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Richard Tracey

Midnight Hour (demo + video)

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Hi all.. inspired by HoboSage's recent video posts, I decided to try one for the latest song I am working on. It is made in Adobe Spark on the iPad. Hope you enjoy.... this is just a bit of fun.

 

 

 

 

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Hi Richard,

Music:

Intro is excellent. Surprising time shift.

Verses are moody and engaging. Very nice.

Chorus/refrain: Right from the start, it jarred. Ok the hooks are very effective & professional sounding, but it lost me immediately & I knew it was going to repeat a lot. The move to major and the time doubling are nicely realised, but it spoiled the song for me.

Ending is lovely.

 

Words are contradictory. Nicely arranged and they sing well. But any meaningful content is escaping me.

 

I very much like your voice. I like the sounds of the accompaniment.

 

Video: Great job. Very effective. The monochrome is stylish and fits with the stills. The slow moving zooming/panning all work great. It makes me want to try some vid myself.

 

Overall: You are obviously talented & I'm glad this wasn't a rap tune ;)

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On 12/03/2017 at 7:32 AM, Rudi said:

Hi Richard,

Music:

Intro is excellent. Surprising time shift.

Verses are moody and engaging. Very nice.

Chorus/refrain: Right from the start, it jarred. Ok the hooks are very effective & professional sounding, but it lost me immediately & I knew it was going to repeat a lot. The move to major and the time doubling are nicely realised, but it spoiled the song for me.

Ending is lovely.

 

Words are contradictory. Nicely arranged and they sing well. But any meaningful content is escaping me.

 

I very much like your voice. I like the sounds of the accompaniment.

 

Video: Great job. Very effective. The monochrome is stylish and fits with the stills. The slow moving zooming/panning all work great. It makes me want to try some vid myself.

 

Overall: You are obviously talented & I'm glad this wasn't a rap tune ;)

 

Hi Rudi - thanks for watching and listening. I've spoken to John about this song and he also mentioned about the repeating in the chorus. When I originally came up with the song, I thought it worked, but now that 2 of you have mentioned it doesn't, I might have to re-think that part of the song. I like moving from major to minor chords all over the place... it's part of no training and no music theory, but I go with what my ear likes. Can you detail a bit more about what spoiled the song for you, as I would like to have a look at that part to see what works and doesn't.

 

The words were a 5 minute thing and mostly ad-lobbed at the time of writing the song, so will need to go back and look at them, but what part was contradictory, as it may be that I meant that (I tend to like screwing with people's perceptions in lyrics)?

 

Thanks re the voice, I'm still working on getting it back to what it used to be, but don't get the time to practice that I'd like.

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The contradiction I mean is exemplified by:

how do you say youre sorry, when theres nothing left to say?

 

If there’s nothing left to say, why would you want to say anything?

Now I realise that contradiction can be deliberate and also make a point. That's not coming across to me though. I might be missing something, but otherwise it’s a simple logical contradiction.

 

The words sound like an early draft of lyrics, ahead of figuring out what you want to say. That’s the issue for me. I don’t know what it is you want to say. I suspect that you might not, and I don’t mean that disrespectfully. Some people use ‘filler words’ in order to get the melody underway.  

 

That said, some of my lyrics are lost on people. I think most all of John’s are lost on people, but I know that when I hear John’s words and I can usually adapt his lyrical purpose to an understanding unique to me. How does that work? I dunno! It works frequently enough though.  

 

You may have this figured out the way you want it. You may have a point & purpose to the words. 

 

Chorus: The minor/major change, suggestion of time doubling & repeated hook lines are all excellent devices for achieving what you want for a chorus. So nothing wrong with those ideas. It’s not doing it for me though.

However the final chorus words ‘…truly free’ is great part with its alternating half tone.

 

Now when people tell me ‘they don’t get it’ or ‘its not going anywhere’, I always take it on board, but if it still works for me, I stick with my own intuition. Maybe you need to?

 

If this were mine & I were to rework anything, specifically I would consider trying the following.

1/ Change the phrasing of the chorus. I would begin with the first word ‘In’. I would move it from the 2nd beat of the bar to the first. So it would now be strongly accented and there would be a gap before the ‘…..the midnight hour’ resumes in its regular position. Changing the phrasing can be difficult and it takes determination to do it at all. It’s a fantastic way of transforming music though.

 

2/ I would play around with the chorus chords. Maybe make the change even more dramatic by raising the whole sequence by a semitone. Or else the chords by a fifth?

 

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1 hour ago, Rudi said:

The contradiction I mean is exemplified by:

 

how do you say youre sorry, when theres nothing left to say?

 

 

 

If there’s nothing left to say, why would you want to say anything?

 

Now I realise that contradiction can be deliberate and also make a point. That's not coming across to me though. I might be missing something, but otherwise it’s a simple logical contradiction.

 

 

 

The words sound like an early draft of lyrics, ahead of figuring out what you want to say. That’s the issue for me. I don’t know what it is you want to say. I suspect that you might not, and I don’t mean that disrespectfully. Some people use ‘filler words’ in order to get the melody underway.  

 

 

 

That said, some of my lyrics are lost on people. I think most all of John’s are lost on people, but I know that when I hear John’s words and I can usually adapt his lyrical purpose to an understanding unique to me. How does that work? I dunno! It works frequently enough though.  

 

 

 

You may have this figured out the way you want it. You may have a point & purpose to the words. 

 

 

 

Chorus: The minor/major change, suggestion of time doubling & repeated hook lines are all excellent devices for achieving what you want for a chorus. So nothing wrong with those ideas. It’s not doing it for me though.

 

However the final chorus words ‘…truly free’ is great part with its alternating half tone.

 

 

 

Now when people tell me ‘they don’t get it’ or ‘its not going anywhere’, I always take it on board, but if it still works for me, I stick with my own intuition. Maybe you need to?

 

 

 

If this were mine & I were to rework anything, specifically I would consider trying the following.

 

1/ Change the phrasing of the chorus. I would begin with the first word ‘In’. I would move it from the 2nd beat of the bar to the first. So it would now be strongly accented and there would be a gap before the ‘…..the midnight hour’ resumes in its regular position. Changing the phrasing can be difficult and it takes determination to do it at all. It’s a fantastic way of transforming music though.

 

 

 

2/ I would play around with the chorus chords. Maybe make the change even more dramatic by raising the whole sequence by a semitone. Or else the chords by a fifth?

 

 

 

 

Cheers Rudi - yeah the lyrics are meant to be like that. The first part is, you can't say you're sorry, if there is nothing left to say. It's a statement. The whole song has one line and then a contradicting line after it. It was meant to be a play on how we can sometimes feel like we are two or more people, being pulled in different directions. That is why The Midnight Hour means something to the protagonist - that is when they can be theme selves, when they can be free. I hope I have explained that correctly. I know in my head what I am trying to say and felt that was reflected in the lyrics.

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