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Lazz

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Lazz last won the day on March 28

Lazz had the most liked content!

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About Lazz

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    A Muse's Muse
  • Birthday 03/07/14

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  1. In terms of cliché, "Baby, We're Really In Love" knocks me out in the way he blithely skips around the danger of committing the "love"-rhyme crime. Normal writers discover early on, for example, that there are only four rhymes for "love" - shove, glove, dove, and above. Speakers of Merkan, like ole Hank, can claim two additions to the list - "of" and "thereof". But that's it. Only so many ways to handle it - therefore it's best avoided altogether. But the Williams' full-frontal embrace has such fresh immediate colloquial grace that we don't even pick-up on it being maybe a problem. And he makes it look easy and without sweat. Dunno about ranking..... So many seminal monster song-writers up there in his company that ranking them seems impossible.... pointless.... and wrong. I am guessing I must have at least a hundred names on my list of writers in the top-room. Hank Williams is in there among them for certain. (But then, so is Billy Strayhorn.)
  2. Exactly right. Hank Williams' place in the songwriting pantheon is long-established and absolutely unquestioned. Elbow-to-elbow with Irving Berlin. And equally timeless.
  3. I have trouble with that also. My recall of the context is that Paul and I were butting heads - and maybe not for the first time. My sense of our opposition - and his view will likely be different - is that Paul is irritated by folks who critique the critiques rather than the work while I tend to get irritated by poor misleading nonsense given in the guise of critique. So, whatever the lyric was that we argued about, and whatever this orphaned "Me neither" referred to, this is more clearly (I think) how the exchange went down: Lazz said - "it is still good and helpful, I believe, for a lyric (or any work, for that matter) to be critiqued on its merits". Paul said - "..and one of it's most important merits (IMHO) is whether people can emotionally relate and connect to it". Lazz said - "Critique is the important bit - where we try and help people do whatever they're doing better. Paul said - ".. and some of us have attempted to do that in this thread. Seems you're more interested in critiquing our critiques than offering any help advice to the OP." Lazz said - "Seems like you're more interested in avoiding the issue." To me (maybe not to Paul) "the issue" was a charge of sanctimony which I had levelled against him earlier in our scuffle. Can you please take the time to explain your reasons for (partial) posting of our exchange, Bob? What is its significance for you? In this context? Bob said - "You stuck your nose into my business and got it bloodied. Not my problem. You don't like my shit then don't smell it." I am never impressed by your bullshit triumphalist bluster habit. But I am grateful that in your recent incarnation here you make us suffer much less of it. Posts from your new guy are much more reasonably rational and coherent than those from your previous dude. Plus, your new guy is at least taking a stab at lyrics of his own. That's all terrific. But when that other old guy bursts back in and makes a mess that stinks up the place again it is my business, OUR business, that he's poking his anus into. Bring the new guy back, please. Bob said - "I'm not a nice guy" Now, there are a number of people here who know that is simply not true. There are enough examples of kindness and support that come from your direction to seriously confuse many of us about why you present this wicked Mr Hyde side with such enthusiasm when it is such patent bullshit. Is it fear, Bob? Of what? I just wish you would stop it But back to the beginning, where Bob said "have others noticed the sarcasm and outright arrogance in the responses by some whenever a real critique is posted on one of their creations - most notably in the lyrics feedback section(?)" And Lazz responds: "No. I haven't noticed that, Bob. But it sure sounds like a problem. Would you care to point out some examples for me so that I can follow what you're talking about? Thank you"
  4. My point was/is not about cleverness but truth.
  5. So do you introduce them merely for comedic effect?
  6. Why do you do this kind of shit, Bob? I just don't get it. What the fuck would my relationship with Paul - even if it existed - have to do with anything?
  7. I re-post the above because you don't appear to have understood the first time. And forgive me but I don't see any "real" critique. Why not post a link to it so I can read it for myself? Thanks
  8. My favourite so far (from your Urban Dictionary link) is: "There is an obvious implication of what I just said, but I formally disavow that implication, although I actually believe it."
  9. Thanks for that, LyriCAL. I got hooked into their entire YouTube repertoire and have fallen deeply in love with the sound of Rachel Price's pipes.
  10. Just had a terrific time falling in love with Rachel Price - having been drawn to YouTubery by LyriCAL's recent post in "General Music Conversation" - but I noticed he introduced the Video with the words "Just sayin". Of course, this isn't the first time I've read those words. They've become a common cliché by now. But I don't know what the fuck it means in any of its many contexts. In many of the places I have read it, it seems to be saying "bear in mind that I don't really mean this" - but that doesn't work every time. Can anyone help? It must mean something. Just sayin'.
  11. There are numerous examples, Bob. I don't plan on wasting time to dig them up, but let's not pretend they are non-existent. Please. You, on the other hand, must have examples at your fingertips of "sarcasm and outright arrogance in the responses by some whenever a real critique is posted on one of their creations" - otherwise your opening post would be meaningless. No? I am genuinely interested in seeing those. I am genuinely interested in what it is you consider a "real critique".
  12. None of us are free.
  13. NOT SO FAST! Is it about the teller of the tale or about our constant everyman? It is about both. (Obviously.) And why not? Isn't that the established tradition with this kind of conceit? Not a problem. Does the lack of a recurring chorus matter even a tiny bit? Why should that be? Structure looks to me like you have a perfectly appropriate Intro and Outro, between which is a simple repeated form. You also have the essential "one big idea" which repeats in different forms towards a final happy resolution. Seems you may have already satisfied your obligations to the repetition requirement Looks to me like a non-problem. Too long? This is just one of those empty things that people say about a lyric - like "I think it needs a bridge". Firstly - without firm knowledge of how fast a piece is going by, how many beats per minute it is marked at, we can have absolutely no idea of its length. Moreover - I just took a leisurely stroll through your verbals, taking my time, conversational, dramatic performance pauses and all.... And I hit the finish line in exactly three minutes. Looks like another non-problem to me. Washington? American listeners appear to respond automatically and very positively to shared patriotic symbols. I mean, I can imagine few listeners adopting a dialectical critique of political sub-text, so Washington seems as good as any. If your reference at that juncture had been Lenin, then I think listeners may have been made more confused and uncomfortable than reassured. If it worries you too much, just pick someone else. But to me it looks like yet another non-problem. Pavarotti? Hugely disappointed that you should stoop with an explanation of the blindingly obvious. And irate if it leads you to change this apparently problematic line for no good purpose.
  14. Slang Nazi!!