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Found 150 results

  1. Here's a song I have been working on lately. Let me know what you think would make it better. Thanks! Verse 1: Back’s against the wall and you are Nothing but a spectator Can’t drown out that self doubt, now Just relax and settle down, now Why did’ya come? Pre-chorus: They’re watching me, watching you, watch me They’re watching me, watching you, watch me Chorus: Bottle label princess in you Picked apart, in a sundress Verse 2: Building up your little castle As your bottle comes unraveled Walling out the spectators Can’t drown out that self-doubt, now Just relax and settle down, now Why did’ya come? Pre-chorus: They’re watching me, watching you, watch me They’re watching me, watching you, watch me Chorus: Beer bottle label princess in you Picked apart, in a sundress Verse 3: Looking out at all that you aren’t Clutching at your only comfort Nothing but a spectator Watching all the spectators Can’t drown out that self-doubt, now Just relax and settle down, now Why did’ya come? Version 1 Edited version:
  2. One of my all time favourite songwriting collaborations is that of Chris Difford and Glenn Tilbrook - the founding members of UK band Squeeze. All the Squeeze hits were co-written by the pair - Chris writing the lyrics first and then Glenn composing the music. Chris has compared the moment he first hears Glenn's compositions as like opening his Christmas presents. I met Glenn Tilbrook last year and shook his hand which was a dream come true for me I'd be interested to know about other Songstuff members' all time favourites........and have you ever met them?
  3. I made music using the crying laughing emoji! 😂 This is my first attempt at creating a MIDI drawing that actually sounds good. It ended up being an epic orchestral piece with jazzy chords! What do you think? 👌🏼💯🔥
  4. Hello there, I am a musician from Jamaica. I have a track in the form of tropical house that has been worked on quite a bit that really just needs lyrics.I have been trying to I would love to collaborate with many of the great minds on here. If you would like to collaborate with me in any other way, please to let me know.
  5. This is the first installment of a blog series. The series is intended is to provide a peek behind the creative curtain, taking an in-depth look at the process itself. For this installment, I'm going all the way back to the beginning. "Slow Down" was my very first song. Originally written/arranged & recorded in 1995, it was re-recorded in 98. The Idea In past articles, I've pointed out that my songs typically evolve from one of 4 starting points: - a chord progression - a riff/pattern - a section of melody - a central theme In this case, the idea was a basic progression I stumbled upon. Not really a chord progression in the strictest sense, but never-the-less a progression. While experimenting with combinations of 2 and 3 note intervals, an interesting pattern began to emerge. It's built upon traditional I-IV-V framework, but layered changes within that framework give it a unique flavor. Rather than try to explain it, I'll show you in a brief video which...... Shows a tablature rendering of the primary pattern positions Demonstrates the actual progression Fundamentals The song is set in Mixolydian mode. For those unfamiliar with the term, Mixolydian mode is essentially a diatonic major scale/key, with the 7th flattened. The flattening of that one note alters the fundamental step pattern of the key. That single change in structure has a huge impact on the flavor of the resulting composition. It's common practice for songwriters to step outside of strict key structure. In other words, it would have been OK for me to employ notes not contained within the basic 7-note scale (A mixolydian). That being said, I chose to remain within the confines of that scale! The vocal melody, bass guitar, 2nd & 3rd guitars were set in A mixolydian, as was the entire arrangement for the bridge section. The secondary guitar part is comprised of 2-note intervals. Guitar #3 is single-note leads and fills. The 3-note combinations played at the outset of each A, D & E section, are the only things vaguely resembling traditional chords. Each combination is comprised of a root (tonic), a 5th and a 9th. Definitely chords, but by no means traditional. Structure Introduction (8 sec.) / 8 Bar Musical Interlude / Verse-Refrain / 4 Bar Interlude / Verse-Refrain / Bridge (Middle- / 8 Bar Interlude / Verse-Refrain / Ending w. fade Subject Matter Because of the feel established by that primary guitar progression, the song wouldn't have worked with an uplifting lyric. Serious, darker subject matter was called for. Substance abuse (specifically alcoholism) was my final choice. The lyric was written from the perspective of the alcoholic, in this case a male. It's intended to depict the typical downward spiral of both the substance abuser and the relationship. The idea was to reveal the changing mind-set of the abuser as the addiction progressed & the relationship disintegrated. As is the case with most of my songs, the melody was written before the lyric. I also had a specific meter structure in mind. The downside of this particular structure was that it wouldn't allow for a wordy lyric. I had to rely heavily on subtle changes in the person, tense & exact wording to get the lyrical message across. Personally, I enjoy the challenge that comes with this style of writing, but it does present obstacles. The message/meaning isn't as obvious as it is with other styles. A greater burden is placed upon the listener to listen intently. Unlike more popular lyrical styles, the listener can't cherry-pick key words and phrases. The lyric needs to be taken as a whole for the message to come through as intended. Lyric I smile and start another day You smile and tell me it's OK We should have known we would get through it You'd think we'd know by now I promise I....won't drink much tonight I know I blame my life on you You tell me I don't have a clue You should have known not to back-talk me I'd think you'd know by now I know that I....said I would slow down Should slow down Must slow down Will slow down Next week swear I'll slow down! I get up & start another day You're not here to tell me it's OK I should have known you didn't love me You'd think I'd know by now I don't care if...I ever slow down! Final Production Notes Both the 1995 and 98 recordings of this were done on a Tascam 424....4-track analog cassette recorder. Some years later, when I upgraded to a digital recording setup, I dumped the original 4 analog tracks onto 4 empty digital tracks, cleaned them up a bit, compressed & remixed the song. To give you an idea of what I was working with...... The drum track was recorded all at once. No overdubs were possible, because it was done using a freestanding electronic metronome. With the old analog decks, if you tried to record a standard click-track, you'd get ghosts of it bleeding through to other tracks. Even after the click track was erased, remnants of it remained and would be heard on the final recording. The drums & bass guitar shared a single-mono track on the cassette recorder. Drums were recorded first, then primary guitar, then bass. At that point in the process, a combined premix of drums and bass were bounced over to the only remaining track. That allowed the original recordings of each to be erased....opening up two additional tracks. The 2nd guitar was recorded on one of those, lead vocal on the other. The final lead guitar bits were recorded last, wherever open track space remained. All the guitar parts were recorded through a mic'd amp, with effects already applied. Drums had to be recorded with individual EQ adjustments & effect already applied. Compared to current standards, this was the equivalent of working with stone knives & bearskins. Honestly.....given the limitations of the process, I'm amazed that it sounds as decent as it does. Overall, it's a bit muddy, the vocal could sit a little higher in the mix and there are several predominant "s" sounds in the first verse vocal. Hopefully, you're able to overlook the production shortcomings and enjoy the song. YouTube Video Version (*includes full song) - Tom Hoffman Songstuff member profile
  6. Hi there everyone I'm a 21 year old singer songwriter from the UK, here to share, talk about and lsiten to music (:
  7. Hello, I would just like someone's opinion about something. So I find it very hard sometimes to find a melody that sounds good but hasn't been used before. Very often, when I find something good, I realize what song it's actually from. But... it's not always a long melody. Sometimes just one bar of 4/4. So my general wonderment is this: If I'm writing a melody, and one bar is similar to an existing song (we're talking about 3 seconds of similarity here), should I just use it as long as the other parts of the melody are different than the song in discussion or am I being an extremist of originality? Thanks!
  8. Hi guys, my name is Fabio, I'm an Italian rock singer and I'm looking for an excellent lyricist for an exciting collaboration. Our band is about to release its debut album (mainly hard rock/alternative/stoner genre) , we've already written down lyrics for almost all the songs but I desperately need now someone who can actually give his own magic touch and make them more solid and robust. I want to have quality basically and it's extremely hard being not native. What I need is an experienced person in writing lyrics/song writing who masters the English language fluently, better if native, both in writing and orally and has a really good hearing for words and how they sound and which sound fits better in different scenarios. I write melodies just as many writers do using nonsense mostly and find what sounds good from a sound perspective. My lack of vocabulary is a huge deal breaker to express what I really want to express so your help could be fundamental. Few tracks are almost completed and sounds decently but others require strong re-editing and possibly they need to be written from scratch. The melody line is already in place, the meaning of the songs, the rhythm etc. as well. I just need some professional who can convert those "sounds" into quality robust lyrics. I can provide you a demo version of each one of the songs (played and singed with outdated lyrics months ago) and the new lyrics I came up with but I'm yet not satisfied about to give you an idea of the "how it should sound". I'm open to changes of course. In any case this will help you out because you will have all you may need from a music perspective. IMPORTANT INFORMATION Unfortunately I'm really late on this and deadline are really strict. (studio recordings are starting in just few weeks) Because of this, I saved a good budget for the whole collaboration. Chosen lyricist will be awarded with 50€ per finished song (this means I'm 100% satisfied with it) and we will proceed one song at the time. Signing of a non-disclosure agreement would be required. If you're interested please apply sending a set of lyrics of your own ( would be better if you could send more than one ) here through the Songstuff PM system, and you will be contacted back. Thanks a lot in advance.
  9. Hey guys, I am new to the site and have a few questions regarding mapping out the drums to my songs. A little background, I have been playing instruments, singing, and songwriting for over 10 years. I have alot of live experience and a good deal of studio experience as well. now to the question. I have been working on an alt rock/pop punk album for a couple years now and am in the process of recording. I have all instrumentals and vocals worked out but my struggle is with drums. In the past I have always worked with a drummer who has written their own parts for my songs but currently I am on my own. I have a basic understanding of drums and can write basic beats and fills but lack the knowledge to write really unique and stand out pieces that I would feel comfortable releasing. So I would basically like to know, are there any guidelines to what accents should be used and when (like what beat do you typically hit an accent cymbal, and which to use ect..) ? Information I'd really like to hear as well would be mixing. I use drum programs to map out my drums such as superior drummer and dont quite understand changing the velocity and eq on drums. sorry if this is vague but I am very inexperienced with writing drums and would love to gain some insight, thanks! Eliott
  10. Hello! My name is Mary Allain, I am a music student and Philadelphia based singer/songwriter and I'm here because I really need some feedback on my songs. I have written a lot but not recorded much, so when I have recordings of my music I am really looking for a lot of advice when it comes to recording, mixing, and mastering (I am awful at Pro Tools so help with that would be awesome). I am currently working on a website and better ways to market myself so any help at all with that would also be greatly appreciated. Just a little bit about me: As of right now I play 7 instruments. I play piano, guitar, oboe, english horn, ukulele, mandolin, and the alto saxophone. I started taking piano lessons when I was 6 and ever since then I have been completely hooked on music! I've taken private lessons in oboe and guitar, and have sang in many ensembles throughout my education, but I have taught myself everything else. I write songs and have done a very small amount of composing and producing, but I am much better at lyrics than at melodies (aka I'm very bad at melodies). What I really want out of Songstuff is a place to get real criticism of my music from people who know what they're doing, and hopefully eventually have some collaborators so I can learn even more. As a music major currently at college, my ambitions for my future are to hopefully be a songwriter, lyricist, producer, or just studio tech, but obviously I need a lot of feedback and a lot of practice to achieve these goals. Thank you for all your help! Mary Allain
  11. Hey All, I've just started writing an April Audio Blog and have just published the first article: "5 Reason to Record Your Song Today". I hope to continue writing articles on various aspects of song-writing, music, recording etc. What sort of topics do you feel would encourage you as you seek to grow and develop as a song-writer? Are you interested in music tech, recording equipment, songwriting techniques, music promotion etc? Any feedback is much appreciated. You can find it here: Or on the Facebook page here:
  12. "Hey, can you come play my party for free beer?!" "If you come play guitar for me for $50 this time there will be more gigs to follow!" "Do you have some unlicensed or royalty free music I can use for my video?" "I can pay you in (insert social media platform) more followers if you do this for me." Knowing one's value or worth is the best advice I could ever give anybody wanting to jump in this crazy music industry...OK, the end!! Whew, thank goodness you don't have to read anymore! Seems so simple, right? Monetarily speaking, knowing your worth can be an incredible advantage to your career, or not knowing what your "product's" value is can be a horrible disservice to you and your fellow colleagues. This is what I mean. What we do in the music industry whether it be a song writer, jingle composer, player, artist, manager, booking agent, etc. is entirely different than any corporate structure set in any other genre of business. There is no infrastructure to evaluate how much you should be making on a global scale. There isn't a chart on the internet to tell you how much you should be making. That certainly would make it a lot easier. From what I've learned, culture and the city you live in seem to set a standard. Granted I can only speak as an American understanding the evaluation process in music. Los Angles, New York, and Nashville are what I call the big 3. From there I would say the next tier cities could be an Austin, Texas or a New Orleans, Louisiana for example. But the big three usually set the trends in the largest commercialized music markets (Pop, Rock, and Country). They also have more opportunities in all areas of music as well. How much should I charge for my services? It all depends on your culture, city, and what will you gain out of it. In Nashville, a guitar player hired to play some songs have a pretty standard base rate of a local show getting paid $150 and if there is travel involved no less than $200. But I've excepted gigs for a lot less. Even $50! In corporate business suit and tie world they would ridicule you for taking a 75% cut. I don't blame them. Let that percentage sink in. I didn't know what I was doing was undermining a system that would devalue and under appreciate a player that would be well deserved of a base pay of $150. Integrity in the market place is a concept that , in monetary terms, people will know what to expect. Consistency if you will and it even sets a bar predicated to a system that can establish tiers. For example, do those local shows for $150 and when you have the street credit eventually you can make the jump up to $200, then $225, and then so on, and so on!!! Your culture may have something set in place. Maybe? Maybe not? Isn't it funny? Do you ever wonder if somebody slapped a sign on your back that says "will work for free" instead of "kick me!" Know your worth. Set a standard. Educate yourself from other musicians/writers/engineers/blah/blah/ bah. Let those that have walked that path mentor you. Help your community by establishing that your vocation as a creative is important to be worth given money. I had a coffee with a friend when I first started traveling to Nashville. I expressed that I didn't know my value or even when should I take a gig. I still use this rule to this day and I absolutely love it, and I think it applies here. After he mentioned base rates in Nashville he ended the subject by saying, "Two out of three ain't bad." 1. Is the money good? 2. Do you like the music? 3. Are they good people or are they fun to hang out with? "If you can say yes to at least two of those...two out of three ain't bad."
  13. Hi: Sometimes years after I've "finished," and "released" a song on CD, I see ways to make the song better. When I perform the song live now, I do it with the improvements. Just because the song's been recorded does that mean the recorded version is "it?" After all, none of my songs are on the charts. It's not like Paul McCartney changing parts of "Yesterday." But still some people in the audience notice and ask "why did you change it?" Is it my obligation to keep a song the way people know it even if I can make it better? Tamara
  14. For all members using Soundcloud - we now have our very own Soundcloud account. Please follow us and look out for our regular Songstuff Community Member Sets where we showcase songs which have been posted here on the site.
  15. Quite an oldie from me but I thought I'd post the acoustic version here. Collaboration between myself and composer Serg Butler from Moscow. The lyrics were written to a keyboard melody. Before You Go (Music composer: S Butler, Lyrics: J Hutchinson) (Verse One) I used to think that life was very simple And nothing ever magic happened Time just passed me by I always thought that I was no-one special I'd always be alone It was the way that things would be (Pre chorus) Then, you just came into my life And now, everything has changed (Chorus ) Before you go just tell me one thing I'm left always wondering When I think of this I cry Say that you know that I'm always waiting Nights anticipating When you're back again I'm high (Verse Two) I used to think that love would never happen I often used to wonder if This chance had passed me by I always thought romance was just for others I'd spend my time alone Love just wasn't meant for me (Pre chorus) Then, you just came into my life And now, everything has changed (Chorus ) Before you go just tell me one thing I'm left always wondering when I think of this I cry Say that you know that I'm always waiting Nights anticipating When you're back again I'm high (Bridge) I can't explain How you've made me feel about everything I won't complain No matter how often that you need me (Chorus ) Before you go just remember one thing I'm left always wondering When I think of you I cry And don't you know that I'm always waiting Nights anticipating When you're back with me I'm high again (c) 2012 S Butler/J Hutchinson Recorded at Discolife Studio, Moscow.
  16. Hey guys, I'm mainly a composer and a songwriter working with a piano, guitar and a bass. I don't have any good recording equipment yet, other than logic pro x. I am content as a songwriter and composer, but as soon as it comes to actually producing what I've wrote, I am never satisfied. There always seem to be quiet a corny, supermario bros vibe to the sound. I'm using mostly pre-set software instruments such as the on board pianos, basses, strings, brass drums etc. I wonder if anyone else has had similar issues? I'm hoping it's my production technique as apposed to the actual intellectual property of the music. Thanks Josh
  17. Hi all! After receiving so much helpful feedback for our last song "This Is Not Me", I dare to post the second song we recorded. This is our new Song "In Your Face": What do you think? What about the mixing? About the violins, the vocals, the song as a whole? It was recorded at the same time as the last song, so all those great feedback you posted for "This Is Not Me" did not yet left its marks in this song. But in the next one! This time, it is a live recording as well, but we did re-record the main vocals again. Also, the guitars where recorded a second time to make them sound bigger. Thank you in advance! Yves
  18. Hello everyone, Excitedly and humbly presenting my song, 'Fade Away'. Please view/listen and give your critique on lyrics, music, playing, singing, video... Looking forward to hear your constructive criticism to learn and better. Thank you, Priyan 'Fade Away' Lyrics: It's a nice morning To fade away There are winds calling To sail away Am I through with the blues Changing hues of the truth Can I fade away Then my words stumble And they fall And I see the writing On the wall As we go down life's road Searching for the pot of gold Can I stay away Plenty of voices fill the air The louder you scream, the more you're heard I wanna blank out all the noise Ride away from all the choice Where I just can be me It's a nice morning To fade away There are winds calling To sail away
  19. Hi There! We just recorded our new Song "This Is Not Me". It is a live recording in our band room (except for the guitars, those have been recorded a second time to "fatten" the distortion). Any feedback, comment, opinion is appreciated and helps us to improve ourselves for the next record Cheers! Yves Lyrics: I lost the ground, can't feel it anymore, where I have to go? Oh I lost the ground, can't feel it anymore, there's nowhere left to go. Let them push me hardly and threw it all away, let it destroy myself until I'm done and gone. You believed in me and gave me all your trust, now you let me be and I feel so lost. My heart is full filled with sorrow, so deep that I can't run away. And empty is the room, where I feel hollow, so sad and freezing cold. I lost the ground, can't feel it anymore, my voice has gone away. Oh I lost the ground, can't feel it anymore, dark clouds have come my way. Oh I never felt so lost, I don't know where to go. This is not what I used to be. Oh I never felt so lost, I don't know where to go, this is not me. Please believe me I need your help to stand, I cry out here just to hear myself. I don't know what I used to be, this is not me. This is not me. Not me.
  20. Dear All, this song was submitted for an electronic synth Brand contest. I would like to hear about critique of songwriting impressions, vocals (my daughter) and production. Thanks!
  21. My name is Delvonnie Stephens from Cincinnati, Ohio seeking collaboration with other talented writers, singers, producers, etc. I have instrumentals/beats that require vocals, male and female. We'd collaborate on lyrics, music and anything song-related, right down to pitching. I have a list of music publishers, record labels and film/TV sync placement companies that accept demo and catalog submissions from songwriters. I want people with vocals, but other songwriting skills as well. Contact me at, and listen to my instrumentals at I also have lyrics that can use music, vocals, arrangement, etc.
  22. I know nothing about composing, but plan on learning lessons on youtube. I am very serious and am willing to put in the effort of many years to become a professional composer. But recognition for my music is my only reason for pursuing composing. All my effort would just be wasted if I can't get my awesome music recognized and featured on youtube, soundcloud, etc. I have a heart condition that could kill me before I get the chance to attain my goal. If I can't attain my goal, then I would not even bother with composing at all. So should I even bother with composing then if this is my only reason for doing it? I don't think it is an idiotic attitude at all. It's no different than how a body builder wishes to attain the goal of being in the magnificent muscular body of his dreams. Otherwise, if he had some sort of condition that somehow prevented him from building muscle, then he would not even bother body building. He would not even bother lifting weights just to lift them and the whole process of lifting weights would now be meaningless to him since he cannot achieve the goal he wanted. Some people would lift those weights anyway. But I know that I wouldn't. So in that same sense, I would not compose just to compose. My reason for composing is to attain that goal of having my music featured and recognized on youtube, soundcloud, etc. You can pay to have your music and videos promoted. Lastly, I have created awesome and strange unique music in my mind that I don't want to go to waste. But the only way for that music to get recognized would be to become a professional composer because that is the only way I can reproduce the music just as I hear it in my mind. I plan on then getting that music promoted on youtube where it can get recognized by many viewers. I do not plan on just getting recognized. It is the music I hear in my mind that I want recognized.
  23. Hello Guys, My name is Larry, Just joined the site. I am looking for artists/songwriters to collaborate with. I have reliable contacts in record labels,TV and advert firms. If your interested in collaborating with me just send me a message. My email address is :
  24. Subject Matter Written, recorded & copyrighted in 2003, "Borrowed Time" was inspired by an actual event…the death of my boss Fred Marshall. Several years prior, Fred had been diagnosed with lung cancer. Once traditional treatment had failed, Fred received the bad news. There was little more medical science could do for him. For all practical purposes, he was living on borrowed time. He knew the "what", but not the "when". Grant it, Fred wasn't the first to receive a terminal prognosis & he wouldn't be the last. But, I couldn't help does someone come to grips with that? What's it like to live with that knowledge? Questions worthy of a song, don't you think? I did In the end, Fred lost his battle with cancer. The day of the funeral, our company closed so that everyone could attend. He was laid to rest in his hometown, several hours North of St. Louis. As you might expect, it was a very quiet drive back. Since I was a passenger...with the back seat to myself, I made good use of the time. I wrote the majority of this lyric. Given the circumstances, it seemed a fitting activity. Lyric Livin’ on borrowed time Not sure how he’s gonna use it Livin’ on borrowed time Knows he can’t afford to lose it When life gives you a surprise It can open up your eyes Should already be…part of history Dead & gone before his time, but he’s… Livin’ on borrowed time Not sure how he’s gonna use it Livin’ on borrowed time Knows he can’t afford to lose it Livin’ every day In a different way Cause he’s never sure How much longer he’ll survive Told him he’d be dead last year Doctors say the end’s still near Still he’s tryin’ to…use the time to do All the things he holds so dear, cause he’s… Livin’ on borrowed time Not sure how he’s gonna use it Livin’ on borrowed time Knows he can’t afford to lose it Livin’ on borrowed time Livin’ on borrowed time Copyright 2003 – Tom Hoffman Personal Insights Back-in-the-day, I participated in a number of songwriting competitions. The Billboard World, Song of the Year, American Songwriter, USA, UK & Great American to name a few. Out of all the songs I entered, “Borrowed Time” scored the highest of 5 finalists. The most traditional, mainstream song I’ve ever created…and they liked it best? Go figure! Take from that, what you will. Musical Fundamentals Genre was an easy decision. Given the subject matter, traditional country was a perfect fit. It’s set in the key of G…a commonly used country key. BPM = 104 …a comfortable, easy-going pace for this type of song. Structurally, it is different. Following a brief introduction, it flows immediately into a chorus section. That’s not unheard of, but it’s certainly not the norm. For this particular song, I thought it was an excellent choice. It allowed one of the primary “hooks” (the song title) to be heard almost immediately. Instrumentation Choices Fender Strat Acoustic Bass + Harmonica (Hohner) & Keyboard Strings (Yamaha P-80 digital piano) Production: Tascam 788 Performance Credits: • Guitars, Bass, Drums, Harmonica, Keyboards – Tom Hoffman • Vocals – Tom Hoffman YouTube Video Version (*includes full song) - Tom Hoffman Songstuff member profilehttp://www.tune-smith.com
  25. Ok, so I have a lot of music and even vocal melodies but I'm not too into writing lyrics, it's basically like homework for me and I don't enjoy doing it because i don't do it well and I'm usually just "meh" about what I've come up with. I am very specific about the type of lyrics I like. I'm a fan of imagery, metaphors and just interesting or clever lyrics. I'm not looking for the norm cliche lyrics, I can write those. I'm looking for someone who listens to and enjoys the stylings of modern day indie rock. Bands like, Wye Oak, Widowspeak, Sharon Van Etten, Portugal. The Man, The Shins, Death Cab For Cutie, Washed Out, Beach House, etc. If you can write like Ben Gibbard or James Mercer or remotely similar to any of the above bands or bands similar to those, I'd love to hear from you. I'm not looking for sappy love songs or cliches. Just think INDIE ROCK and you'll be in the area of what I'm after. Thanks and hope to find some collaborators soon! Mark PS - if you have links to some of your work that'd be most helpful as well.