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About Nevergoback

  • Rank
    Orange Kool Aid Drinker
  • Birthday 08/11/1972

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Profile Information

  • Gender
  • Location
    Saint Louis, MO
  • Interests
    Music of all kinds (Avant Prog Jazz Metal anyone?), Teaching Chess, Sci-Fi and Fantasy

Previous Fields

  • Lyricist, Composer or Both?
  • Musical Influences?
  1. October 1+1 **RESULTS**

    I once wrote a song called "Ride the Lion" which was really just about living for the moment in general but several listeners heard "Ride the Line" and thought it was about cocaine. I don't know anything about the drug other than TV and such but there it is. I read the lyrics as being about someone moving on from lighter drugs living that intense lifestyle and then realizing what they'd given up for it. Lost my papers on the wind - EXHAUSTING THE REWARD OF THC. I ran till i was out of sight I tried to reach up but the sky was sinking Drinking till the bitter end - EXHAUSTING THE REWARD OF ALCOHOL of broken veins and shattered dreams - ??? THE NEEDLE I was falling till the day she walked in She brought me white gold to catch the sun. Fishing for a way to life i cast away.. - I THOUGHT NO HIGHS WERE LEFT UNTIL... When the neon flickered out I held her in the darkened night I gave her everything i had worth taking. Then she whispered like a prayer "i lost the world for you and i- I'm just a mirror for the love you're making" ...MIRROR ALSO HAS CONNECTIONS WITH COCA She brought me white gold to catch the sun. Fishing for a way to life i cast away.. She brought me white gold and i was young Waking up to see the world she made me.. I don't know if I would have interpreted things this way but that picture with you looking rather defeated, overwhelmed with powder (I realize it's probably sand) all over your face. It really colored the experience. Otherwise, I'm not sure what the lyrics mean completely, other than her love was like a treasure, a light, that gave you hope in life again. Perhaps the white gold was a ring of marriage committment? I look for both literal and emblematic / symbolic meanings in words and lyrics alot. Sometimes too much. It's great, sorry to belabor the point.
  2. October 1+1 **RESULTS**

    The fact that my votes were different than the winners just speaks to how good the entire field was. I think I scored FunkDaddy tops this time. His delivery and vocal style just worked really well on the song this month. I also scored Stewie pretty high as this one was just emotionally dripping. It took a few listens to really sink in, but was a very evocative song. Paddy, like usual, always has something really interesting in his songs, something a little unique, something that grabs the ear. White Gold was obviously very good but that picture with powder all over your face made me interpet the whole song about drugs and assuming the White Gold was cocaine. This was probably completely off, but I couldn't shake it. There were alot of places, in many songs, where I heard a melody going somewhere and it didn't and stayed flat or over the same chord. This was a hangup for me on some great music. Because the song felt unfinished. Sarah's was one of those. Her voice is amazing, but that song is about two revisions from being amazing, but it's not there yet. Appreciate that some dug Stormcloud, it's actually going to be a full production and I'll post in on the song section when I'm more finished. Thanks to Bubbly for doing the number crunching and the work. Again, great bunch of songs top to bottom.
  3. October 1+1 **RESULTS**

    My voice ain't pretty but this is an old favorite...some musers have heard an old version of this one...these are my first attempts at base tracks for an arrangement with my new group. Stormcloud c. 2007 Jay Brieler Verse 1 Tempest was the queen of the hippie beauties An orange poppy blossom in full bloom She drank the lightning from the bottle And spent the hidden treasure way too soon Lift 1 The sun arrives so quickly without sleeping And never seems to come when you're weeping Verse 2 Tempest moved like feathers on a river Dancing in the rapids far from shore She sang like sparks amid the starlight Drifting off as if nobody heard Lift 2 The years they roll by fast when you're burning And minutes drag forever when you're learning Chorus Living free has stripped away Soft smooth curves and her baby face Loving strong has left some scars Leaving her eyes cold and hard She still has some living left to do And she still loves like stormclouds rolling through Verse 3 Tempest wades with children in the ocean Splashing salty footsteps while they play She shakes her dripping hair when they go deeper Laughing out her warning "Not today" Lift 3 It only takes a second to go under And years to find a way to return Chorus Living free has stripped away Soft smooth curves and her baby face Loving strong has left some scars Leaving her eyes cold and hard She still has some living left to do And she still loves like stormclouds rolling through
  4. September Lyric Contest

    Congrats to Joe and Kim, great group of lyrics.
  5. September song comp

    Gordon, I really appreciate your comments on When Your Ready, and your time going over the songs is great. Steve is so gracious, it makes it hard to hold his talent against him. I thought more people would put songs up on the songs board for comment, and I gave FD and Thinman some feedback. Wendy D's song was another I really wanted to comment on...that song reminded me a bit of Peter Gabriel who is perhaps my most favorite artist. I loved the sound of the piece, but the big thing is that it didn't move and evolve past the wonderful initial sound and vibe it created. When I read it was a shorter piece that got expanded, I wasn't surprised. It needed to have another section or another place to go. Then it would have been just amazing. I scored it well anyway. Stew's song was very raw but so emotionally powerful. I made the mistake of reading the lyrics first and the "Two Girls and a Boy" tripped me up. Was it about a family, with a daughter, was it a "Triad" type of song? If I had just let the lyric go and just listened (which I'll do in the future) I think it would have just been the raw power of the emotion. Again, I still loved it. Paddy's quirky swing song was so much fun. Classic chord progression but definitely unique take on the sound. I didn't score anything low, so many thing were well done.
  6. 2011 - Song of the Year - Archive

    When You're Ready
  7. September song comp

    Congrats to Steve, what a song - great melody, well produced, definitely Steve's own personal style. I actually expected "You Better Speak Now" to win, as the chorus was really infectious, Mary Chapin-Carpenter style. That melody kept coming back into my head often since I first listened. Those were my 1 and 2. Thanks to everyone who liked "When You're Ready," I was surprised it did this well because there were so many great songs. I certainly had specific thoughts on each one because they're all so different but I'll save that for the songs forum.
  8. Mics 101

    Well I bought my 58, wow what a difference. Compared to my other dynamic, it's like good monitors. It doesn't destroy or enhance anything. It puts out what you put in. This will be great for me as a developing vocalist, as I don't think mic technique is going to be as essential, but singing technique will be. Clean, clean.
  9. September song comp

    Ok an old one...I put this up for feedback long ago but never entered it in a contest. When You're Ready c. 2005 Jay Brieler (lyrics and music) and Steve Berry (melody / vocals) v1 I can feel your arms around me I can taste your lips inches away You’re afraid to release your breath or your voice I can wait for a year or a day prechorus I can pick you up if we’re hand in hand I can keep you warm when we’re skin to skin But it’s not quite time to let me in chorus You got to tell me…when you’re ready When you’re open…when you’re safe You got to tell me…when you’re ready Here I am…here I wait for you v2 I can’t feel your eyes upon me I can’t see inside of your mind You got to keep it simple for this simple man I can’t read between the lines prechorus Your eyes are closed and you’re deep in thought You hide the truth of what really counts Perhaps it time to let it out chorus You got to tell me…when you’re ready When you’re open…when you’re safe You got to tell me…when you’re ready Here I am…here I wait for you bridge One man pushed beyond your boundary One man took before you gave Now your body fears to touch me But I am not that man No I am not that man v3 We can hear the blues in midnight air We can see the blue across the summer sky I believe they’re blessed by the heavens above In the space between you and I pre-chorus You are not alone in the pain you feel I am not alone in the love I feel Perhaps its time to set it free chorus You got to tell me…when you’re ready When you’re open…when you’re safe You got to tell me…when you’re ready Here I am…here I wait for you…take my hand
  10. Well, never... thanks for the suggestions. In terms of what I wish to accomplish with the track, is make sure it can compile well into an album full of slightly experimental tracks within the confining genres of Techno.

  11. What do musicians look for?

    Most of my collaborators have been other musicians who happen to write good lyrics. They get that lyrics aren't poetry. When they write, a basic song structure is going in their head. At least their thinking of a melodic contour when they write. Myself, I'm bouncing back and forth between paper and guitar when I write. Lots of my lyrics get simplified or changed just because they sounded fine in my head but were a mess to actually sing over a rhythm pattern. But here's my two cents for lyricists... If all you're bringing to the table is the lyrics, they need to be good. There need to be some really good lines in there. There need to be some phrases that make me say "Now that's a hook." Either the images need to be good, the emotions strong, the wordplay really sharp, the rhythm compelling, etc. And I'll echo Tom, a song that's a keeper is alot of time committment even for a hobbyist like me. The most recent song I'm working on probably has 4-5 hours in already, and it hasn't even made it to record 1+1 stage yet. For me to do that for someone else's lyric, it'll need to be more than "Man oh Man I wish I had you back in my arms." Here's a suggestion...if you want to collaborate, go to the music side here, listen to some songs, find someone who does a style you like, and ask about working together. It might actually be easier for them to write a song with scratch lyrics and then for you to then write a lyric over what they've done. Just an idea.
  12. Back in my stupid days before I even knew what compression was, I manually cut and volume altered little sections of tracks. Sometimes that's still what the doctor ordered. Cakewalk had a "+3dB" and "-3dB" functions. I used those things alot. Little did I know I was manually compressing.
  13. Mics 101

    Thanks for the suggestions. We're working up to making a 7 song demo to hand out at gigs. I'm planning to do as much as possible at home. Trying to figure out if and what is worth my money to improve the quality. I check out the models you've mentioned.
  14. Mics 101

    While the DI can work nicely to blend with the miced sound, have you tried playing the same part twice for doubling (and then panning the two parts differently)? I think it works much better. I used to do this exclusively, and if I were doing big beefy distorted guitars anymore, I still would use that. It was in a way my signature for awhile, but I got tired of it and I think it cluttered my mixes a little, especially when I went from headphones to car, etc. It was one of the changes that felt like it made my recordings sound a little more professional. I might try it again, and right now in a 2 guitar group I'm really considering having each of our rhythm guitars on each side as part of our recorded sound.
  15. Mics 101

    I mainly record guitars and voices. In terms of source, I think my guitar playing is good enough and nuanced enough that I can hear the limitations of my recording techniques in what I want to come out on record. I have a Taylor with an expression system and usually simultaneously mic and line in my playing so I can play with doubling effects without having cancellations. I'm always trying to improve the sound of my mic'd acoustic sound, always trying to capture the beauty of the instrument. Similarly, on electric, I just use the 57, and play with the second source and see what sounds good. I've used my other mics at distance, behind the cab, sometimes a direct line and then plugin up. I can usually dial in what I want on electric, because I've spent the time to get the electric sound I want live and then it's getting that on tape and then playing. Vocally, the guys I've worked with do have enough experience that I'd like to capture them well. I'm not experienced enough to really know what I'm missing sometimes other than hearing other recordings and thinking how much better they are. Even and natural, just barely on top of the mix without feeling like it's floating separate. But I think most of that is pretty downstream of the recording process. So I'll add the 58 to my arsenal, and next think about the double ribbons, especially since acoustic is my thing. This is the most recent thing I recorded...Alistair and everyone else has heard it. http://www.soundclick.com/bands/page_songInfo.cfm?bandID=1014715&songID=10934193