Okay, point taken. But the Hotel California reference was cruel, man. I fucking hate the Eagles. But definitely, point taken.fluffy wrote:Fadeouts are bad in general. If you want to end the song, end it! None of this wishy-washy "I don't know how to end it so I'll just repeat until the entropic heat death of the universe" crap. Otherwise you end up with the 15-minute wordless outro of Hotel California or whatever.
tw3rp r3vi3w thr3ad
-
genecawley
- de Gaulle
- Posts: 120
- Joined: Mon Oct 04, 2004 1:25 pm
- Instruments: Guitar, Bass, Piano, Drums
- Recording Method: Ableton Live 11
- Submitting as: Balls To Monte, The Go-Kups, & and the Angle Brackets, The Buttermilk Compleat
- Pronouns: he/him
- Location: Milwaukee, WI
"...and it ain’t a fit night out for man or beast!”
Thanks, Dude.gramparsons wrote:Okay, point taken. But the Hotel California reference was cruel, man. I fucking hate the Eagles. But definitely, point taken.fluffy wrote:Fadeouts are bad in general. If you want to end the song, end it! None of this wishy-washy "I don't know how to end it so I'll just repeat until the entropic heat death of the universe" crap. Otherwise you end up with the 15-minute wordless outro of Hotel California or whatever.
Am I rockin' hard, or hardly rockin'?
I dig the honesty in your own review. Your song makes sense to me now knowing where it is coming from.fluffy wrote:
Sockpuppet: Basically I've been singing too much Britney Spears at karaoke lately and after dissecting a few of her songs I decided to see if I could make something using the principles I heard (without just duplicating her sound faithfully). I think it worked well. Of course my voice sucks and that was like the 10th vocal take but basically I did this as a production demo reel entry (hence why it's showcased as the first spot on my portfolio site). The whole song took about 12 hours from start to finish (starting where I came up with the idea in the shower).
-
genecawley
- de Gaulle
- Posts: 120
- Joined: Mon Oct 04, 2004 1:25 pm
- Instruments: Guitar, Bass, Piano, Drums
- Recording Method: Ableton Live 11
- Submitting as: Balls To Monte, The Go-Kups, & and the Angle Brackets, The Buttermilk Compleat
- Pronouns: he/him
- Location: Milwaukee, WI
The Anarchaeologists: Promising start with a catchy piano/fuzz bass riff. Momentum pretty much lost by 0:50. almost regained by guitar solo, but not quite. Overall, pretty cool aesthetic, but to my ears, something is lacking in the songwriting department.
Balls to Monte: Vocals sound like Broadway to me. What can I say, other than they’re not my taste, which kind of kills the song for me. Pretty nice recording though.
Beefy and DJ Snyder: Awesome intro section. Like many pasty white guys my age, I started out as a rapper. So I’m all for nerdy honkies rapping, but I do find the nerdy subject matter boring, and this track needs a hook. Remember Third Bass? They knew how to do it.
BLT: That bass line is pure money. The guitar sounds kinda out of tune, but whatever. Even the talky thing works in this. Pretty great track. Cool solo and funny lyrics. Possibly my favourite from you. It sounds like you’ve already got the hang of the digital recording thing, eh?
BCT: Blue hates my music so much, he skipped my track the last time he wrote reviews (a tactic first introduced by fellow genius and connoisseur, J$). Despite my potential bias here, I think I can still objectively state that this track is pretty bad.
DJ Dickie Qwick: As a mixing experiment, this is pretty cool. It reminded me that my band used to play the WKRP theme at gigs way back.
Flvxxvm Florvm: You have the hardest fucking name to spell in the known universe.
Garlick Head: Ha! That “hook” is pretty dang funny. It’s hard not to like this. It’s good fun, and it’s very well executed. Nice job.
Gert: This is extremely slick in terms of performance and production, but I’m not loving the actual tune. Not as good as some previous Gert entries. Favourite elements are Smalltown’s vocals and the organ solo, which made me wish I still smoked pot. A lot of it.
Ingruo: This track bores me and gives me an anxiety attack at the same time. I guess that’s some sort of accomplishment.
Melvin: On The Yardstick of Personal Musical Accomplishment, I give this track a 7.2.
Paco: You’re truly funny and always inventive with your sound. That breakdown kills me. Paco forever!
Raspy Jasper: That squibbly sound in the left speaker is really spoiling this track for me. It feels like an “Anything but GnG!” production decision – something I’ve done myself before. I could be wrong. Looking past that irritation, you’re a good singer and the song is quite possibly good, but honestly, it’s hard to tell.
Ross Durand: This is amazing! The bouncy piano is dead-on, and the harmonies are super sweet. Plus those are some great guitarmonies. This would have worked with or without the punch line at the end, in my opinion. In fact, my only very minor gripe was the little station ID chime thingy at the end – the notes sound rather sour together. Nothing about the 80s bubblegum sitcom experience should be sour. Awesome job nonetheless, Ross.
Signboy: Huh. If the vocal melody in the verse was clear, I’d probably like this a lot more. The vocalist actually has a really nice tone, but the pitch issues are a bit of a buzzkill.
Sockpuppet: This sounds like a middle-aged drunk covering Britney Spears. But seriously, if I were to critique the production in particular, I would say it sounds a bit dated. Comparing it to the current state of uber-commercial dance-pop production, I think there may be too much reverb, and the groove/beat may not be “cut out” enough, if you know what I mean by that. If you were hoping to, say, get paid to produce music in this genre, I think you’d want to go for a groove that’s drier and more chopped-up so butts really be slammin’ hard to it, rather than smoothed-out and verby like the softer boy band stuff of the early 90s. That’s my not-too-informed opinion, anyway.
Christopher Butt: Holy shit! This kicks total ass. Like, wow. Here are the things I love about it: the boy/girl vocals, the start/stop flow, the anger of the girl, the melodies, the guitarmonies, the lyrics. Etc. Awesome entry. You rule. Will you be playing any gigs in Canada?
Tri Minutieux: Terrifying soundscapes, eh? Must be The Return of Egg. Fuck, I miss drugs. Not a song in my books, but pretty cool nonetheless.
Wages of Spin: I don’t know Wages, I think you need to fall in with a great band that can write some great songs that will allow your great voice to really shine. This is pretty dull.
WreckdoM vs Sven: This sounds like all the shit my grandmother used to say to me when she was in the early stages of Alzheimer’s. How could she say such hurtful things? Well, I kind of liked this. It made me smile. And remember.
Zoosneakers: What song? There’s no song. In fact, there’s nothing here.
Balls to Monte: Vocals sound like Broadway to me. What can I say, other than they’re not my taste, which kind of kills the song for me. Pretty nice recording though.
Beefy and DJ Snyder: Awesome intro section. Like many pasty white guys my age, I started out as a rapper. So I’m all for nerdy honkies rapping, but I do find the nerdy subject matter boring, and this track needs a hook. Remember Third Bass? They knew how to do it.
BLT: That bass line is pure money. The guitar sounds kinda out of tune, but whatever. Even the talky thing works in this. Pretty great track. Cool solo and funny lyrics. Possibly my favourite from you. It sounds like you’ve already got the hang of the digital recording thing, eh?
BCT: Blue hates my music so much, he skipped my track the last time he wrote reviews (a tactic first introduced by fellow genius and connoisseur, J$). Despite my potential bias here, I think I can still objectively state that this track is pretty bad.
DJ Dickie Qwick: As a mixing experiment, this is pretty cool. It reminded me that my band used to play the WKRP theme at gigs way back.
Flvxxvm Florvm: You have the hardest fucking name to spell in the known universe.
Garlick Head: Ha! That “hook” is pretty dang funny. It’s hard not to like this. It’s good fun, and it’s very well executed. Nice job.
Gert: This is extremely slick in terms of performance and production, but I’m not loving the actual tune. Not as good as some previous Gert entries. Favourite elements are Smalltown’s vocals and the organ solo, which made me wish I still smoked pot. A lot of it.
Ingruo: This track bores me and gives me an anxiety attack at the same time. I guess that’s some sort of accomplishment.
Melvin: On The Yardstick of Personal Musical Accomplishment, I give this track a 7.2.
Paco: You’re truly funny and always inventive with your sound. That breakdown kills me. Paco forever!
Raspy Jasper: That squibbly sound in the left speaker is really spoiling this track for me. It feels like an “Anything but GnG!” production decision – something I’ve done myself before. I could be wrong. Looking past that irritation, you’re a good singer and the song is quite possibly good, but honestly, it’s hard to tell.
Ross Durand: This is amazing! The bouncy piano is dead-on, and the harmonies are super sweet. Plus those are some great guitarmonies. This would have worked with or without the punch line at the end, in my opinion. In fact, my only very minor gripe was the little station ID chime thingy at the end – the notes sound rather sour together. Nothing about the 80s bubblegum sitcom experience should be sour. Awesome job nonetheless, Ross.
Signboy: Huh. If the vocal melody in the verse was clear, I’d probably like this a lot more. The vocalist actually has a really nice tone, but the pitch issues are a bit of a buzzkill.
Sockpuppet: This sounds like a middle-aged drunk covering Britney Spears. But seriously, if I were to critique the production in particular, I would say it sounds a bit dated. Comparing it to the current state of uber-commercial dance-pop production, I think there may be too much reverb, and the groove/beat may not be “cut out” enough, if you know what I mean by that. If you were hoping to, say, get paid to produce music in this genre, I think you’d want to go for a groove that’s drier and more chopped-up so butts really be slammin’ hard to it, rather than smoothed-out and verby like the softer boy band stuff of the early 90s. That’s my not-too-informed opinion, anyway.
Christopher Butt: Holy shit! This kicks total ass. Like, wow. Here are the things I love about it: the boy/girl vocals, the start/stop flow, the anger of the girl, the melodies, the guitarmonies, the lyrics. Etc. Awesome entry. You rule. Will you be playing any gigs in Canada?
Tri Minutieux: Terrifying soundscapes, eh? Must be The Return of Egg. Fuck, I miss drugs. Not a song in my books, but pretty cool nonetheless.
Wages of Spin: I don’t know Wages, I think you need to fall in with a great band that can write some great songs that will allow your great voice to really shine. This is pretty dull.
WreckdoM vs Sven: This sounds like all the shit my grandmother used to say to me when she was in the early stages of Alzheimer’s. How could she say such hurtful things? Well, I kind of liked this. It made me smile. And remember.
Zoosneakers: What song? There’s no song. In fact, there’s nothing here.
hi!
-
genecawley
- de Gaulle
- Posts: 120
- Joined: Mon Oct 04, 2004 1:25 pm
- Instruments: Guitar, Bass, Piano, Drums
- Recording Method: Ableton Live 11
- Submitting as: Balls To Monte, The Go-Kups, & and the Angle Brackets, The Buttermilk Compleat
- Pronouns: he/him
- Location: Milwaukee, WI
-
fluffy
- Eisenhower
- Posts: 11196
- Joined: Sat Sep 25, 2004 10:56 am
- Instruments: sometimes
- Recording Method: Logic Pro X
- Submitting as: Sockpuppet
- Pronouns: she/they
- Location: Seattle-ish
- Contact:
That was Egg. Check the pref1ght thr3ad [EDIT: I mean the previous page of this thread!] for details.
Last edited by fluffy on Fri Mar 02, 2007 9:00 am, edited 1 time in total.
-
Egg
- Goldman
- Posts: 510
- Joined: Fri Apr 15, 2005 5:42 pm
- Instruments: whistles and egg shakers
- Recording Method: Cakewalk, Cubase, Audacity, Garageband
- Submitting as: Phunt Your Friends
- Location: Villemoustaussou, France
- Contact:
I feel like I have less to say than usual about the songs in this fight. Plus, I have a pretty good feeling that my track is not rocking enough to criticize Gert, but here's a try at reviews anyway. Also, the word of the week appears to be jarring, narrowly beating out repetitive.
The Anarchaeologists - The bass line is nice and threatening but it gets a little repetitive. I like the filter on the vocals. I also think the parts where guitar or keyboard come in are nice and short. Also those back up vocals. But over all, I think this lacks a little development.
Balls to Monte - haha, this is conjuring up images of opening credits in some cheesy John Hughes flic. Repeating the chorus like 12 times while fading out has always been one of my least favorite ways to hear a song end, but I guess the whole song was so restrained that this isn't as jarring here.
Beefy w/ DJ Snyder - The beginning is really slick. I wish there was a catchy part. The times you deviate a bit from the beat are nice, but you don't do it as much as you could. (The vocal sample yaaa is awesome but it sort of becomes part of the beat).
Billy's Little Trip - I love the back up vocals so much in this. Sometimes, it seems like they're less singing the vocals and just mumbling really pointedly. They really grow on me along with the bassline. Good progress in most of the instrumentation. I like the verse ramblin way more than the main vocals in the chorus.
The Booty Chesterfield Trio - This seems a little low volume-wise. I like the part that ends around 2:10. It was pretty sweet especially with that descending synthy sound. The following part is neat at first just because of the transition but as it degrades into a bangin shoutfest, I wished that it got louder or more destructive.
DJ Dickieqwick - The sampling at the beginning is fun although it might run a little long before the musical sample for Cincinatti kicks in. I love the nude senator sample. I guess it'll be okay to sample all this if it gets used in the song too, but I can't hear it distinctly in the song... but that doesn't mean it's not there. I've only listened a couple of times. I like the song overall and the big buzz that's still there in the end is nice. You also kept it in the right time constraints for how much material you had to develop in this.
Flvxxvm Florvm - At first, this picqued my interest. I like the initial sonic arrangement, but it doesn't change much and I fall away from it. It's short, so no biggie, but this isn't hitting the mark much for me. I am interested in checking the archives to see what kind of nonsense you have been up to in my absence. Sometimes, that's the best thing a track can do.
Garlick Head - haha. Kazoo and old time jangles. There's a limited novelty to making music the WB frog would have enjoyed singing, but who cares?
Gert - Not quite as rocking as I remember. I'm glad that Gert got together for a project though. You really do neat stuff when you all have time to collaborate. I like the list of words with back up for that limited section and some of the synthy sounds in the backup. I bet those are prominent just because the rock isn't as omnipresent as it usually is.
iNGRUO - This is the first time I've heard your music, but I'm glad it's sort of on a par quality-wise and thematically with your visual work. You make grotesque, amorphous pieces with very recognizable elements at the base. It has the (good) grimey feel of street art. That said, the music is a little more polished than I expected and some of the synth sounds a little out of the piece, like the levels need to be adjusted so it sounds more like it's all coming from the same source/room. Some neat things happening in this, though it seems a little long. Even though the song develops, it kind of develops in predictable glitchy ways sometimes.
Melvin - The choppy guitar is pretty cool in the mix. The chorus vocal quality was a tad jarring at the very beginning but it smoothed right out. What did I tell you about pulling out your Personal Yardstick of Accomplishment in public?
Paco del Stinko - You're so catchy. I always think of that Frank Zappa goofery. This is great in that Paco way that I'm a fan of. The LOW vocals are cool although the joke setting it up is eh and written off to that goofiness. And then the transition out of that section is awesome when it comes. uh huh nuh un. Nice.
Raspy Jasper - hah. That was a pretty creepy intro sample. After that, I feel like the music's pretty familiar except for that left mixed waing waing sound. The hand claps are a little sparse and in a different sonic space than the rest of the music. And they still sound like hand claps that are supposed to act like hand claps, so I'm not ready to write it off as an artsyfart choice, if that makes sense. Hmm... were you avoiding making an entry that just gets nailed for being guy and guitar?
Ross Durand - Nice, though predictable arrangement here too. I guess it really achieves that jingly theme song feel well. Short and fun blip in the fight.
Signboy - parts of this are kinda nice, but they're the same parts that are kinda terrible to my ear. So I'm conused; I don't really know what to say other than the repetition makes me fall back on the pretty conventional parts of the song that are executed a tiny bit unconventionally and I'm not sure if the "offness" of the whole thing is really that endearing.
Sockpuppet - "And then you did it again" really does feel like Brit. The scratch breakdown is nice. Plus the whole feel of the washed out male vocals doing a Brit-inspired tune kind of works. I think if this got dirtier (sonically, not sexually) and more destructive it could be really jarring in a good way.
Christopher Butt (Spinlock) - That opening "Mission countdown!" sample and then the reverby "Access denied" reminds me of something I heard on the SxSW showcasing artist album a lot. This is really catchy in a truly jarring way. I also like the occasional sloppiness of the meter in the vocals like how "that's a load of fucking shit" just doesn't fit that bar. Those Meddling Kids seems like he does a lot of that and I have an appreciation for it. The backup vocals are fun too. I really like this song.
Wages of Spin - This is a little slow. I don't even get into the synth key solo ... And I almost always get into the synth key solo. I do appreciate trying to rhyme things with monopoly.
WreckdoM vs. Sven - Dude, I hardly heard the rest of the fight my first time through, just waiting for this track to hit. So you've got clout coming into the fight and then it totally lives up to all my hopes and expectations. Where is the theremin? This could have been a weeee bit more chaotic for my tastes, but I suppose WreckdoM had to show it's organized side for a good fight against the honorable Sven. This would be so terrifying and hilarious simultaneously live. When I get in touch with Mogosagatai, I want to do a battle royale with WreckdoM, Phunt, Luke Henley, Sven, ANYBODY REALLY.
Zoosneakers - You are potentially invited to the massive brawl mentioned above. This is a pretty grim soundscape. I feel like I liked you other entries a little more in their completeness. But this sort of 'scape can be incorporated into the other kind of entry pretty easily. Just less of those crisp drums like in convalescence and some more messed up soundscaping like in this.
OH, and PS - I can cross being called a Kate Bush wetdream off my list of things to do before I die. THANK YOU.
The Anarchaeologists - The bass line is nice and threatening but it gets a little repetitive. I like the filter on the vocals. I also think the parts where guitar or keyboard come in are nice and short. Also those back up vocals. But over all, I think this lacks a little development.
Balls to Monte - haha, this is conjuring up images of opening credits in some cheesy John Hughes flic. Repeating the chorus like 12 times while fading out has always been one of my least favorite ways to hear a song end, but I guess the whole song was so restrained that this isn't as jarring here.
Beefy w/ DJ Snyder - The beginning is really slick. I wish there was a catchy part. The times you deviate a bit from the beat are nice, but you don't do it as much as you could. (The vocal sample yaaa is awesome but it sort of becomes part of the beat).
Billy's Little Trip - I love the back up vocals so much in this. Sometimes, it seems like they're less singing the vocals and just mumbling really pointedly. They really grow on me along with the bassline. Good progress in most of the instrumentation. I like the verse ramblin way more than the main vocals in the chorus.
The Booty Chesterfield Trio - This seems a little low volume-wise. I like the part that ends around 2:10. It was pretty sweet especially with that descending synthy sound. The following part is neat at first just because of the transition but as it degrades into a bangin shoutfest, I wished that it got louder or more destructive.
DJ Dickieqwick - The sampling at the beginning is fun although it might run a little long before the musical sample for Cincinatti kicks in. I love the nude senator sample. I guess it'll be okay to sample all this if it gets used in the song too, but I can't hear it distinctly in the song... but that doesn't mean it's not there. I've only listened a couple of times. I like the song overall and the big buzz that's still there in the end is nice. You also kept it in the right time constraints for how much material you had to develop in this.
Flvxxvm Florvm - At first, this picqued my interest. I like the initial sonic arrangement, but it doesn't change much and I fall away from it. It's short, so no biggie, but this isn't hitting the mark much for me. I am interested in checking the archives to see what kind of nonsense you have been up to in my absence. Sometimes, that's the best thing a track can do.
Garlick Head - haha. Kazoo and old time jangles. There's a limited novelty to making music the WB frog would have enjoyed singing, but who cares?
Gert - Not quite as rocking as I remember. I'm glad that Gert got together for a project though. You really do neat stuff when you all have time to collaborate. I like the list of words with back up for that limited section and some of the synthy sounds in the backup. I bet those are prominent just because the rock isn't as omnipresent as it usually is.
iNGRUO - This is the first time I've heard your music, but I'm glad it's sort of on a par quality-wise and thematically with your visual work. You make grotesque, amorphous pieces with very recognizable elements at the base. It has the (good) grimey feel of street art. That said, the music is a little more polished than I expected and some of the synth sounds a little out of the piece, like the levels need to be adjusted so it sounds more like it's all coming from the same source/room. Some neat things happening in this, though it seems a little long. Even though the song develops, it kind of develops in predictable glitchy ways sometimes.
Melvin - The choppy guitar is pretty cool in the mix. The chorus vocal quality was a tad jarring at the very beginning but it smoothed right out. What did I tell you about pulling out your Personal Yardstick of Accomplishment in public?
Paco del Stinko - You're so catchy. I always think of that Frank Zappa goofery. This is great in that Paco way that I'm a fan of. The LOW vocals are cool although the joke setting it up is eh and written off to that goofiness. And then the transition out of that section is awesome when it comes. uh huh nuh un. Nice.
Raspy Jasper - hah. That was a pretty creepy intro sample. After that, I feel like the music's pretty familiar except for that left mixed waing waing sound. The hand claps are a little sparse and in a different sonic space than the rest of the music. And they still sound like hand claps that are supposed to act like hand claps, so I'm not ready to write it off as an artsyfart choice, if that makes sense. Hmm... were you avoiding making an entry that just gets nailed for being guy and guitar?
Ross Durand - Nice, though predictable arrangement here too. I guess it really achieves that jingly theme song feel well. Short and fun blip in the fight.
Signboy - parts of this are kinda nice, but they're the same parts that are kinda terrible to my ear. So I'm conused; I don't really know what to say other than the repetition makes me fall back on the pretty conventional parts of the song that are executed a tiny bit unconventionally and I'm not sure if the "offness" of the whole thing is really that endearing.
Sockpuppet - "And then you did it again" really does feel like Brit. The scratch breakdown is nice. Plus the whole feel of the washed out male vocals doing a Brit-inspired tune kind of works. I think if this got dirtier (sonically, not sexually) and more destructive it could be really jarring in a good way.
Christopher Butt (Spinlock) - That opening "Mission countdown!" sample and then the reverby "Access denied" reminds me of something I heard on the SxSW showcasing artist album a lot. This is really catchy in a truly jarring way. I also like the occasional sloppiness of the meter in the vocals like how "that's a load of fucking shit" just doesn't fit that bar. Those Meddling Kids seems like he does a lot of that and I have an appreciation for it. The backup vocals are fun too. I really like this song.
Wages of Spin - This is a little slow. I don't even get into the synth key solo ... And I almost always get into the synth key solo. I do appreciate trying to rhyme things with monopoly.
WreckdoM vs. Sven - Dude, I hardly heard the rest of the fight my first time through, just waiting for this track to hit. So you've got clout coming into the fight and then it totally lives up to all my hopes and expectations. Where is the theremin? This could have been a weeee bit more chaotic for my tastes, but I suppose WreckdoM had to show it's organized side for a good fight against the honorable Sven. This would be so terrifying and hilarious simultaneously live. When I get in touch with Mogosagatai, I want to do a battle royale with WreckdoM, Phunt, Luke Henley, Sven, ANYBODY REALLY.
Zoosneakers - You are potentially invited to the massive brawl mentioned above. This is a pretty grim soundscape. I feel like I liked you other entries a little more in their completeness. But this sort of 'scape can be incorporated into the other kind of entry pretty easily. Just less of those crisp drums like in convalescence and some more messed up soundscaping like in this.
OH, and PS - I can cross being called a Kate Bush wetdream off my list of things to do before I die. THANK YOU.
glug glug glug egg makes wine. You can make wine too.
No, the guitar was added because it was squishy and wet sounding and when my friend sent it to me I thought it was awesome because the song's about sex. This song is very much not meant to be taken seriously in any way.Egg wrote:Hmm... were you avoiding making an entry that just gets nailed for being guy and guitar?
Am I rockin' hard, or hardly rockin'?
-
specific_chris
- A New Player
- Posts: 6
- Joined: Wed Feb 28, 2007 10:47 pm
- Location: The Internet
- Contact:
Wes and I had been wanting to collaborate on songs for a while, and this is our first psuedo-attempt at such. Actually, I had recorded a bass-line to go with the song that I thought complimented my admittedly unconventional electric guitar sound (though I had no choice in the matter of it all being panned to the left), but we couldn't get it to sync up in time for the contest, so we had to settle for the tracks we had. Anyways, from reading all the reviews so far, it looks like it would have been better ratings-wise as "an entry that just gets nailed for being guy and guitar".Raspy Jasper - hah. That was a pretty creepy intro sample. After that, I feel like the music's pretty familiar except for that left mixed waing waing sound. Hmm... were you avoiding making an entry that just gets nailed for being guy and guitar?
-
Egg
- Goldman
- Posts: 510
- Joined: Fri Apr 15, 2005 5:42 pm
- Instruments: whistles and egg shakers
- Recording Method: Cakewalk, Cubase, Audacity, Garageband
- Submitting as: Phunt Your Friends
- Location: Villemoustaussou, France
- Contact:
haha, well you do what you gotta do especially on the first collab.specific_chris wrote: my admittedly unconventional electric guitar sound (though I had no choice in the matter of it all being panned to the left), but we couldn't get it to sync up in time for the contest, so we had to settle for the tracks we had. Anyways, from reading all the reviews so far, it looks like it would have been better ratings-wise as "an entry that just gets nailed for being guy and guitar".
You didn't have any choice but to far pan part of the track to the left? Or do you mean Wes did that? Anyway, keep on keepin' on.
glug glug glug egg makes wine. You can make wine too.
-
Paco Del Stinko
- Roosevelt
- Posts: 3548
- Joined: Fri Apr 07, 2006 11:20 am
- Instruments: Basic rock, at a basic level.
- Recording Method: Roland 2480
- Submitting as: Paco del Stinko
- Location: Massachusetts. God save the Commonwealth!
So you don't have to scroll back:
Tri Minutieux - I love these dreamscapes. Some more than others, obviously, but this is a good one. Altough it uses your word of the week initially, it settles into a nice flow. The female voice could be stroking your hair as you sleep, telling you it's gonna be OK, while the male voice starts creeping in to remind you of the bullying world. Or just sound cool. Yes, the argument can be made that it isn't a song, but it is a piece. And don't let anyone tell you that it's a piece of something besides music! Stick around!
Tri Minutieux - I love these dreamscapes. Some more than others, obviously, but this is a good one. Altough it uses your word of the week initially, it settles into a nice flow. The female voice could be stroking your hair as you sleep, telling you it's gonna be OK, while the male voice starts creeping in to remind you of the bullying world. Or just sound cool. Yes, the argument can be made that it isn't a song, but it is a piece. And don't let anyone tell you that it's a piece of something besides music! Stick around!
Bringin' the stink since 2006.
-
Billy's Little Trip
- Odie
- Posts: 12090
- Joined: Mon Nov 13, 2006 2:56 pm
- Instruments: Guitar, Bass, Vocals, Drums, Skin Flute
- Recording Method: analog to digital via Presonus FireBox, Cubase and a porn machine
- Submitting as: Billy's Little Trip, Billy and the Psychotics
- Location: Cali fucking ornia
My reviews are coming, but I'd like to respond to those that took the time to review. By the way, I am pleasantly surprised thus far because I honestly was expecting to be put down a bit by my fellow rockers for taking this angle. But I felt it and went with it, and I'd have no problem doing it again.
There is a two part chorus. The radio call letter part, or the shooting waves to the stars part? Or both? Just curious, because I have my reservations about the call letter tone and pitch. I originally had this bad ass plug in I found to harmonize just like a radio ad, but it was freezing my computer and I had to get rid of it at the last minute.
Q. Are you King Missile in disguise?
Do you think I'd be hanging around on song fight losing every week if I were? I'm just a sensitive artist that loves Martin Scorsese films. Let me show you something, *riffles through pockets* ......damn it, has anyone seen my penis?
Yes, TWERP radio was my connection to the title, but the message went much deeper. Thanks for the comments, this made me feel less out of sync with the King missile reference. I'll just tell people that's my genre...whatever that genre is, lol. wordcore?
Thanks Melvin. Yeah, I'm still playing with the digi computer studio stuff. My only recordings thus far have been my entries here at Song Fight. I want to write some more in depth music, but I haven't had the time, or made the time, one or the other.
Thanks Egg. Yeah, the chorus call letter vocals were originally different, but last minute changes because of a computer freezing issue left me out of time. Did we ever get your entry up?
That's one advantage of being alphabetically towards the top, lol. But thanks Gram.gramparsons wrote:
Billy's Little Trip – Best one so far. Great lyrics and arrangement. Loved the concept as well.
I originally set out to make this song get aggressive vocally towards the end as I was delivery my message. But I maintained and just had the drums and guitar thrash a bit. Thanks Mr. Del StinkyPaco Del Stinko wrote: Billy's Little trip - Did John Bonham play for the Pixies? Nice vocal layers work well over the balanced instrumental tracks. The slo-mo lighter waving feel to this works well if a few lines come off flatly delivered (in the spoken-ish part) I was half expecting it to double time at the end but enjoyed the lazy afternoon pacing.
You're too kind Sir, thank you.Zoosneakers wrote: - Billy's Little Trip - Freaky good. Great use of the theme. Good song.
JeffHenderson wrote:
Billys Little Trip - Okay I really like the spoken word verses, they remind me of the spoken word parts of Bob Dylan's first album (see the beginning of Baby, Let Me Follow You Down). I really am not a fan of the chorus however.
There is a two part chorus. The radio call letter part, or the shooting waves to the stars part? Or both? Just curious, because I have my reservations about the call letter tone and pitch. I originally had this bad ass plug in I found to harmonize just like a radio ad, but it was freezing my computer and I had to get rid of it at the last minute.
fluffy wrote: Billy's Little Trip: This is such a King Missile track. I love King Missile. Are you King Missile in disguise? Great backing track for a pretty good rambly "song," and I also like how the backing track evolves and changes over the course of the song, with a clear bridge section to retain my interest. Structurally sound, pretty well-produced, and witty lyrics (though I'm not sure what they have to do with the title... is it like T-W3RP FM or something?). I definitely look forward to this coming up in my future random listening.
Q. Are you King Missile in disguise?
Do you think I'd be hanging around on song fight losing every week if I were? I'm just a sensitive artist that loves Martin Scorsese films. Let me show you something, *riffles through pockets* ......damn it, has anyone seen my penis?
Yes, TWERP radio was my connection to the title, but the message went much deeper. Thanks for the comments, this made me feel less out of sync with the King missile reference. I'll just tell people that's my genre...whatever that genre is, lol. wordcore?
melvin wrote: BLT: That bass line is pure money. The guitar sounds kinda out of tune, but whatever. Even the talky thing works in this. Pretty great track. Cool solo and funny lyrics. Possibly my favourite from you. It sounds like you’ve already got the hang of the digital recording thing, eh?
Thanks Melvin. Yeah, I'm still playing with the digi computer studio stuff. My only recordings thus far have been my entries here at Song Fight. I want to write some more in depth music, but I haven't had the time, or made the time, one or the other.
Egg wrote: Billy's Little Trip - I love the back up vocals so much in this. Sometimes, it seems like they're less singing the vocals and just mumbling really pointedly. They really grow on me along with the bassline. Good progress in most of the instrumentation. I like the verse ramblin way more than the main vocals in the chorus.
Thanks Egg. Yeah, the chorus call letter vocals were originally different, but last minute changes because of a computer freezing issue left me out of time. Did we ever get your entry up?
-
MintyHandy
- Goldman
- Posts: 564
- Joined: Tue Mar 08, 2005 5:00 pm
- Instruments: None
- Recording Method: None
Partial reviews, gotta run an errand and get back to work (was on late lunch when I did these)
Tri Minutieux This isn't a song per se. I consider this sonicscape (ear jazz is another term used, perhaps incorrectly); most of Negativland's work falls into this category (exceptions include Nesbitt's Lime Soda.) This type of music is best appreciated when you are actively listening to it as an experience -- but tends to fall flat when judged by the criteria of what is normally considered songwriting. This is well done, and I very much appreciate it for what it is, except for (surprise surprise) the title, which doesn't fit at all. It's like you took an existing work and tacked in the singing. Not saying you DID, just saying it sounds like that.
Wages of Spin Very Jonatha Brooke/Aimee Mann opening arrangement, really strong and compelling. Unfortunately, the melody/lyrics aren't strong -- they need to be strongly melodic and highly rhythmic, but instead they sound like you made it up as you went -- and your voice is all over the map, pitch-wise. An auspicious beginning, but ultimately disappoints. My big piece of advice: record your arrangement without vocals, then drop in a bright synth over it with the melody -- which means you need to write one -- and make it fit the arrangement perfectly. Then, practice singing along with it note for note (and ON note, no more of these sliding notes!) and erase the synth track once you've recorded the vocal track in unison. In short, some people have trouble getting passion into their vocal -- I'm one of those -- but you have plenty of passion and no discipline.
Wreckdom vs. Sven I like mule shit as much as the next person, but I don't like this. If I want to hear random, ranting abuse, I'll go home to my wife.
(just kidding, honey -- don't hit me.)
Zoosneakers Another sonicscape, didn't see that coming! Everything I said about Tri's entry applies here as welll, with one key difference -- your integration of the title was seamless, and so you succeed where Tri fails (as far as this contest is concerned.) Tri's overall package is much more sonically dynamic and cohesive than yours, however -- you kept the flanged noises running unvaried for far too long, and so it's ultimately unsatisfying. Too short as well.
Sockpuppet The goth tw3rp who works in the mall's Yamaha Keyboard store is fooling around after hours. If this was a conscious choice to make the singer a twerp, you succeeded -- and if it wasn't intentional, you sure sound twerpy! Synth-scratching sounds out of place, but the cymbals are very effective. By the end of the song I hear where you're going and you've found the rhythm of your own arrangement -- but you needed that level of entanglement earlier in the song.
Spinlock This is silly and fun; I enjoy every bit except the woman's voice, which is too thick with accent and not particularly melodic; she doesn't sound like the kind of girl I'd like to meet, anyway. The song itself is pleasant, and there's nothing I'd recommend for improving except (1) more length, sir! and (2) a little more dynamic range in the mix. Well done.
signboy You have a vocal thing that you share with Wages of Spin and Steve Durand; a little wiggly, a little thin, a lot pitchy. The song itself is reasonably well crafted, and suffers only for not sounding particularly up-to-date; it's kind of garage band circa late 80s. With a modernization of your arrangement (less guitar, more drum and bass to start) and better vocals (or vocalist, either way) I look forward to your next entry.
iNGRUO Intro went on too long; four measures into the drums you should have kicked the synth, and eight measures into the synth you should have hit the pre-vocal break. So far, best use of the title, and were it not for the whispering I'd really enjoy it. More vocal in your vocal and you'd have been much higher on my list. Arrangement worked really, really well for me (was listening in headphones.) Downside: got tedious after a while, and you did a decent job of livening things up here and there, but just...too...long...three minutes max would have been better.
Raspy Jasper Heh, that little wangly guitar is awesome; unfortunately your vocals are being sung in another room. GET INTO THE MICROPHONE SO WE CAN HEAR YOU and we'll all appreciate it. That, or add enough echo on your direct-in recording that it matches your echo-y stuff. The song itself: cute, fun, well done, wouldn't really change a thing except adding instruments. Some great lyrics, some a bit sketchy and discomforting. Probably as designed.
Ross Durand Nice! The lisp in your voice is unexpected and unfortunate, because otherwise it's 100% stellar and getting my vote. The arrangement is perfect for the subject matter; by virture of Ben Folds-esque harmonies and guitar, you succeed in blending 80s sitcom theme ("Thank you for being a friend") with 70s radio-friendly pop song ("Mr. Blue Sky") much more successfully than I did with "Our Love Violates Corporate Policy." Terrific, and the ending is (of course) perfectly conceived and executed. Ross for teh win, unless something really good comes along. Just the right length, too. Listened twice. Okay, three times. (applause)
Paco Del Stinko Speaking of Ben Folds, this sounds like something he would have done as Fear Of Pop. Paco Del Nerdcore, with bits of sonicscape/ear jazz (again!) -- and this is really enjoyable. You don't win, but you come in second. Hilarious and awesome. You continue to deliver songs that remind me of Frank Zappa, and that level of structural inventiveness is hard to come by these days. Okay, maybe you win, just maybe. Disappointingly empty ending, though.
[more later]
Tri Minutieux This isn't a song per se. I consider this sonicscape (ear jazz is another term used, perhaps incorrectly); most of Negativland's work falls into this category (exceptions include Nesbitt's Lime Soda.) This type of music is best appreciated when you are actively listening to it as an experience -- but tends to fall flat when judged by the criteria of what is normally considered songwriting. This is well done, and I very much appreciate it for what it is, except for (surprise surprise) the title, which doesn't fit at all. It's like you took an existing work and tacked in the singing. Not saying you DID, just saying it sounds like that.
Wages of Spin Very Jonatha Brooke/Aimee Mann opening arrangement, really strong and compelling. Unfortunately, the melody/lyrics aren't strong -- they need to be strongly melodic and highly rhythmic, but instead they sound like you made it up as you went -- and your voice is all over the map, pitch-wise. An auspicious beginning, but ultimately disappoints. My big piece of advice: record your arrangement without vocals, then drop in a bright synth over it with the melody -- which means you need to write one -- and make it fit the arrangement perfectly. Then, practice singing along with it note for note (and ON note, no more of these sliding notes!) and erase the synth track once you've recorded the vocal track in unison. In short, some people have trouble getting passion into their vocal -- I'm one of those -- but you have plenty of passion and no discipline.
Wreckdom vs. Sven I like mule shit as much as the next person, but I don't like this. If I want to hear random, ranting abuse, I'll go home to my wife.
(just kidding, honey -- don't hit me.)
Zoosneakers Another sonicscape, didn't see that coming! Everything I said about Tri's entry applies here as welll, with one key difference -- your integration of the title was seamless, and so you succeed where Tri fails (as far as this contest is concerned.) Tri's overall package is much more sonically dynamic and cohesive than yours, however -- you kept the flanged noises running unvaried for far too long, and so it's ultimately unsatisfying. Too short as well.
Sockpuppet The goth tw3rp who works in the mall's Yamaha Keyboard store is fooling around after hours. If this was a conscious choice to make the singer a twerp, you succeeded -- and if it wasn't intentional, you sure sound twerpy! Synth-scratching sounds out of place, but the cymbals are very effective. By the end of the song I hear where you're going and you've found the rhythm of your own arrangement -- but you needed that level of entanglement earlier in the song.
Spinlock This is silly and fun; I enjoy every bit except the woman's voice, which is too thick with accent and not particularly melodic; she doesn't sound like the kind of girl I'd like to meet, anyway. The song itself is pleasant, and there's nothing I'd recommend for improving except (1) more length, sir! and (2) a little more dynamic range in the mix. Well done.
signboy You have a vocal thing that you share with Wages of Spin and Steve Durand; a little wiggly, a little thin, a lot pitchy. The song itself is reasonably well crafted, and suffers only for not sounding particularly up-to-date; it's kind of garage band circa late 80s. With a modernization of your arrangement (less guitar, more drum and bass to start) and better vocals (or vocalist, either way) I look forward to your next entry.
iNGRUO Intro went on too long; four measures into the drums you should have kicked the synth, and eight measures into the synth you should have hit the pre-vocal break. So far, best use of the title, and were it not for the whispering I'd really enjoy it. More vocal in your vocal and you'd have been much higher on my list. Arrangement worked really, really well for me (was listening in headphones.) Downside: got tedious after a while, and you did a decent job of livening things up here and there, but just...too...long...three minutes max would have been better.
Raspy Jasper Heh, that little wangly guitar is awesome; unfortunately your vocals are being sung in another room. GET INTO THE MICROPHONE SO WE CAN HEAR YOU and we'll all appreciate it. That, or add enough echo on your direct-in recording that it matches your echo-y stuff. The song itself: cute, fun, well done, wouldn't really change a thing except adding instruments. Some great lyrics, some a bit sketchy and discomforting. Probably as designed.
Ross Durand Nice! The lisp in your voice is unexpected and unfortunate, because otherwise it's 100% stellar and getting my vote. The arrangement is perfect for the subject matter; by virture of Ben Folds-esque harmonies and guitar, you succeed in blending 80s sitcom theme ("Thank you for being a friend") with 70s radio-friendly pop song ("Mr. Blue Sky") much more successfully than I did with "Our Love Violates Corporate Policy." Terrific, and the ending is (of course) perfectly conceived and executed. Ross for teh win, unless something really good comes along. Just the right length, too. Listened twice. Okay, three times. (applause)
Paco Del Stinko Speaking of Ben Folds, this sounds like something he would have done as Fear Of Pop. Paco Del Nerdcore, with bits of sonicscape/ear jazz (again!) -- and this is really enjoyable. You don't win, but you come in second. Hilarious and awesome. You continue to deliver songs that remind me of Frank Zappa, and that level of structural inventiveness is hard to come by these days. Okay, maybe you win, just maybe. Disappointingly empty ending, though.
[more later]
-
Smalltown Mike
- Goldman
- Posts: 568
- Joined: Fri Mar 11, 2005 11:49 am
- Submitting as: shrts, Sewer Ppl, Flaming Tiger, shrts, shot pounder, Gert, Slither, Gaping Maw
- Pronouns: he/him
- Location: Toronto
There’s a lot of really cool quality here. Dig it.
<u><b>Balls To Monte :</b></u>Pretty cool groove, but it needs variety. It’s pretty much the same thing all the way through. The vocals could come up a bit, too. A couple other things: I’d bring some much cooler drums in earlier. Right now this tune is pretty close to just a standard ballad type of song, but it could be so much more with some hipper percussion. The chord progression is cool, haunting. Nice work.
<u><b>Beefy [w. DJ Snyder] :</b></u>Now this is quality rap, nerdcore or whatever. This is hugely improved since the last of yours I heard. Your delivery is waaaay better, much more confident. BUT I have a huge pet peeve: I can’t stand it when I can tell a rapper didn’t do the whole verse at once. I.e. when I hear the lines (just slightly overlap)—and I know a bunch of takes were blended together. E.g. at 1:44 the line ends with marines/the recruiters ... It’s obvious those are different takes. Drives me nuts. Skinhead Rob from the Transplants does it, and it ruins it for me. So if that’s important to you, I urge you to write verses that you can do all at once. AND a chorus would have really added to this. But again, great lyrics, much improved delivery and vocals, and quality hip hop. Nice progress.
<u><b>Billy's Little Trip :</b></u>This is fantastic. Love the bassline, love it all. The one complaint is that most of the lines in your spoken parts end with the same inflection. Mix it up. Great story. This sounds a lot like Melvin. Nice solo.
<u><b>Booty Chesterfield Trio :</b></u>Most of this doesn’t really do anything for me. But that reggaeish breakdown at 1:26 is quite cool, including those crazy hiphop scratching type synth whatevers.The distorted vocals make this tough to really dig for me. It always seems to me with Blue's stuff that too much attention is spent making sure everything is "indie" and "not-pop sounding" instead of just making a kick-ass song.
<u><b>Dj Dickie Qwick :</b></u>Not for me.
<u><b>Flvxxvm Florvm :</b></u>I lost interest in this really quick.
<u><b>Garlick Head :</b></u>Well done, and clever, but it really gets on my nerves before too long. It’s a genre thing.
<u><b>Gert :</b></u>Maybe because I haven’t done a fight in a while, I don’t know, but I had a lot of fun doing this. Aw you Gertie gents, always a pleasure.
<u><b>Paco Del Stinko :</b></u>The intro really scared me on this, but it definitely got better. This is clever, and your timing is really good on this, especially on the really fast-talking stuff. But the style of your vocals is bugging me; maybe ease up on the cartoonishness of it. For me.
<u><b>Raspy Jasper :</b></u>Great subject matter, of course. Your vocals need to come up for sure, and doubling them in the chorus would be good. Great solo near the end. Cool sounds.
<u><b>Ross Durand :</b></u>You sold me on the sitcom theme song long before I even heard the ending give-away. Great work, your vocals sound great. Really great tune.
<u><b>Sockpuppet :</b></u>I’d lower the volume of that main synth. I recommend rethinking the vocals somehow; I don’t think they’re strong enough to be so prominent in the mix.
<u><b>Spinlock :</b></u>Your ID tags is f’ed, Christopher Butt. The guitar is cool in the verse, but the chorus is not so cool. The “fucking shit” made me laugh, though.
<u><b>The Anarchaeologists :</b></u>This is really cool. Love the beat. Ripping solo. I really like the vocals and the effects on them, but I wonder if maybe you should double them and remove the effects in the chorus to make it stronger? Maybe.
<u><b>Wages of Spin :</b></u>I really didn’t like this at first, but it grew on me through the song. I think the guitars in the chorus need to be thicker, doubled, more to them. Same with the vox. Overall, it sounds a little thin.
<u><b>Wreckdom vs. Sven :</b></u>Great solo at 2 minutes, but for the love of God, some of have kids in the room. I honestly didn’t enjoy this.
<u><b>Zoosneakers :</b></u>I believe I’ve already reviewed this song.
<u><b>iNGRUO :</b></u>Mixed feelings. I’ve heard it a couple times, and sometimes I like it and sometimes I hate it. I think some variety in the vocals would help; bring some full (non-whispered vocals) in once and while.
<u><b>signboy :</b></u>Stronger drums would really help this kick in for the chorus, which is what I think you want. As it is, pretty much all you hear of the percussion is the ticky hi-hat.
<u><b>Tri Minutieux:</b></u>That little underlying melody I dig, but in general I can’t get with the sound collage. And dude, you can criticize Gert anytime you want.
<u><b>Balls To Monte :</b></u>Pretty cool groove, but it needs variety. It’s pretty much the same thing all the way through. The vocals could come up a bit, too. A couple other things: I’d bring some much cooler drums in earlier. Right now this tune is pretty close to just a standard ballad type of song, but it could be so much more with some hipper percussion. The chord progression is cool, haunting. Nice work.
<u><b>Beefy [w. DJ Snyder] :</b></u>Now this is quality rap, nerdcore or whatever. This is hugely improved since the last of yours I heard. Your delivery is waaaay better, much more confident. BUT I have a huge pet peeve: I can’t stand it when I can tell a rapper didn’t do the whole verse at once. I.e. when I hear the lines (just slightly overlap)—and I know a bunch of takes were blended together. E.g. at 1:44 the line ends with marines/the recruiters ... It’s obvious those are different takes. Drives me nuts. Skinhead Rob from the Transplants does it, and it ruins it for me. So if that’s important to you, I urge you to write verses that you can do all at once. AND a chorus would have really added to this. But again, great lyrics, much improved delivery and vocals, and quality hip hop. Nice progress.
<u><b>Billy's Little Trip :</b></u>This is fantastic. Love the bassline, love it all. The one complaint is that most of the lines in your spoken parts end with the same inflection. Mix it up. Great story. This sounds a lot like Melvin. Nice solo.
<u><b>Booty Chesterfield Trio :</b></u>Most of this doesn’t really do anything for me. But that reggaeish breakdown at 1:26 is quite cool, including those crazy hiphop scratching type synth whatevers.The distorted vocals make this tough to really dig for me. It always seems to me with Blue's stuff that too much attention is spent making sure everything is "indie" and "not-pop sounding" instead of just making a kick-ass song.
<u><b>Dj Dickie Qwick :</b></u>Not for me.
<u><b>Flvxxvm Florvm :</b></u>I lost interest in this really quick.
<u><b>Garlick Head :</b></u>Well done, and clever, but it really gets on my nerves before too long. It’s a genre thing.
<u><b>Gert :</b></u>Maybe because I haven’t done a fight in a while, I don’t know, but I had a lot of fun doing this. Aw you Gertie gents, always a pleasure.
<u><b>Paco Del Stinko :</b></u>The intro really scared me on this, but it definitely got better. This is clever, and your timing is really good on this, especially on the really fast-talking stuff. But the style of your vocals is bugging me; maybe ease up on the cartoonishness of it. For me.
<u><b>Raspy Jasper :</b></u>Great subject matter, of course. Your vocals need to come up for sure, and doubling them in the chorus would be good. Great solo near the end. Cool sounds.
<u><b>Ross Durand :</b></u>You sold me on the sitcom theme song long before I even heard the ending give-away. Great work, your vocals sound great. Really great tune.
<u><b>Sockpuppet :</b></u>I’d lower the volume of that main synth. I recommend rethinking the vocals somehow; I don’t think they’re strong enough to be so prominent in the mix.
<u><b>Spinlock :</b></u>Your ID tags is f’ed, Christopher Butt. The guitar is cool in the verse, but the chorus is not so cool. The “fucking shit” made me laugh, though.
<u><b>The Anarchaeologists :</b></u>This is really cool. Love the beat. Ripping solo. I really like the vocals and the effects on them, but I wonder if maybe you should double them and remove the effects in the chorus to make it stronger? Maybe.
<u><b>Wages of Spin :</b></u>I really didn’t like this at first, but it grew on me through the song. I think the guitars in the chorus need to be thicker, doubled, more to them. Same with the vox. Overall, it sounds a little thin.
<u><b>Wreckdom vs. Sven :</b></u>Great solo at 2 minutes, but for the love of God, some of have kids in the room. I honestly didn’t enjoy this.
<u><b>Zoosneakers :</b></u>I believe I’ve already reviewed this song.
<u><b>iNGRUO :</b></u>Mixed feelings. I’ve heard it a couple times, and sometimes I like it and sometimes I hate it. I think some variety in the vocals would help; bring some full (non-whispered vocals) in once and while.
<u><b>signboy :</b></u>Stronger drums would really help this kick in for the chorus, which is what I think you want. As it is, pretty much all you hear of the percussion is the ticky hi-hat.
<u><b>Tri Minutieux:</b></u>That little underlying melody I dig, but in general I can’t get with the sound collage. And dude, you can criticize Gert anytime you want.
Punk rock is for children. Grab a six-pack at Half-a-Dozen Records.
Yeah, I thouhgt about doubling up the vocs on the chorus, but I wasn't sure how it'd sound. But thanks!Smalltown Mike wrote:<u><b>Raspy Jasper :</b></u>Great subject matter, of course. Your vocals need to come up for sure, and doubling them in the chorus would be good. Great solo near the end. Cool sounds.
NEVER!!!MintyHandy wrote: GET INTO THE MICROPHONE SO WE CAN HEAR YOU and we'll all appreciate it.
Am I rockin' hard, or hardly rockin'?
-
jeffhenderson
- de Gaulle
- Posts: 104
- Joined: Fri Jan 20, 2006 1:52 pm
- Location: CANADIA
JeffHenderson wrote:
Billys Little Trip - Okay I really like the spoken word verses, they remind me of the spoken word parts of Bob Dylan's first album (see the beginning of Baby, Let Me Follow You Down). I really am not a fan of the chorus however.
There is a two part chorus. The radio call letter part, or the shooting waves to the stars part? Or both? Just curious, because I have my reservations about the call letter tone and pitch. I originally had this bad ass plug in I found to harmonize just like a radio ad, but it was freezing my computer and I had to get rid of it at the last minute.
Now that you explain the original intent, I could totally see that working and being really awesome. You should definitely post a link if you can get your computer not to freeze up with it.
