Now there's a bit to digest....thanks for your comments.

I'm away for work for a few days (limited internet and no computer where I'm going) but when I get back, I'd like to respond appropriately in spite of where this thread has gone.

Gerald -

Glad to have you here on the Ramp.  You have somehow meandered into the best damn songwriter's site on the web - and then prompty found your way into this crazy Forum!

I won't hold that against you...

Please do pay heed to the advice all these good folks are throwing out.  We pride ourselves here in the fact that we strive to be supportive - no matter your genre, style or musical goals.  I do think you will find many more "traditionalists" on this site, willing to work with you.  You will also get good feedback - such as you seen here - about growing / modifying your style to aim at the mainstream, if that's what you want.

Sounds like you are going somewhere that everyone should now and then - a place without the internet!

Eddie

You're always welcome, Gerald. Just remember,the thing you are asking about, getting people to know and write with you,can be accomplished here. You just need to show up and be a part. When you are trying to get out and be active in your backyard, it is the same thing. You have to show up and be a part. Learn about it here. Practice it here. Apply it out there.

MAB 

Hey Guys!  Just have a minute so wanted to say that even when all I have time to do is read your conversations, rather than reply to them, I always appreciate the respect and support everyone gives on this site. Especially as there is more than enough negativity in the music business, and balance to that is refreshing and much needed!!  I will say that just by going out and supporting Bonnie Lee Panda at the Commodore the other night, I met a new co-writer that I wouldn't have otherwise, AND, he asked ME to write because of the fact I am friends (and have written with) Marc & Bonnie!  There really are positive, exciting aspects of the songwriter's journey, as long as we do what Brother MAB says and 'get out of our living rooms'! Have a busy day ahead so will check in later ... have a fun, productive day!!

                                SONG EVALUATION- "DISSECTING DIRT" By MAB

Since everything in this thread is about talking about what you want to talk about, I thought I would do something here, Phil has asked for. Song dissection. If you want to learn something, learn it from the best and songwriting is no exception. "DIRT" is the current top ten by FLORIDA GEORGIA LINE, who have been leading the pack in country music for the past couple years. It is also interesting in this discussion to keep other things in mind, timing of a release, how the video works with it, what elements are they using in their overall promotion strategy on the band. These are all very relevant because my messages to all of you is to find your own "NEXT BIG THINGS" in your own backyards and help write with, promote and assist in their careers. That is truely the ONLY way into cuts these days. And that is not going to change. 
But it all starts with the writing of the song. I have listed the video link and the lyrics below. If you want to read along or view it, do so, then below I will make my comments:
This is written by Rodney Clawson and Chis Tompkins, who are in the middle of their five year run right now. They have been bringing hits in for a few years now, and that positions them to be in the thick of things, where artists go to for songs, or record labels refer to them.:

http://www.youtube.com/watch?v=42uphHWxmFU

"Dirt"
You get your hands in it, plant your roots in it

"Get out of our living room" - I had an ex-wife tell me that once or three times...

                                          SONG ANALYSIS- Subject matter and lyrics "DIRT"

This is a classic example of what we talk about here all the time. Taking a well worn subject, yet,find a different way to say it, perspective to look at it, or in a way that is simply not heard ten billion times a day. "DIRT." You can't get more basic than that. Over the past few years we have heard hundreds of "tractor songs", tailgaite, down on the farm" songs, what separates this one? My opinion?

PERSONAL INVOLVEMENT:
It uses the term "YOU" throughout the song: the first lines:

YOU get YOUR hands in it, plant YOUR roots in it.

Involve the audience. something they know instantly.And while we are moving in many ways to a more "urban" setting, cities, larger downtown areas, we still have a yaerning in country to get back "to our roots.' Most people have some connection, grandparents, aunts, uncles, that lived on, talked about farms and rural life. Or they grew up in schools, found out about it. But even if you are in New York City, you have Central Park. There are small home gardens, little patches of humanity. So the feeling of something that YOU can do, gives people a personal involvement. And you see it outside your door or on the road all the time. So it is FAMILIAR to you.

Dusty head lights dance with your boots in it
You write her name on it, spin your tires on it
Build your corn field, whiskey bonfires on it
You bet your life on it

Now, I know what you are thinking, "MAB' here we are talking about the corn fields and whiskey, bonfires, etc. You say not to do that!" 
Yes, they do sneak in there. But is it really like the average ones? Do you see the girls dancing in the moonlight in their short shorts? NOPE! The lyrics here are the BACKGROUND elements in the song. They continue to point to the HOOK. Which is ANSWERING THE ONE BIGGEST THOUGHT:       "IT"

Every line in this song writes to the hook, and answers what this is all about. DIRT. Go through each individual line and use it as a question. Just like on "JEAPORDY." "WHAT DO YOU .......Put your hands in? Spin your tires in? Build your cornfield in?....

DIRT! It answers the questions it asks all the way through. So it continually keeps the HOOK in mind.

One of the biggest mistakes newer and inexperienced writers do  is misplace or misuse hooks. You often can't tell what the song is about because the thoughts are so scattered, it is all over the map. There is no central theme which tells the listener what the song is about all the way through. Remember that we have a "30 second attention span." People do tune out.

AVOIDING CLICHES':
Do you notice something? There is something consistantly absent from this that is in almost EVERY SINGLE SONG IN THIS GENRE AND SUBJECT MATTER OUT THERE. Do you see it? I'll give you a minute. Go look.
See it yet?

WHERE ARE THE WORDS "TRUCK or TRACTOR?"

Did you see that? Those words, which are the biggest overused words these days, are not in it. They are "referred to" "Spinning Tires," "Country Roads", head lights, getting stuck on" are all things that we do in tractors and trucks, but they are NOT THOSE WORDS. Clever.
And while there are the references to bonfires, fields, etc. it is NOT THERE FOR THE PARTY, because this is talking about reverence for family and traditional life, not the "party of the moment."

In my opinion, those are some of the reasons this song stands out where others fall into the "been there, done that,' catagory. Also why Florida/Georgia Line" is leading the pack instead of playing follow the leader.

ELBOW MOMENTS:
One of the most interesting aspect is taking a well worn phrase, "WHITE PICKED FENCE" but putting something in front of it: 

"Makes you wanna build a ten percent down white picket fence house on this dirt"

Again, I think this is one of the most important lines. It drives the point home, reinforces the hook and is different than you have ever heard it in. "Ten Percent Down' is what most people (in the real world) put in a down payment on houses. There is an inner rhyme, "DOWN and HOUSE" and brings it back to the DIRT. Most important line.

This is called "Grounding a metaphor in REALITY." It has taken the same thing we have heard a million times and shown it in a totally new way, we haven't overheard. We have heard those phrases used but not together. And it is set up. "Ten Percent down, white picket fence house on this dirt. Throw in the word "Build" and you have FOUR clear visual images in that one line. DETAILS, DETAILS, DETAILS.

This song has them all through it. Elm shade, red dust clay, post game party field, mud on her jeans she had to peel off', every line has huge details. 

Go through every line of this song and put a "V" for VISUALS (real details you can touch, see, hear, taste, smell), 
And "E" for EMOTIONAL (Things you FEEL in your heart, or emotions.)

Now do that with your own songs. For every piece of EMOTIONAL furniture, you should have two pieces of VISUAL FURNITURE. See how many your songs have. If you are doing simple emotion, you are going to run into the "been there,done that" attitude with most people. The Visuals are what KEEP people interested and HOOKING them into your song.

This song does it pretty well.  How does it stack up on the "MAB scale?"

#1. REALITY BASED? Absolutley!
#2. CONVERSATIONAL IN TONE:  MOST CERTAINLY!
#3. GREAT MELODIC HOOK?       We'll get into that in a minute.

MAB 

                                                             MUSICAL "DIRT"

This song exemplifies KISS. KEEP. IT. SIMPLE. SONGWRITER.

It is basically two main chords, "D" and "G" throughout the verse and the chorus. It throws a "B" minor" in which is a relative minor chord. It is very subtle, but the ear denotes a change from the first two.

It also uses "deliver two lines.... then pause, in the verses:

You get your hands in it, plant your roots in it
Dusty Headlights, put your boots in it...

There is a musical pause right here. It gives you a "RELAX"  feel about it. Like taking a breath. It also presents the "PROSODY' of more laid back, rural life.

You write her name on, spin your tires on it
Build your cornfield whisky bonfires on it...

ANOTHER PAUSE....
You bet your life on it

                                                                THE CHORUS

Now the chorus does something that is very interesting yet, a very modern thing. The chords DON'T change (I always try to change mine), but the lyrics pick  up and ELEVATE THE MELODY, also shifting into a more rapid paced lyrics:

...elm shade, red rust clay you grew up on
That plowed-up ground that your dad damned his luck on
That post-game party field you circle up on
And when it rains you get stuck on
Drift a cloud back behind county roads that you run up
The mud on her jeans that she peeled off and hung up    
Her blue-eyed summertime smile looks so good that it hurts

Up to here it is all the same "D" to "G" chord patterns. Then it changes right here.:

Makes you wanna build a ten percent down white picket fence house on this dirt

This indicates the set up for the hook line on the chorus. DIRT. It holds that one word  out there as the MOST IMPORTANT THOUGHT of the song. It is where everything comes down and is all keyed around this line. The chord changes are "B minor to "A", then back to the "D".
 
You know you came from it and someday you’ll return to this... 

The entire song is simplicity. But it makes the point that the most important thing is HOME. That is what DIRT means in this song.

THE VIDEO

Anything with John David Souther as a character in the video is great with me. It makes some reallhy cool points, about her saying she didn't want to travel cause the world would come to her. It did, with their family, and good life.
Throughout the video, they are using DIRT, to spread on each other, play with, dig in, use in every aspect of their lives. It is told in the story form and the visuals sinc up with every line.

                                                                        FINAL THOUGHTS

Usually, when a song really catches fire, you start hearing about it in the songwriting community. This one has been talked about for a while. I heard it on the radio once or twice, but didn't pay a lot of attention, because it was in the background. Now that I have been drawn to it by Phil, I recall it has been on in bars, resturants, and in many places.
That is what hit songs do. They kind of show up everywhere. Look for this to be a commercial for some jeans company. Wranglers or Levis, watch out!

*This is a GREAT example of how hit songs are written. They are pretty simple.
*They pick a very few central themes and support those through corresponding visuals.
*The videos support the central theme and don't waver too far.
*It has GRAPHIC DETAILS that bring the listener in and challenge their mind.
*It  has a HUGE SINGABLE CHORUS that bring the listener into the song and let them sing along.
*It reinforces the hook around every 30 seconds.
*It creatively pauses, or refreshes the listener every 15-20 seconds.  
*It is well paced, and doesn't waste any time.
*The listener does not have to work hard to figure out what it is about.
*It is MUSICALLY SIMPLE so that the STORY STANDS OUT!
*It wraps up the action and doesn't say anymore than it absolutely HAS TO!
*It uses cliches in a different way and AVOIDS two of the biggest. 

Hit songs are hit songs for a reason. This is one. I do like it.

Thanks Phil, for bringing it up. If you guys want to discuss this, I'm willing to share.

A side note:

I noticed on the YOU TUBE comments section, some people say THIS IS NOT COUNTRY MUSIC. They don't know what they are talking about. THE STORY DICTATES WHAT IS AND IS NOT COUNTRY MUSIC. This story talks about RURAL THEMES, FAMILY, HOME, A LIFELONG LOVE. I don't know what is NOT COUNTRY on this.

Congratulations Rodney, Chris and Fla. Georgia Line. YOU DONE GOOD BOYS!!!

MAB
 

MAB,

I do want to make a comment about the song Phil brought to your attention and the great observasions you posted.  

First, I want to try and explain to Gerald about my post to him and my meaning of writing 'traditional' songs. I certainly did not mean to suggest that was a bad thing at all.  There are a lot of artists and writers that love that style of writing (I still love that style myself), here on the Ramp and I'm sure in Gerald's area.  There is also a huge listening audience that will prefer the traditional music over the more modern/current country song being played on radio. l only meant to state (in my previous post) that writing in the older style of country music may reduce chances to write with younger artists and be accepted in the current Nashville scene (if that is someone's goal).

My first meeting, and my first Tour, with The MAB included him listening to a dozen songs I had solo written (in my living room) and had a studio record two CD's with Nashville musicians and Nashville singers; also with my niece Kristy singing some songs I had written.

The first thing out of MAB's mouth after listening to my songs was "the production was great but you write like an old man." My songs reflected the older country style I grew up on and was influenced by.  I will also add, I was fine with going home and just playing my songs for my family and friends (especially for my beer drinking buddies).  It was my first experience of getting a "reality check, before I got a royalty check." (as the saying goes).

I must admit I was a little disappointed and The MAB picked up on that. Walking back from lunch he said he knew I was going to go home and write more songs.  Why not work with him for one year and he would have me writing better songs than I ever imagined possible.  That was 6 years ago and I'm still working with him because every song we co-write; or any song I solo write in my living room, he makes some changes to improve the song and make it much better than I could have written on my own.  EVERY TIME.  In the past I have written songs with The MAB in which I brought in only an idea.  He closes his eyes,  zones in on a video, and then types on his laptop a verse and chorus (he loves writing this way the best).  I have also written songs with The MAB that he has allowed me to take the lead and offer suggestions that end up in a much better song than I could have written.  I have also brought down finished written songs for his advise that he makes several suggestions to make the song better; but he doesn't like to write this way.  In two cases I have sent him lyrics only, via an email, for a song that I have asked him to look over and put a melody to.  In those last two song ideas he has fixed a couple of lines, offered a change in the chorus and we have taken both songs to the studio for a demo. Those two songs were "Daddy's Upright Bass" and "Walking Awhile In Dano's Shoes".  

Now back to my first meeting with The MAB.  That very same afternoon, after lunch, The MAB listened to the last song I had been working on and said "now we can do something with that."   He made some changes, added his magic, and we had our first co-write.  I came back a couple of months later so we could record that song in Jay's Studio with the help of a great Nashville artist by the name of  Jaime Fox, singing the Female part on a song called "Mr. Attitude".  A footnote on this story; our female artist and friend Jaime Fox was her real name and she was forced to include her newly acquired married name to distinguish her from the actor Jamie Fox (the Ray Charles actor) so she now goes by Jaime Fox Hardwick.  

That second Tour with The MAB (back in February of 09) also included The MAB sitting me in front of the TV and watching CMT videos for nearly three hours hoping I would develop a feel for the modern country sound.   Later that afternoon MAB's friend and fellow co-writer Norm Bradley stopped by and we co-wrote the two songs MAB mentioned earlier; although is was more a lesson for Norm and I how to write a song in record time from The MAB.   I was intimidated, schooled, and shown how a Pro writer conducts business.  

I can't begin to tell you how difficult my new assignment was because I had to quite writing negative (she left me) type songs, write a positive idea, and try to narrow my long verses down to getting to the chorus in a quicker time.  Hence the saying "don't bore us, get to the chorus."

I had to learn about setting up the story in the first two lines, write every line to the hook, avoid perfect rhymes, write the second verse in the same format, melody, and rhyme pattern as the first verse. Whether to use a bridge or not,  is there a twist we can use in the bridge, write a chorus that included the life lesson and meaning of the story, try to come up with a hook that was interesting for the listener.   Awe man,  those rules (more like suggestions) was like opening a 500 piece puzzle and dumping it out on the table.  It confused the hell out of me.

So keep in mind, while The MAB is trying to teach an old guy like me how to write better songs and become relevant in the current country scene, he is also hoping that an artist with a gift of singing will show up so he can teach them the basics of performing and help them understand they must become songwriters to gain any access into the doors of publishers and label people.  Because The MAB is sought after as a coach, teacher, and mentor by new artists and all songwriters in Nashville, his passion is helping a new artist/songwriter on how to make it in the current Nashville scene; but he always takes time to offer all of us free advise on this forum and several other forums he stays in touch with.

Knowing that from The MAB and working with him over the years, I can testify that his strong point is to help a newer artist become better and offer his advise to help them on their journey.  He also offers his advise for all of us on how to increase our chances to get our songs played in public by becoming friends with and writing with a talented artist.  That is where the relationships and friendships begin before any idea of co-writing is ever mentioned.

I would guess the majority of MAB's Tours come from those of us that want to be better writers, and he can certainly deliver on that.

I would also guess The MAB is like any teacher that will take a special interest in a student that shows great talent and is willing to learn.  To me that is understandable and a given.  That doesn't mean he ignores the rest of the class; just that we have some catching up to do.

So Gerald,  you are most certainly welcome here; but your journey that led you here may challenge you to take measures to be the best songwriter you can be; whether you stay in your comfort zone or try to step up to more current sounding music.  You don't have to start out big and hopefully you will not become overwhelmed.  Just sit back, take notes, and learn.   Ask any question you would like; the MAB gives the best answers you will ever hear.  Please disregard what the Old Dog may say.
(except when OD tells the Girls which one he "Loves The Best".)   RiDawn Raelette,  you are on the top of OD's list.  Now when I say "on top" I only mean on my list of Girlfriends the Old Dog "Loves Best."   
(shuuuuu!!!!    don't tell Tina and the other Girls).
 
OD

(man, I hope that all made sense)

 I would like to make one more statement.  I am an old guy from the old school of honesty and integrity.  I must tell you all that my years of working with The MAB has left me with the opinion he is from the same school.   Even though some get the impression The MAB is only after new business and new customers, they may not understand he truly cares about our journey and helping us make the best of our musical experience; thus offering his advise for free to anyone that is willing to read his posts; but focusing on those of us that want his advise to make the most of our journey.

I will also reveil the MAB and the Old Dog did not hit it off on our first meeting.  I was coming into town thinking "just wait until he hears this".  That is a common attitude The MAB is used to.  On the morning of our first meeting, I called The MAB to get directions to the Noshville restaurant we were to meet; but over the phone (from my hotel) I told him I was in jail and he had to come bail me out.

A stupid thing to say and a terrible way to start out (of course I was just teasin); but the MAB listened, quite concerned,  until I revealed it was just a joke.  He took my humor with a great deal of patience without knowing the Old Dog was usually full of crap and more jokes would follow.  He also played a gig that night and did not invite OD because we didn't start out well.   Now he knows the Old Dog's sick humor and just responds with "OD, just get your ass down here."   Ha!!!

I have graduated beyond a student and his mentor.  I now feel like I am a friend and family member.  The MAB has introduced me to his beloved girlfriend "Tina Da Babe" and overlooks when I tell her OD "Loves Her Best."  He has invited me and others to his and Tina's home for a cook out and be a part of a living room concert held by him and his hit songwriting friends.

We have bonded by watching the History Channel and the events that took place in World War I and led up to the leaders not being satisfied with that outcome and started World War 2.    We have walked the battle field and grave yard of Franklin Tessessee that was fought during the Civil War.  We held hands and sang the Star Bangled Banner together (okay that is an exaggeration).  

The Old Dog is done.

I came into the song expecting a "fomula" music song that is sickeningly common place on the radio these days, but the video and story were both quite excellent.   That video was just amazing all around.   What I am really envious about, though, is that production.   The way they can really, really crank up the energy in that chorus.  That is one of the hardest things I just can't get right in my recordings.   I guess that is why I am not a pro recording guy!

But in the end, this is a song that would work as well in a simple guitar/vocal format.

That's correct Kevin. The great ones usually work in a variety of ways. With just an acoustic and vocal it can be a stunning moment. then with production,it can be a different animal. Then when it is covered by others, it also can shinte. I have seen Rodney at the Frank Brown festival about eight years ago and he is very good. He writes dynamics into the song.

That is another thing far too many people miss. Dynamics. When they play live or record, they just have everything going from start to end and there is no breakdown, no tweaks or peaks and valleys. The great ones factor that in from the beginning of the writing of the song.

Are you still recoding with big track  set ups or do you do simple guitar vocal versions? You might try to simplify and get away from the Band in a box type things that don't allow for any kind of layering. Might help you to build some dynamics into your own songs. I might  suggest learning to play this one and see how you can take it live yourself. Not to play out but to bring some different techniques into your overall writing.

MAB 

Okay,

Good review KevMo Ol Buddy.  The Old Dog too wants to comment on this song; but I have been called away to drink some beer with Brother Blake and his son Brody (that we don't get to see very often).

I must admit I can't wait to see them so I can tell how I have a new friend in Nashville (RiDawn Raelette) that will allow the Old Dog to hug on her , hold on too tight,  and unzip her dress, as long as her hubby is not looking.  At least that is what I read into her last post on the matter.

RiDawn Raelette I want you to know you have options.  You can stick with your hubby and enjoy life; or you can run off with the Old Dog and forever wonder "what the hell was I drinkin"........ or thinkin???

I don't mean to tempt you when I come down; but I have to warn you the Old Dog is going to make an effort to improve his personal appearance.   I can't do anything about my big beer belly by then; but I will trim the nose hairs and the hairs growing in my inner ears.  I will also trim my toe nails ,  take a shower  to include a clean pair of underwear.

I realize you are human and can only withstand so much temptation.  It is not my intension to make your life more difficult; just stop in and listen to your songs.  Oh, believe me;  it's not easy being the Old Dog.

OD

RiDawn, I think you are getting offers you can't refuse? Study up on Restraining orders.

MAB,

You know your Ol Dog buddy pretty well.  Circle the wagons and teach the girls how to load a gun.

The Old Dog will soon be in town.

OD

Just like Hobson, the butler in the original "ARTHUR", with Dudly Moore, played amazingly by Sir John Gilgud,

"I'LL ALERT THE MEDIA!"  

For this summer's 50/90 I did only "organic" songs, no BIAB (I fizzled out, though, this summer).   But I still layered instruments and voices as much as I could.  Dyanmics is tough -- easy to know about, hard to remember while you are doing it (ha, ha).   I think one of my problems is that I am just not that excited about performing songs in just a guitar/vocal format.  I did streetjelly on-line "open mics" and it was fun for awhile, but I am not talented enough to keep myself entertained (LOL!).  Yea, it gets boring to just pick and play.  I love all that "extra" stuff more!

OOOOOHHHH!!!!

You better watch out, you better beware
Lock up you're women he's headed for here
OD GONE BE HEADED TO TOWN!

He's makin' a list, Checking it twice
Gonna be sneakin' round your house all night
OD GONE BE HEADED TO TOWN!

He tries to see you when you're sleeping
Sneaks up on you when you're awake
Watch out when your hubbys gone
Don't know how much you can take!!!!

OOOOOHHHH!!!!!
You better watch out... get ready to cry
Gonna steal some hugs and kisses bring tears to your eyes
OD  GONE BE COMING TOOOOOOOOOO TOOOOOOOWWWWWWWNNNNNNN!!!!!!!
 

MAB, thanks for taking the time to disect that song, "Dirt" so well! To be honest, what really hit me about that song was the visuals. Almost every line. But the detail you went into really opened my eyes and made me see the song in a new light. Now that you have pointed it out, I do see how every line is about "Dirt". Didn't really "see" that even as many times as I have heard it. I ESPECIALLY appreciate the way you explained the melody! Now I know what I need to do when I start writing new songs, and there are some already written ones that I have some new ideas on. Will your efforts help me be a better songwriter? I don't know if you remember how thick headed I am. LOL! NOT stubborn. I DO listen, it just sometimes doesn't sink in (right away).

A moment to talk about my wrting. I DO try to put visuals in my songs. They don't always come across to add much emotion though, is my biggest problem. Another thing I am working on is, If there are visuals in certain lines in V1, then when I write V2, i want some (new) visuals in the same corresponding line there also. My latest endevor goes one step further. I had this song I had written, with a chord progression and melody that was O.K. (at best). THEN, I got an evaluation back from NSAI (on a different song) that said it sounded dated and that I should listen to curent radio hits. Well, truth is, that is all I listen too! Maybe I'm just not hearing it right, which goes back to my appreciation for MAB disceting the melody for "Dirt". Anyway, what I am doing now is rewriting the lyrics to the last so-so song to fit in the chord progression, rhythm, and melody of another top 10 (actually #1 last Sunday) song, "American Kids". (Which reminds me MAB, after you post about "Dirt", when I look at the lyrics for "American Kids", (almost) every line in it is a visual about kids growing up, which is a direct support of the title.) I don't like talking about ME so much, but I'm hoping this might give someone else a new perspective on their own writing. I can tell you, I certainly have a looong way to go!!

OD, you kept mentioning in your posts you wanted to comment on the song MAB disected for us, but I don't really see the comments?

Kevin, you bring up an interesting thing about "dynamics" in songs. That is probably the number 1 complaint I have here when I go to open mics. Even some of the folks that do cover tunes can't seem to change dynamics! One of my problems is putting breathing spaces in the lyrics. That is a fallout from being a litte too wordy. But, the difference between the verses and the chorus is where you really need the change in dynamics. More than just in the melody lift, but in the delivery as well. What I [try] to do is keep a simple strum pattern or finger picking in the verses then do full, different strum patterns in the chorus. The other thing, if I'm recording it is, I always use a drum patern from my Yamaha keyboard. So, I pick a siimpler, quieter pattern for the verse, then shift to a new fuller rhythm pattern for the chorus. I don't know how BIAB works, but I gotta believe it has that capability.

Man, I had to read throug 2 1/2 pages to catch up, so I'm sure I missed responding to someone. One last site technical note to everyone. There is a way for us to create a private listening room. You do have to be at least a basic member. It is under the menu item, "Oher Cool Stuff", and the option is, "Create A Private Room". I have not done this yet, so I'm not sure how it works. As soon as I have one set up, I'll post here about it. It will provide a way for us to have private critiques of each others songs.

phil g.

P.S. I probably have a lot of typing errors in my posts. This new laptop (that I've had over 6 months now) has a different spaced keyboard layout than I used for ever, and I'm still adjusting to it.

Interesting, I just heard dirt on the radio during a car ride to the store -- and commercial radio just squeezed the ever living life out of the dynamics of that song.  I know radio adds compression to songs for volume, but I didn't realize how much they did it on that one!   The video was a 100% better listening experience (maybe it was the story, too). 

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P.S.  I hate your drum beats (ha, ha).  The sooner you dump those, the better your songs will be.  Get a tambourine, shaker or kick drum -- anything!

Wait - somebody beheaded OD?

I may just have to join you all down there.  Sounds like I may be needed to ensure that order is maintained...

Eddie, I do hope you come to FB!!  OD, I think I speak for us all that we are relieved (no pun intended) you are going to wear clean underwear there! :O     Oh, and there will be no unzipping of my dress when Hubby isn't looking, LOL (you crack me up)!  There WILL be hugs I do look forward to picking both yours and Eddie's brains while you're both there!  I have a lot to learn and will be like a sponge, soaking up all the knowledge you're willing to share!  (MAB probably needs a break from me picking his brain on and off this site)!

Yea kevin, I'm growing to totally dislike my drum pattern choises too. LOL But, it's all I got for now. I do have about 150 or so to choose from, and I'm starting to listen to the others. I just listened to your two open mic sogs. Those drum patterns, I assume from BIAB, are really good. And I noticed you even have "intro" patterns within verses and from verse to chorus. I don't know what your radio statioin did, but here, what I heard in the video is what I hear on the radio. The video was great also, but it was the song and lyrics that got my attention, long before I saw the video. As a matter of fact, the only reason I watched the video was because of the "sounds dated, listen to current radio" comment I got back from an NSAI evaluation. I went to the billboard top songs web page, then googled each top 10 song to listen to them, just to make sure I was listening to only top 10 songs.

phil g.

My wonderful life with technology goes on. Yesterday after getting notices that APPLE was suggesting everyone do updates for their I Phones, I did. About thirty minutes later I was completely shut out of my phone and it quit working. After Tina and I were on her phone and computer for a couple of hours, we were informed that everyone is going through the same problems. About four hours later, we were able to get my phone back up.

And EVERY SINGLE SONG I HAVE WRITTEN IN THE LAST YEAR AND A HALF AND RECORDED ON MY PHONE IS GONE.

Some (hopefully) will have been backed up on my computer. Many,that I wrote over the past couple months, will not. Some will be copied by co-writers. Some people of course, never do what I ask and record them themselves. I have all the lyrics because I do keep paper copies of those in big books. I will NEVER STOP DOING THAT FOR THIS VERY REASON.  looking at the lyrics I might be able to reconstruct most of those.
Many are gone forever. 

The point is that I absolutely HATE the fact that we are controlled by technology. We are lost because we can be wiped out in an instant. Our banking, our history, our lives can be ended by technology. If an identity thief doesn't get you, your own government will.  

It is all bad, but my absolute hatred of anything APPLE now goes on even more. For those of you who love those Mac,s, it will happen to you too.

Who cares? I'll write more songs. But it just goes to show you that nothing much lasts at all anymore. Really leads you to wonder what the point of any of this is.

MAB 

MAB, I am so sorry that happened to YOU especially as you've written more songs in the last year and a half than some do in a lifetime, and not just the quanity of loss, but quality ...  Thank you for sharing that with us though, so we will be on our toes (the best anyone can these days, as you said) to do everything we can to prevent the same situation.  I struggle with technology all the time -- most of the time just trying to figure out how something works, and by the time I've figured it out, it changes!  Ugh!!  Anyway ... thankfully, everything we've written that was on your phone is either on mine or my computer.  Hope the same holds true for all your other co-writers ...