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Lazz

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Lazz last won the day on March 28

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About Lazz

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

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  1. Oh yeah - it does. Thanks. Everything went 'orribly 'orribly wrong when trying to add this helpful follow-up. And now I have finally figured out exactly what I was being old and useless about - and fixed it! Yeehah!!
  2. I did not intend to delete the entire thread - I was just messing with an addition to it. And oops! I so wanted there to be something under this theory heading that was about theory. And I was also looking forward to conversation with Chaz about it. Well, bollocks - I'll have another go once I stop being old and useless.
  3. Collaborators with whom I work turn out to be exclusively people I have met on the bandstand. In each case, there were years intervening between first working together (I guess we could name those "cover bands" also, as the shared we drew upon was music written by others) and eventually writing together. That's because I am slow learner, more interested in pleasures of the landscape than crossing any imagined goal lines. A huge luxury. But the essential thing for me as I see it was the irreplaceable face-to-face context for us fellow travellers to establish sympatico, mutual understanding, reciprocal respect, and necessary trust to sit alongside their great musicianship. That's my personal experience, so it's the the only route I know anything about and feel able to recommend. Just don't give up, mate. And good luck. "Ever tried. Ever failed. No matter. Try again. Fail again. Fail better.” Uncle Sam Beckett
  4. Get involved in the local scene, Josh. Kansas City has a deep music history, a solid musicians' community, and an enviably active scene happening. That's the community I would recommend you become involved in. Participation is the only thing that others note and respect. Without wishing or needing to deprecate what goes on here at the Muse, on-line communities are not real. You need to do real: it's the only way.
  5. Hello Tether, Surely this should be in "Self-Promotion and Advertisements". No?
  6. Allan Holdsworth died yesterday - Easter Sunday. We were around the same age - born less than a month apart - but I am still here. I didn't always enjoy his playing, but it always knocked me out for its sheer audacity. And I loved the fact he recommended my old mate John Etheridge replace him in Soft Machine. A phenomenal musician, beer drinker, and cyclist. Here he is with the equally committed and hard-working Gary Husband - who some may recall from Level 42. Part 2 is even better - and so is Gary's shirt.
  7. Good luck with the venture, Phil. There seem to be a multiplicity of computer-based (alleged) solutions for this challenge. But how does your addition compare to the established analogue methods of David Burge? And would I need to buy a cell-phone (I've been avoiding that clutter for years and don't really want one)?
  8. You may be right there, too. In terms of a stand-alone lyric waiting by the side of the road for a passing composer to pull over, however - which I had presumed Teeporte44 to be, 'though clearly I could be wrong about that - such considerations, very far from being "null and void", are absolutely fundamental and essential matter for the writer.
  9. You may be right about that, Paul - maybe there was something I overlooked - maybe you could show me where you did that. Seems you're more keen on avoiding the issue.
  10. Me neither. But it is still good and helpful, I believe, for a lyric (or any work, for that matter) to be critiqued on its merits.
  11. Surely it could be even more complicated if only we just tried a little harder.
  12. With respect, a review is not the same as a critique. Allow me to be out loud on the Tongue-tied side, here - ("reviewed not according to its own merits as a lyric, but based on moral criteria"). Critique is the important bit - where we try and help people do whatever they're doing better, illuminate problems and mistakes. To be perfectly honest, I see little of that in this thread: 'though perhaps I am blinded by the sting of sanctimony. Like cartoon justification-fodder for critics of political correctness. Hence my earlier interjection: Pop-consumers are now so well trained to accommodate songs which equate smack with "a relationship" - (streuth, how I fucking hate that coy and clichéd euphemism) - that a beer and cigarette upset offers us a very curious provocation. Purely pragmatically. No? I mean, personally, I absolutely detest patriotism and all its works and expressions and manipulations. Very explosively dangerous shit. Much worse than smoking for the future of humanity. But a song about it, in my opinion, still deserves critical assessment of form and structure, rhythm and prosody, repetition and rhyme, etcetera - all the technical craft-based importances without which the quibbles over validity of subject-matter become total irrelevances. Whether we may be personally convinced by a premise or story-line is a parenthetical side-issue to critique. If it ain't - then it should be.
  13. GOOD GRIEF!
  14. Exciting. BUT Your "Fulsom Prison" reference made me a little uncomfortable - that model doesn't seem at all appropriate (to me) in feel, in attitude, or in verbal stylings. (Seems to me more rooted in the hallowed ballad tradition reaching back to the minstrels of Aquitaine - the language you use suggests reference to that era.) And I am confused why you call your chorus a chorus when it isn't BEING a chorus - what is your thinking there? This is a very fine idea, very rich in allusive possibility, and I think it's very worthwhile chipping away to find the diamond core and make it shine. Please keep at it.