Dando's Dentures (Evan Is Getting His Teeth Reviews)

[erik]

bite me

[Ross]

While I generally believe that songs should succeed on their own, it might be useful to know that my song is a scene froma non-existent rock opera. I posted the lyrics on the lyric discussion. Enjoy!!

[Egg]

I think these are accurate, but I know I've been drinking.

Mal (and Jim Tyrrell)- Okay, I was hoping for lots of songs with samples of SFers' kids and you've partially sated me. Furthermore, your vocal track is the perfect amount of removed mental hygene video. Wow. And the xylophone works great. The mashed keys as if a toddler was playing along. Damnit... this really pleases me but I somehow feel like "ya but it was just a novelty track" at the end. That might be bullshit. This is the second week in a row that you've created something that's really interested me without going all crazy. And there's something to be said for that.

Jpoint- I was also hoping that sombeody would decide to interpret "getting his teeth" as getting beat up. I kid you not, I considered making a song like that. I'm glad you did it better. I guess it's actually getting his teeth (kicked in) but whatever. Tears tears tears. I guess I'm really just catching on to your vocal cadence. And when you do a big project that has songs meant to be heard back to back, I feel like you do vary it up. These song fight entries sound similar, but they might just be perfect for the context of SongFight.

Ken's Super Duper Band n Stuff- This is startlingly serious for the title. It's a little rattle-heavy once that's on both sides of the stereo. This is overly dramatic, but I'm sure you realized that. It works as a falsely serious song about something natural about kids. Nice.

Of Science and Numbers- I thought this was Melvin and that he had submitted to two fights again, hahaha. I like the phonebox vocals at the start and then the full break out. That's pretty traditionally awesome as a pace setter. This is pretty sweet poppy rock power stuff. Woo! It's not offensive that I thought you were Melvin. He wins fights. On the sad side: I feel like this song sort of needs a driving force that makes me want to listen from the start and follow right to the end. I feel like I wouldn't mind tuning in or out of this at any point, y'know? Fun sound though.

Poor- The vocals are pretty hidden. The instruments are crazily distorted and that hides the vocals more. The meltdown seems contrary to the song's momentum and emotional value... I guess. edit: There are positive traits in that the song gels well up til what I find to be a switchup ending. I don't mean to sound like this song is unredeemable because it clearly has some emotional potential and could use a clean up.

Ross Durand- This reminds me of Wuthering Heights.. that Kate Bu--oh my god, nevermind. More distortion please. Thank you. The noncrazy rock out parts have a very soft vocal track. That could have used some more edge. And that organ or whatever could be brought way higher in the mix during the rock outs. Evan's gonna bite tonight! Demon voice could be more prominent too, maybe pan it over a bit and pan the main vocals the other way. Just a little. Then you could bring both up maybe? Cool song. That earlier piano could've been brighter or something. This really was pretty sweet.

Those Meddling Kids- I really like the beat in this.. a lot.. guitar has moments where it seems to muted, ya? Whoa, staccato vocals are cool even though I can't understand them. Wow! Ya! Rock. It sounds like you're saying a zipcode at some point. Wow, the normal vocals sound so good when you come back to them. This beaty skipping is wonderful. ooh, and the percussion comes back. Great! And now the vocals are perfect. I had to look it up because it's not in the id3 tag... snap. Those Meddling Kids! You are so awesome.[/b]

edit: Frankiebigface- rocking. The recording is pretty light compared to how hard you're playing but that's fine. good times. Well-delivered lists are always cool. The backing guitars work fine and come up at a good time. no more disconnected thoughts from me.

[melvin]

Jim Tyrell and Mal: This is pretty well put together, but I don’t really like it. Feels too repetitive, and would have benefited from a stronger melody. Though I’m glad to hear someone else using baby sounds in their music. I think the collective consciousness is slowly working it’s way towards the world’s first baby solo.

Johnny Cashpoint: You have again come up with a great guitar sound, and this time, I don’t notice any of the squelching that sometimes kills it for me. Your vocals tempt me to adopt a bogus accent. This is catchy and the lyrics are funny. I like this, good job.

Ken’s S-D Band ‘n Stuff: This is pretty nice, but it feels a bit like a long intro that never quite pays off. Like, at 1:38, it sounds like a second shaker comes in. I’m just not sure that’s enough to kick things up a notch, you know? But mainly, it just feels like the song lacks resolution, which can sometimes be an effective technique, but I’m not sold on it this time.

Of Science and Numbers: I see a house party in a teen movie that has that guy from the Dukes of Hazzard movie in it (not Johnny Knoxville, the other guy). This isn’t bad, but it’s very conventional pop/punk that seems to lack a personality of its own. Perhaps more “paint by…â€

[frankie big face]

For some reason, my song wasn't posted. So here it is:

http://www.frankiebigface.com/music/evan.mp3

This one's for Blue, Johnny Cashpoint, and anyone else who has been missing me. Thanks for the encouragement. I hope you like this.

[jimtyrrell]

Reviews, written as I listen, while drinking my third Guinness of the evening. Mmm.

Jim Tyrrell & Mal: This is all Mal, folks. And what a cool interpretation of the lyrics I wrote, I don't mind saying. I'm really pleased to be involved in this piece, but a little embarassed at the top billing. Mal deserves all the credit and only half the blame.

Johnny Ca$hpoint: I wish the drums were more forceful. Probably because I've been drinking. But this has a great straight forward rock feel that would be completely knocking me out if it had a hammering beat beneath it. That ending is a little chopped off too. But I like this.

Ken's Super Dubious Band n Stuff: Hehe. Have they fixed that typo yet? I haven't looked. I downloaded these at work earlier and burned 'em to CD, and am now listening in the relative comfort of my home. Ooh, there's some lovely dissonance in here. Nice melody line. I find myself wishing this one had a more aggressive drum track as well, which makes me think it's probably just me. Nice reverse bit! That came out really good. This is another keeper.

Of Science and Numbers: WAHOO! I was just about to write something snide like, 'he you guys sound good over there, why don't you move closer to the mic' or something like that, and then BAM, there's that beat I been looking for. Good thing my wife is upstairs in bed, because I'm sure I look like a complete idiot dancing around to this. Nice work!

Poor: This is a nice follow-up to the last song. I wish the vocals were a little more self-assured. But it's an ambitious line for sure. And this is nicely arranged. Ask me again about that panning when I'm sober, but it's the soundrack to my dizziness now. Great ending. Man, this is a strong fight.

Ross Durand: Are those octave vocals sung twice, or is that an effect on one vocal take? Just curious. This is very much like a tune from a musical. I dislike musicals, generally, but some of the music from them, taken on its own without all the prancing around, is pretty good. This is the same way. I like this song, but would tire quickly of a stage production that featured it. Again, it's just me. *shrug* Man, are these the most useless reviews ever or what? I'm going to listen to this again and try to say something actually relevant about it. Hmm, a better piano sound would help this a lot, but you work with what you've got. I know all about that. Overall, a well constructed piece.

Those Meddling Kids: Another nice segueway between songs. Heh, you said Left At The Mortuary, didn't you? Sweet. Boy, I can't discern much of the other lyrics, but this is really cool. Please post the words if you haven't yet done so. Musically, this song is certainly a success with me. Glad I'm not driving or this would get me a speeding ticket and a DUI for sure.

Wow, this fight's over too soon. Mal: Nice work with my words, man. That's a fun tune. But there's a few voteworthy songs in here, and it'll be pleasant to go back and listen again.

[j$]

hope you like this

Like it? I love it ... it's like the psychedelic furs turned up, chucked the not so good band off stage and played a little gig just for me in my headphones! ... 'only his two haaands', the way you say 'teef' in the chorus, ahhhh. Good stuff. Oh hang on, this is gonna be in the fight I'm in? cack ...

[Ross]

Ross Durand: Are those octave vocals sung twice, or is that an effect on one vocal take?

It's one take I sang through my guitar effect set to octave.

a better piano sound would help this a lot,

yeah, I think that's also why i deliberately avoided piano sounds in the middle and at the end. Also going for a timbre move towards "spooky." A better piano player wouldn't have hurt either:-)

Overall, a well constructed piece.

Cool, thanks. I value construction.

[melvin]

Frankie Big Face: Frankly, I've never heard of you before, but dang, this is hot! Like it a lot. The mix is a bit tinny, but the hooks are catchy and the vocals are killer. This might be the vote-getter. Er, if it gets added to the fight.

[Mal]

Thanks very much to Jim Tyrrell for the kind and encouraging words, and for the donation of his lyrics. They are clever and fun wordplay, and I very much enjoyed making them into song. Hope we can collaborate again.

And thanks to you guys for the reviews. I'm enjoying my first songfight, and looking forward to improving myself.

Frankie Big Face: This grabs me straight away, and brings to mind days of hanging out on mainstreet, drinking a few with friends, and waving to Officer Willroy as he drunkenly drives a streetsweeper into a rubbish barrel and drags it into the night. It's got that "pocket band" sound, meaning the sort thing I might have carried round in my coat pocket so I could listen to it whenever. It's catchy and fun, and it would make a great "scream along" cruising song.

Johnny Cashpoint:Great lyrics and great delivery. Love the guitar. The drums are lacking, but not so that it detracts from the rest of the song. This is another good mix tape, "scream along" cruising song.

Ken's Super Duper Band 'n Stuff: I like the reversed arpeggio, but moreso at the end than at the beginning. The understated percussion fits the songs very well. Love the left-right channel clapping. The vocals and guitars blend perfectly, and the synthetic woodwinds are a great accent. The overall understatement of the song makes it something I can fall into.

Of Science and Numbers: Good intro. Nice driving beat. It's the sort of "feelgood" punk that makes for great bar band material and film soundtracks, but that said, I don't think it would distinguish itself from other songs of its ilk. But I do like it.

Poor: The vocals tend to get overwhelmed by the music, but this is a great groove. But just when I'm expecting the song to kick in, it winds down. That was disappointing. I hope you consider finishing it, because I'd like to hear it.

Ross Durand: Ordinarily, I'm not a fan of the musical, but the blend of camp, angst and melodrama make this a perfect send-up of low-budget productions. This is begging to be made into a flash music video on Albino Blacksheep. In fact, I'll be bitterly disappointed if it isn't.

Those Meddling Kids: Creative and ambitious. Lots of dry humour in the lyrics, which I like. This is very well crafted, and I really don't know what to say, except that I like it very much. Well done.

[frankie big face]

Frankie Big Face: Frankly, I've never heard of you before....

YOU'VE NEVER HEARD OF ME? YOU'VE NEVER HEARD OF ME??!?!!!!

I guess my ride is over. I'll have to get a real job now.

(thanks for the song comments)

[Bjam]

That's your cue to start submitting more songs as newer people don't know you.

[Jim of Seattle]

If your review isn't here, it's not because I hated your song, it's because I couldn't think of anything to say about it. The chore of coming up with something useful and worth saying when I don't have anything keeps me from getting any reviews done at all. Sorry. If you really want a review, please PM me and I'll be happy to.

Frankie Big Face
There is of course a proud history of list songs, and the rock era has added the verb-free version, from I Am the Walrus to We Didn't Start the Fire, and this one can stand right up there with the best of them. Perhaps it's a tad incessant (musically) for my taste, and wears out a little of its welcome by the end, but it's perfectly realized. Excellent.

Jim Tyrrell & Mal
I like the conception here. It's got a terrifically consistent musical feel that is also completely unique and appropriate to the lyric subject matter, and from the very outset I'm right there in your sonic world. But how I wish this song went somewhere. Add to what you have here a song with the well thought through lyrics that you are so capable of and you truly have something. Also, the vocals are too low in the mix. So my series of reactions were, in this order: 1) Interesting music, sounds like a pop song by a baby 2) Oh, here it comes, this is going to be great 3) Darn, it's hard to hear the speaker 4) I wish there were singing to go with this wonderfully wacky sound 5) What's going on? 6) Over so soon? I'm also reminded of Octothorpe fwiw.

Ken's SDB&S
Pretty song. A little under-produced, methinks. I keep wanting something more in the mix, and when the synth comes in it's somehow disappointing and not quite enough. I had to go to the keyboard and dink around with your chord progression. It's interesting. I was curious as to why the F#m-B-E didn't sound like a satisfying ii-V-I. On paper it looks like it should work. The G and D chords put the song into the key of A. You could have gone simply E-G-D-A and then back to E and that would have worked. That B chord has the sole D# we ever hear and with all the D naturals coming before it it just isn't enough to flip the switch. Plus F#m and B also have such a strong role in A anyway that I think I'm still in A. And then your bridge is quite clearly in A, but you never resolve it, and instead take the E chord and start up again with your original progression which is trying to be in E, but isn't. Anyway, maybe all this was intentional, or maybe I'm just blowing smoke. But the strange progression keeps me musically on edge throughout the song. As the song ends on that E chord, I keep wanting you to strum an A chord to finish. Maybe that's not a bad thing. But it's worth noting as a reaction. Blah blah blah...

The Poor
By all accounts this should suck, but what kept me listening is in there with all the distortion and crummy mixing is some interesting tune work. It can be hard to keep something interesting on those same two chords. Ultimately, I think the distortion and lousy mixing oddly work in the song's favor. Why did I enjoy this? No idea, but I did. Such is the mysterious and smelly goddess that is music.

Ross Durand
It doesn't sound like you have a musical plan here. I'm not talking about the jump from tiny sound to power rock, but the tune and chords seem to wander aimlessly like you don't know where the song is going from moment to moment. That trumps everything else, because I can't get my bearings, so I'm not willing to venture further into your lyrical content or anything else.

Those Meddling Kids
Holy toot. This is an interesting piece of work. Listen to all that creativity spweing out all over the place. At first this song wasn't grabbing me, but as it continued on with new idea after new idea I grew to admire it more and more, despite the unfortunate fact that your melody and chords are in different keys. I like how you play with lots of fascinating audio ideas but never let it get out of control or forget you're trying to make a song. Good job.

Frankie Big Face by a mile.

[frankie big face]

That's your cue to start submitting more songs as newer people don't know you.

The real question is WHAT THE HELL ARE WE ALL DOING UP SO EARLY?

[Bjam]

I have no idea. Well actually I do. What my question is why is it so gosh darn cold?

[Caravan Ray]

J$: I liked the lyrics very much. The song not working for me though. Sounds a bit like Verucca Salt's "Seether" at the start. I'd prefer it continued sounding like Verucca Salt - ie. a nice girlie pop song - i think it would work good that way.

OF SCIENCE AND NUMBERS: Yeah! Nothing wrong with this. No frills - but well done. No vote. But - I like it.

THE POOR: Not bad. Maybe not connecting with me completely - but there seems to be some good ideas there. Like the ending

KEN: Very nice. I like this a lot. Sort of Beatle-ey. Is that clapping near the end? - it sounds like some strange crackling in my headphones. Pleasant - well done.

FRANKIE BIG FACE: Sounds like David Bowie singing a Billy Joel song. That's something the world can do without really.

THOSE MEDDLING KIDS: Super-A1-fantastic song! Are you new Songfighters? - you are very welcome - I have no comments - you are doing what you do very well.

JT AND MAL: Sensational. So is this a case of picking up some some stray lyrics and running with them? Great job. The piano and kiddie noises are great

ROSS DURAND: You've put a lot of effort into this Ross. You could be the Andrw Lloyd Weber for the next generation. That isn't necessarily a compliment


Very good fight - no complete losers

VOTE....
Well, I was very tempted to vote for MAL, and I would have gotten away with it if it wasn't for THOSE MEDDLING KIDS

[furrypedro]

Those indecipherable lyrics there were: "take-a-right-at-the-post-office, take-a-left-at-the-mortuary, false-teeth-are-all-we-have-to-look-forward to-sucking soup-through a straw-AAArgh!!"

aaaanyway, I thought this was a pretty strong batch of songs, its gonna take some consideration

Kens Super dooper band n' stuff - Good effort, but I like lots of stuff going on so it struggled to hold my attention, I'll definitely be using maracas in my next one now thanks to this tho.

ross durand - Starts off sounding slightly trite, but as soon as it kicks in it just gets this whole early Flaming Lips vibe which is great! I like the weird vocals and psychedlic freakout, sludgetastic.

Johnny Cashpoint - This could be Art Brut, which could be a good thing but personally I'm slightly tired of that whole London sound. Having said that I really like the screachy guitars, lyrics, and arrangement in general. good but not my thing.

the Poor - I think this hints at great things to come, I like the direction, and if you'd used some better sounds this would've sounded a lot like Khonnor. nice loops, melodies and stuff. This IS my thing but it needs work

Frankie big face - I apologise for all the namedropping btw but....I like this cos it's pure Superchunk. but I don't REALLY love superchunk, so no vote.

Mal & Jim Tyrrel - This has a strange kind of Sunday morning in a bookshop feel to it, there's some good chords there and I like the computer vocals. but it still feels like an incidental piece and could benefit from a crescendo or something; adds to the variety though so well done.

of Science and Numbers - This'd fit in nicely on a Get Up Kids album, and its cool to hear some real drums every now and then.

Those meddling kids - this is the sound of me finally trying to implement electronics in a song-based format, and i think it works ok, though I admit it takes it's time getting your attention.

I think it's between Ross and The Poor here for me.

[j$]

... that whole London sound.

Re this idea (not yr opinions on my song, which are fine and dandy. I quite like Art Brut) - IMO, the idea that areas in a country as small as the UK can make 'sounds' noticeably different is utter nonsense. If you mean 'London Scene' then you're really criticizing media coverage not the music itself.

PS idle curiosity - where in Kent you from? i grew up round those parts ...

j$

[furrypedro]

Yes, you're absolutely right. I s'pose that was a slightly lazy term to use, and I'm not a fan of the media treating music in that way so it was hypocritical of me.

and I'm from Medway - Chatham specifically

[Seamus.]

I can't believe how good every song in this fight is.

[thegiantsnail]

Frankie Big Face- I dig the spastic techno karate fight drum beat. Those guits are so garage... the vocal is like David Bowie! Someone already said that! Great song, very well layered. Yay! Now let's eat puppies.

Mal et al- I like the fact that your song is precisely as long as mine. You totally ripped that from me, but imitation is the sincerest form of flattery... lolbutts. Anyway, my kid likes your song, it's the soundtrack to his life. Even though the dissonant B phrase is anachronistic if the effort is to make one of those vaudevillian songs (There Is A Man!), it works well.

Johnny Cashpoint- I think you need a tuner. But the effect makes the song sound more like that really early punk sound. If you'd done the song twice as fast, it would have been smack dab in the middle of the genre. Thanks for not. Couldn't be Art Brut, because you actually sing.

Ken etc- Reminds me of one of those middlish Oasis Tracks. Pretty good stuff, but could use a punch here or there. Good synth work. You get my second place trophy. Actually, it's one of those floss on a stick dealies.

Of Science and Numbers- did you just take Johnny Cashpoint, tune it, and speed it up times two? Props for the tuner, I take points from you for genre. I know I shouldn't, especially because you come off as second wave, and not pop-punk, but we've got to start culling the modern generation.

Interesting facts about The Poor's song: Recorded the vocals through an in utero infant heart moniter. Thus the poor quality, but I thought the irony would make up for it. The main line in the back is last part of last week's effort run through a granulizer, then distorted. I had a clean version, but it was half again as fast, and really hard to fit the lyrics. The mixing was more like putting everything as far forward as possible, then clipping it all down with a compressor, so you get the burnt out radio-fi kind of sound- no pan, no dynamics, just full on pelvic thrust bass shagging.. The overall format is patterned on my son's going to sleep pattern. Energetic! A little toned down... I'm gone. The song's lyrics and melodies were engineered by Germans! Note, that the highest note coincides with the word Scream!

Ross Durand: Just wondering... did you perform this with an appropriate sense of kitsch, or in all sincerity? The piano section reminds me of Legend of Zelda two, when you're in one of the temple thingies. Nice organ work... The mix is a litte hung back... You should mix the organ like Modest Mouse in Bury Me With It.

Those Meddling Kids! The Books show up again?!? I find this song to be the better than the rest this week. I think most of it is for style! Way to do something not yet cliche! Keep up the wonderful work!

[j$]

Johnny Cashpoint- I think you need a tuner.

Actually, I think I need a new guitar - there is some weird warping thing going in which means I can't get the g string in tune above the fourth fret.

If you'd done the song twice as fast, it would have been smack dab in the middle of the genre. Thanks for not. Couldn't be Art Brut, because you actually sing.!

I was considering doing this about 10 bpm faster, but it came out at an interesting place at this tempo, so I didn't bother re-doing it.

And thanks for the Art Brut dismissal. It would have appeared pouty if I had said it

j$