote:Billy, you're gonna get someone killed!

Well, I've always wanted to make a difference in the world, but I was really hoping it would be something more positive, like the cure for cancer or penis pills that add a couple of pounds. Eh, I'll take what I can get.