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Kenneth Bradshaw

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About Kenneth Bradshaw

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  • Lyricist, Composer or Both?
    Both
  • Musical Influences?
    Some inner muse?
  1. Kenneth Bradshaw

    Without further ado.....

    I certainly was impressed by the production skills I heard - and the musicianship - and the literary skills - and the harmonies. I would love to bottle Janice's voice.
  2. Kenneth Bradshaw

    Pinned song entry

    Song Title: The Lights Of Vegas Lyricist: Tracy Edridge (Starsinmyeyes) Musician; Kenneth Bradshaw Song Link: Genre: R&B Why City Chosen: To capture the struggle between different desires Chords: Gm, Cm. D7, Gm7 Lyrics: The Lights of Vegas V I don't want to get married, freedom's so inborn Why do I always have to choose, why couldn’t life just flow along I still love your face but I need to escape I'm heading for the lights of Vegas Lift They say it's smoke and mirrors But it's forged in steel and lights I've got 50 dollars says I'll make a mil’ tonight Change Shoes I've had to glue, socks aren't quite exact. I may be in the outfield, but I'm in the match, and hey Lady Luck is one long shot, still I'm ready for the catch V Then she said if you don't come back to me it's over I'm coming back; I’m coming back; I'm coming back in my own time I’ll never do us wrong, leave this one alone. I need to feel the lights of Vegas Lift They say it's smoke and mirrors But it's fantasies in lights I've got 50 dollars, but I need a meal tonight Bridge The atmosphere uplifts you right through the stratosphere And every light is a diamond. They all shine for me tonight Outro I never left the car, there in the parking lot At quarter to three I awoke from sleep And the sparkle in her eyes was all I wanted to see So I said “No thanks”, with a smile on my face As I left the lights of Vegas As I left the lights of Vegas behind me.
  3. Kenneth Bradshaw

    Without further ado.....

    Tracy Edridge sent me some fantastic lyrics about Las Vegas. It was a stretch for me to write for them. But the result of that stretch is one of the best melodies I have written. It changes tempo and time signature twice and key once. I don't need to repeat that Tracy's words are great. I wrote with just three chords Gm, Cm, and D7. I start out in Gm and at the end I am in Bb major (They share the same key signature). I re-use the chords for Gm when I am in Bb - that allows me to follow the rules of the challenge. The only scale note that significantly changes is F# to F. (I always like to sharpen my 7th note in a minor scale.) I was going to heavily orchestrate it - including adding some live drums - both kit and Latin. But first I laid down a bass run accompanied by a solo cow bell. And I was floored by the power of that simple arrangement. Nothing I adding felt right. (I wrote the bass run in the style of Paul McCartney.) I have sent the arrangement to Tracy, hoping she will agree - but I will listen to any suggestions she has. I have been fighting a 2 month cold and my voice is iffy anyway - so I am waiting to add my voice - at least until the dogs in the neighborhood stop howling. Ken
  4. Kenneth Bradshaw

    The Logic of Writing Everyday

    A general answer, If you want to be a good writer, you need to write often. Every day is a good plan. I used to travel all over the US implementing computer systems. I started writing a book in the evenings, while away from home. I actually wrote two books; you can find them out on Amazon. My first book was a good premise, but stilted writing. By the second book, I had found a unique voice and a much better refine sense of comic writing. I consider myself a good writer, now. And it is the result a a lot a hard work. So however you plan it, work hard. Ken
  5. It is impossible to describe to a non-believer an understanding of the difference between clinging to silly superstition and having a relationship with a warm and loving God. Those who have felt the power of the Spirit know how different it is from false hope. But there is nothing, I know of,that can be said that won't immediately discarded and discredited by those who have never felt it. And, of course, those that have felt it can't deny it. Ken
  6. The Shadow of a Shepherd The shadow of a shepherd falls on a stable wall Behind him, heavenly wonders shine down upon them all Heavenly choirs of angles sing praises to the babe Wrapped in swaddling clothing and in a manger laid The shadow of a shepherd weighs on a mother’s heart As she ponders the shadows to come The shadow of a shepherd appears in Galilee He heals the sick and teaches through him all men are free He goes to a city where all acclaim his fame Yet, alone in a Garden, he bears the whole world’s shame The shadow of a shepherd enters on a mother’s heart Where the battle for men’s souls is won The shadow of a shepherd hangs down from off a cross A grieving mother stands there, astonished at her lose Her head’s bowed in sorrow, but grieving is in vain The Son of Man suffered, but then he rose again The shadow of a shepherd seals up a mother’s heart Immersed in the love of her son
  7. Kenneth Bradshaw

    Without further ado.....

    See you around on the forums Mark. I'm not used to using your American slang - but, I think: "peace bro" might be appropriate B)/>/>/> Andy Andy, Here is a rough lyric - if you want it. Feel free to alter it in any way. Havana Girls Verse I Slow, simmering samba on a hot and sweating floor. Grab yourself a Latin mamma as the crowd calls out for more She’s got legs that stretch up yonder and a face the boys adore Every move your heart grows fonder of the isle, that distant shore Chorus Hear the drums and crazy rhythms Hold those angels of the earth Island dancing’s just short of heaven A little devil – in a short skirt Verse II Hear the cowbells and the conga. The strumming of a guitar. You can’t hold out any longer. Just give in to what you are When the sun shines in the morning is time enough, but it’s so far Let’s spend this night dancing away under the stars. Bridge Havana Girls make loving easy on those hot, sweet Cuban nights Holding for her is fine and pleasing. Havana girls make loving right
  8. Kenneth Bradshaw

    Which composers/vocalists here are open to collaborate?

    Donna, What I believe is that most lyricists are selling themselves short - and can actually succeed on the musical side, also. My experiences in writing lyrics, before I started leaning more to the melody side, is that few lyrics are written without the lyricist hearing a tune and a style in his/her head. It is only a few short lessons - mostly in I IV V(7) chord structure before the novice has the tools to compete with 90% of the music currently listened to. This site, probably, spends 90% of its teaching on lyric structure and 10% on the musical side. We would do better to stand that statistic on its head and help the lyricists become skillful practitioners of the compete art of songsmithing. Ken
  9. Kenneth Bradshaw

    Without further ado.....

    Starsinhereyes sent me some beautiful lyrics. And I decided just to place it on a minor key, Gm, Cm, D7 - after I had fun with a sequence that went G6, Cm7, A6, Csus, 2 unrecognized chords, Bsus, Em, A6, G6. That was a great learning experience, but I did not feel it did justice the Stars' work. Now, I am about 75% through a beautiful, haunting melody. Ken
  10. Kenneth Bradshaw

    Without further ado.....

    Lady Marmalade gets by with only a C among its chords and it is very upbeat. The easiest way to handle this challenge is to just use 6th chords and write anything you want. Ken
  11. Kenneth Bradshaw

    The Fascination With Bridges

    I apologize. I am probably beating a dead horse. But here are my experiences. One year in high school, I played 3 different versions of A Taste of Honey, the Tijuana Brass version on the drums in the marching band and a standards version and a jazz version (with both key and time changes) on the string bass in the school dance band. They all had different bridges. And the writer of the song had nothing to do with them. It was the arranger's work. . When I played the big bands, there were often multiple versions of a song in the chart books. Sometimes the bridges were the same, sometimes they reflected the style of the song (Tea for Two can be a foxtrot or a cha cha - with different bridges). Add to that the fact that when you get a group of musicians in a room, they do not treat a song sacredly. They change, add, or throw out whatever they want. (I am ignoring that strange creature, a cover band, which does indeed treat a song sacredly. If life is good to you, you will never have to play in a cover band.) But having said that, there are wonderful, needful, important bridges created by writers that become standards Do bridges when you feel they are needed. And if you always produce your own songs, you can control it. But if you turn it over to a group of performers, they will do what they feel.
  12. Kenneth Bradshaw

    The Fascination With Bridges

    I have always felt the a bridge was more the prerogative of the performer - rather than the writer. A bridge is often a style transition rather than an integral part of a song. Closely related is an introduction or a stinger - that many performers omit - like the introduction to White Christmas
  13. Kenneth Bradshaw

    Without further ado.....

    Musician.
  14. Scotto, I really like this! Ken
  15. I don't think that is the right question or at least not the first question. The first question is can you know that you are really communicating with God? Is there a difference between a real relationship and a superstition. After that you can ask why some and not others and how/if it will all be justified in the end. Until then - if all you believe is that it is superstition - there is no way to answer your question. It is all meaningless chance. And the inference is that if it is all chance, there can be no God. So the real question is "Can you know there is a God and how can you do that?"
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