Let's look forward to (The Last Good Year reviews)

[Pigfarmer Jr]

... and have something to look forward to.

[Pigfarmer Jr]

Would you kindly place your lyric in the appropriate thread?
viewtopic.php?f=5&t=12398

[Lunkhead]

Songs posted!

[dirgetheband]

BSS – This is a departure from what I’ve come to expect from you guys. Very emotive. I very much like the interplay between the acoustic rhythm and the electric lead-ish accompaniment. I love the echo on the lead – what are you using? Sounds like an echoplex of some kind. Phenomenal.

Dirge – I very consciously went into this one trying to produce a song that proves I read and comprehend the forum criticism. “Vocals are buried; competing vocal lines don’t play together; buss compression obscenely heavy handed”. Got it. I did allow a trio of vocal takes to creep in on the third chorus, but it worked this time as I very clearly had a “low” and a “high” vocal to go along with the main take, not compete with. I got to use my phaser! Hadn’t put it on a track lately and I was really happy to hear it add a nice shimmer to the electric; played really well with the rhythm. All in all, I haven’t been this happy with a SongFight submission since Who Said I’m Dead back in 2011. Maybe I’m turning a corner. Also, major kudos to this whole collective: if not for this assignment I would have never written a song like this. Hearing how ya’ll were able to find extra energy in songs this Fight, I kinda want that final refrain to push the envelope a bit more than it does.

hoodmo – I really loved the lyrics when posted. I must ask – is this auto-biographical? Or someone you know? I really like this take on political correctness run amok. Just curious. To the music, I really like the chord progression. But I’m not 100% sold that it’s the perfect for these lyrics. The descending pattern makes it feel a little more melancholy while I get the lyrics convey more bitterness and anger than pensiveness. So I guess I’d rather have a more aggressive and in your face arrangement/performance. But I’d also like a pony. Overall this is terrific. I really like the abrupt conclusion.

Jon Porobil – Here’s another one that I was super jazzed to hear given the lyrics. And like Hoodmo’s, I just don’t feel like the lyrical content is driven home by the arrangement. The shift at 1:55 is absolutely fantastic. That’s the energy and tension I’d like to hear in the rest of the song. The electric guitar is typically way too quiet to push the song in any meaningful direction; it’s almost functioning as a pad rather than a rhythmic instrument. But man, that 15 seconds in the middle… Whoo hoo; spectacular. Do more of that.

Paco – Okay, who are you and what have you done with Paco? Was the optional challenge “write a song with an acoustic guitar that doesn’t sound like something you usually write?” Oh, it’s 0:30 now, and I see it’s you after all. Great use of dynamics in the opening verse with a nice build into the second. I see what you were trying to accomplish with the chorus, but it just feels a little rushed to me; would like to have some more spacing in the words, especially the third and fourth lines, “it’s time…” and “every second…” I love the coda! It brings a cool energy to the conclusion. Maybe ditch the acoustic and twangy electric and go full on with a fuzz? This is one of my favorite songs of yours.

Pannacotta Army – Click click click click. Oh man, that hi-hat is clicky. Putting that aside, your arrangements are always so clever and professional sounding. What is your musical background, by the way? Like, that’s a chord progression I’m still not sure I can write, and I’ve been writing for almost 30 years. The solo at 1:30 is really nice; restrained and yet full of information. That bend at 1:50 – whoo eee. There’s something that brings the energy up a smidge in the third stanza. I just realized you added an extra bar (or two?) at the end of each stanza. Man… That’s done very craftily; you don’t even notice it. I’ll be brutally honest, I wanted to hate this song for some reason. And I do, but only because I’m jealous of how fuckin’ cool it is. Great job.

Pigfarmer – I wondered how you were gonna get that “535 A, 535 A, 535 AD” into the tune. Love it. Like, I would shake my fist and bang my head to that chorus. I just need you to put more snarl in your vocal delivery for a song like this. Great riff, too.

R Mosquito – Is that a glockenspiel? I really like the gothic energy of the first 0:45; somehow the introduction of the band sucks the life out of the song. And I’m the guy that always like “more drums, more bass, more guitar, fuck yeah!” So when we’re back to a verse at 1:08, it’s a kickass tune again. Those verses would serve as an amazing interlude between other songs. The chorus just doesn’t do it for me.

WreckdoM – Different energy than you had on Radio Galaxies. This is the sound of a dystopian future, one that looks back at the trickle-down ‘80s as the peak of humanity. Wait… Isn’t that what we have for some folks now? Eeek. Well, back to the music, there’s just something about the punky vocal delivery that doesn’t match the industrial music. Like, either the vocals gotta get meaner or the music’s gotta come down a notch.

Yaks – I love the push into the chorus at 0:50; so bold and big. Man, this fight was a master class in dynamics and this song might be the best of the lot in that regard. Shotgun blast at 3:30? Nice. I’m sure you’ll get some static for the vocoder vocals, but they work for me on this tune, giving the vocals a nice musicality that works well with what is pretty sparse instrumentation, especially in the verses. The flip to live sounding drums at 2:10 is clever and very effective at adding some warmth to the song.

[crumpart]

11/10 to Vom Vorton for the album art.

[jb]

Filled with an atmosphere of its own making, Berkeley Social Scene's 'The Last Good Year' is a stirring song that captures the heart and soul of a moment in time. The acoustic guitar brings forth a pleasant melody, albeit one that can benefit from an increased precision to stand out beneath the powerful chorus and bridge. The entrance of the slide guitar mid-piece is a jubilant surprise that adds to the overall texture and energy of the track.

There is a distinct craftsmanship to be found in The Panacotta Army's 'The Last Good Year', from the way the instruments are arranged to create an atmosphere of calm, to the vocal melody that is reminiscent of Ron Sexsmith. The careful details help to heighten the overall mood of the piece, adding to the band's signature sound.

Hoodmo's 'The Last Good Year' is something of an auditory journey, a complex arrangement that leaves room for exploration as it tells its story. While the piano can run away at times and overpower the vocals, the drums remain steadfast and create a strong drumbeat that will keep audiences tapping along. With its infectious lyrical hook, 'The Last Good Year' is a memorable track that will have imaginations running wild.

An interesting composition, 'The Last Good Year' by R. Mosquito contains unexpectedly dulcet tones amidst its carnival-inspired background music. The transition between major and minor tones is skillfully managed to create an ambiance of curiosity and whimsy. Playful lyrics add to the effect, thereby capturing the listener’s attention and imagination. The song would certainly benefit from a CONCERT BAND bass drum, as this would greatly enhance the sonic magnificence.

The cacophony of sound which characterizes WreckDom's 'The Last Good Year' is undoubtedly pleasing to the modern ear. The lyrics, whilst at times ambiguous, can be interpreted in a variety of ways, which only serves to increase the charm and intrigue of the song. It is perhaps only two minutes in length, but that time spent listening is truly enriching.

The fuzzy notes of Pigfarmer Jr’s creation, also named 'The Last Good Year', invoke within the listener a feeling of repose. The arrangement could be tightened to give greater emphasis to the choruses, thus lending new dimensions of emotion to the piece. The lyrics, whilst dark in nature, are thought-provoking and serve to set the mood of the song. All in all, it is a satisfying production.

The haunting euphony of The Last Good Year explored by Dirge is nothing short of sublime. The meticulously crafted acoustic guitar creates the environment necessary for the exceptionally balanced vocal EQ to drift through and make its presence felt. Similarly, the drum parts are superb in their ability to perfectly imbue this work with a pertinent sense of impact. It is clear that Dirge have wrestled with the challenge of making the melody too low, providing a tension within the composition which adds to its finesse. Herein lies the beauty of the piece: it's lucidly straightforward yet still compelling nature.

Jon Porobil's The Last Good Year presents us with an incisive approach to arrangement, masterfully milking the potential found in the doubled vocals. There are undoubtedly some derivative and complex elements at play, but the expert engineering of these allows them to coalesce into something unique and recognizable.

Paco Del Stinko's The Last Good Year positively bursts with verve and catchy beats, leaving no doubt that it is an effort by a master of the genre. The guitar tones are sublime, and when coupled with the evocative bass, a sense of nostalgia is conjured that is simultaneously familiar and unexpected. The deftly harmonized vox in the background works to provide psychological space for the Jig which so cunningly leads us to the end. Sumptuous and gratifying, this is an example of sheer excellence.

The Yaks this week: Ken & JB on lyrics, Mo on guitars, Mo and Zoe on backing vox, Future Boy on rhodes and synths, JB on Lead Vox, mixing, drum programming, and synth beds.

[jb]

Above is my reviews passed through GPT-3 with the instruction to rewrite them in the style of early 20th century French literary criticism.
Here are the reviews that actually came out of my brain:

Berkeley Social Scene
Nice and full sound, could use more definition on the acoustic guitar. Not sure where that transition out of the chorus is trying to go, but whatever. The second time around it understands itself better. That slide guitar kind of comes out of nowhere, and it almost seems like it coincidentally aligns, mostly, with the rest of the arrangement. Things kind of come in as an afterthought like “whoops time to play now”. Like that chord change right before the end. It works as a finishing touch.

The Panacotta Army
Always so nicely mixed, and I like the thumpiness of that kickdrum. The vocal has a little Ron Sexsmith vibe to it. Have I said that about you before? Little vocal echoes in there, so many nice details you toss in so casually. Like it’s the easiest thing in the world. Jerk. You’re in three, BSS was in three, did I miss a memo?

hoodmo
Drums are in a different room than other elements of the band, let’s see how that works out. Maybe more that I’m wary of it than that it actually detracts from the mix. Piano sounds a little like you’re playing and singing at the same time, as the eighth notes are sometimes uneven. I like the complex arrangement, though I think it would benefit a lot from being tighter. The piano overwhelms the vocals a little. I like the last lyric. “What is that burning smell?” Heh.

R. Mosquito
Videogame background music for a sequence set at a carnival. Ooooh there are lyrics. I would probably have taken the vox out of the reverb after the first verse or something and then maybe back into it. I like that switch to major and then back to the weirdness. Needs like, a concert band bass drum injecting booms at select points. Nicely evocative lyrics, my favorite of the fight so far, four songs into listening! WILL THEY HOLD ON

WreckDom
Cacophany! In a good way, IMO. “When was the last time Ronald Reagan was alive?” That kind of implies he has been alive at various times rather than just the once. I think I do get a little tired of the intensity, even though it’s only 2:04. Could use wee break in the middlish to reset my expectations?

Pigfarmer Jr
Fuuuzz, nice. When everything kicks in I would’ve had it KICK IN you know? Like, hit me in the face arrangement for the choruses. Just two more guitar parts maybe, playing distorted an octave up? The bass isn’t really penetrating the mix. The lyrical content is interesting, I like the angle on the title. Not changin’ my LIFE, but I like it.

Dirge
Nicely recorded acoustic guitar. I think the vocal EQ needs to be adjusted to allow them to sit better, as they lack definition and have some sibilance and get lost. Drums are nice, kick has impact. Is the melody too low for you? Seems like it could go up a half step and be easier for you to sing. The lyrics are super straightforward, I’d like them to have some aspect that’s more compelling, or something twisty to think about.

Jon Porobil
The drums are ruinous to this arrangement, my friend. I like the doubled vox, and I think the ambition to the arrangement is interesting. Some elements are a bit too derivative even as they are complex. Didn’t hate it.

Paco Del Stinko
This is like a lost track somebody would discover and play for all their friends. I like the guitar tones a lot. The bass evokes the Violent Femmes. Love the harmony vox in the background. It feels loose but dialed-in at the same time. One of my favorite tracks of yours, I think. The jig heading into the end is fun.

[MellyP]

hoodmo – I really loved the lyrics when posted. I must ask – is this auto-biographical? Or someone you know? I really like this take on political correctness run amok. Just curious. To the music, I really like the chord progression. But I’m not 100% sold that it’s the perfect for these lyrics. The descending pattern makes it feel a little more melancholy while I get the lyrics convey more bitterness and anger than pensiveness. So I guess I’d rather have a more aggressive and in your face arrangement/performance. But I’d also like a pony. Overall this is terrific. I really like the abrupt conclusion.

Hi. No it's not autobiographical or someone I know. I was on the train (that's why I used that pumping piano rhythm in there - a bit train-like) and started thinking about how I don't sit on one side of the fence or the other about the whole cancel culture thing and yet I have very strong views on it. I took history at university so I guess maybe that's why the prof in the song teaches it, but it also worked well with the idea of either erasing bits of history until it doesn't make sense anymore -- or taking things out of context for the times or events in our past and causing them to lose their meaning. It's interesting that you were expecting a more aggressive take based on the lyrics and I can definitely see why you might have. I suppose I thought the prof's vibe was resignation and despair ("my career's done and the world's getting so screwed up") so I tried to match that, especially in the solo. Anyway, thanks so much for your thoughtful review and interest!

[dirgetheband]

hoodmo – I really loved the lyrics when posted. I must ask – is this auto-biographical? Or someone you know? ...

Hi. No it's not autobiographical or someone I know.

Well, you did a very convincing job of putting yourself in this imaginary person's shoes. I'm not sure I've ever been able to "write" another person. I think I have enough trouble writing "me" that I haven't ever really branched out, so kudos to you.

hoodmo – ...I guess I’d rather have a more aggressive and in your face arrangement/performance...

It's interesting that you were expecting a more aggressive take based on the lyrics and I can definitely see why you might have. I suppose I thought the prof's vibe was resignation and despair ("my career's done and the world's getting so screwed up") so I tried to match that, especially in the solo.

I guess everyone I see on either side of this issue is typically frothing at the mouth in anger, so I might be inclined to read a little too much vitriol into the words. I think the word "resignation" might be the most apropos. Now that I go back, it is just kind of sad.

Thank you for writing the tune!

[dirgetheband]

The haunting euphony of The Last Good Year explored by Dirge is nothing short of sublime. The meticulously crafted acoustic guitar creates the environment necessary for the exceptionally balanced vocal EQ to drift through and make its presence felt. Similarly, the drum parts are superb in their ability to perfectly imbue this work with a pertinent sense of impact. It is clear that Dirge have wrestled with the challenge of making the melody too low, providing a tension within the composition which adds to its finesse. Herein lies the beauty of the piece: it's lucidly straightforward yet still compelling nature.

LOLZ - is this the review of a song or a nice Merlot? Was just waiting to read the phrases "quaff", "full-bodied", and perhaps even "mouth-feel". Barf.

So, this begs the question, does every wine reviewer secretly wish to be a literary critic or is that just what the AI thinks? All in all, kinda brilliant.

[dirgetheband]

Dirge
Nicely recorded acoustic guitar. I think the vocal EQ needs to be adjusted to allow them to sit better, as they lack definition and have some sibilance and get lost. Drums are nice, kick has impact. Is the melody too low for you? Seems like it could go up a half step and be easier for you to sing. The lyrics are super straightforward, I’d like them to have some aspect that’s more compelling, or something twisty to think about.

So, when you say "sibilance", isn't that found in the higher frequencies? I thought, if anything, the vocals were a little bass-heavy and plosive, but it seems you think the opposite? What kind of EQ-carving do you recommend? Even after all these years I'm not much for EQ use, so any specific, concrete tips are greatly appreciated. Also, just FYI, that chimey guitar in the right-center is a Tele through a virtual Fender amp with some Phase 90 for kicks; the rhythm is all acoustic run through a gentle DBX compressor to tame the peaks.

[WreckdoMelle]

WreckDom
Cacophany! In a good way, IMO. “When was the last time Ronald Reagan was alive?” That kind of implies he has been alive at various times rather than just the once. I think I do get a little tired of the intensity, even though it’s only 2:04. Could use wee break in the middlish to reset my expectations?

I myself had gotten slightly over-zazzed by the very intense ripping synth bass hence there is a break from it in the middle but not the other oppressive aspects it may seem. However it pales in comparison to the sort of relentless intensity those who were there remember from 1980-1988.
Remember when we were all almost destroyed? Yeah, which time, heh.

In this and several other timelines, Ronald Reagan is both dead as a door nail and continuously re-trotted out and proudly touted even today by people who insist on going bravely backwards into the future. I can only assume someone keeps injecting his head with that fluorescent juice from The Re-animator to keep his spirit supple and relevant. It was also clear to anyone who was there, we probably lost him several times along the way.

[jb]

Dirge
Nicely recorded acoustic guitar. I think the vocal EQ needs to be adjusted to allow them to sit better, as they lack definition and have some sibilance and get lost. Drums are nice, kick has impact. Is the melody too low for you? Seems like it could go up a half step and be easier for you to sing. The lyrics are super straightforward, I’d like them to have some aspect that’s more compelling, or something twisty to think about.

So, when you say "sibilance", isn't that found in the higher frequencies? I thought, if anything, the vocals were a little bass-heavy and plosive, but it seems you think the opposite? What kind of EQ-carving do you recommend? Even after all these years I'm not much for EQ use, so any specific, concrete tips are greatly appreciated. Also, just FYI, that chimey guitar in the right-center is a Tele through a virtual Fender amp with some Phase 90 for kicks; the rhythm is all acoustic run through a gentle DBX compressor to tame the peaks.

I dunno man, maybe you are at something like this:

Cursor.png (735.82 KiB) Viewed 863 times

And I'm thinking maybe something like this might be nicer:

Cursor.png (746.54 KiB) Viewed 863 times

[the panna cotta army]

The vocal has a little Ron Sexsmith vibe to it. Have I said that about you before?

I'm an enormous Sexsmith fan so it's inevitable I'm gonna steal all I can get away with

You’re in three, BSS was in three, did I miss a memo?

I thought I was in 6 but then I'm not too hot on signatures

[the panna cotta army]

What is your musical background, by the way?

I had a few classical lessons when I started playing guitar at 11, otherwise I picked up stuff from listening.
We had an old upright piano which helped me make sense of chords/scales.
I can't read music but I'm quite handy at working stuff out by ear.
Played in a few bands but nothing remotely pro.

[jb]

You’re in three, BSS was in three, did I miss a memo?

I thought I was in 6 but then I'm not too hot on signatures

I just hear something swingy and call it three, so I have no doubt you are correct.

[Pigfarmer Jr]

Good batch this round. A lot of (relatively) quiet intros into songs. I guess that means we are using dynamics, right? Wait, is this normal and I'm just now noticing?

Berkeley Social Scene: I like the tone in the vocal. Honestly, this song is a great little lesson in using relatively simple techniques to make a good sounding song. That intro/outro works so very well. The chords change but the pattern is repetitive in a way that brings both comfortable familiarity and novelty. I have mixed feelings on the slide solo but we don't hear much of that 'round these parts so it's a welcome change. This isn't my favorite song of yours but I liked it well enough. Funnily enough, I feel this is the closest you've gotten to what I typically do (at least that I remember.) There's probably a lesson in there somewhere. (Also, I wanted to read the lyric but didn't see it.)

Dirge: I like the melody and think it works pretty darn well. I'm not a huge fan of the vocal performance but I think you've nailed what you were going for. This is another lesson in simplicity being used to create a good sounding tune. I especially like that effect on the clean sounding electric. You've nailed the subtle kick in on the G. Adding that vi to give just enough variety to the V IV I progression probably saved this from feeing too samey throughout.

hoodmo: I like your use of inversions (is that right?) to give more movement to a pretty solid chord progression. I like the minor feel. This feels a bit short but I see that it stands at a solid two and half minutes which is right up my alley usually. I guess that means you didn't wear out your welcome.

Jon Porobil: Is that a tasty modulation there in the middle? Again, good use of dynamics. I like your melody. Good guitar work. Vocals were solid. I'm taking this as a song about moving but not quite getting the boots on the neck imagery as it's placed here. I like this lyric, though. I like that I don't have to know exactly what it's about in order to still get the emotion you're relating.

Paco del Stinko: Did you say that this wouldn't draw fans to your vocal stylings? I would be lying if I didn't say you've had a song or two where I didn't really take to the vocal but here you make it work so damn well. Maybe you're growing on me. A double time breakdown AND callback? Yes, please. (If that line, "The days feel long but the years fly by" doesn't sum up my life right now, then I don't know what does.)

The Pannacotta Army: Another quiet intro, though to be fair, your song didn't kick in quite as much as some others. Still, it's a good one. I'm digging the laid back feel and your vocal performance is just right for this song. What is that tasty chord on "closed" in the last line? Tasty, tasty chord just in time for the holidays. So sweet. I have no idea how you can take "relative" and "exaggerate" and make them feel this smooth. Look at all those angles in those two words. X's and V's... plosives and fricatives all over the place but in your hands (mouth?) it sounds silky.

Pigfarmer Jr: Relatively quiet intro? CHECK. (Hey, I did something like all y'all good songwriters. To be fair, it's not as good as most of the others.) I agree with whoever said the chorus didn't kick in enough.

R. Mosquito: No intro. That's a bummer. (Just kidding, I'm loving the feel of this right off the bat.) I guess my biggest nit to pick would be that the vocal is lost in the mix a bit too much for my taste. I like that you're trying to get that low/deep feel in the vocal performance, but I want to hear it. I like it when you almost lose the take with a raw sounding voice. This arrangement works very well. That rhythm in the intro/verses is so damn good.

WreckdoM: Quiet intro? Yes, but what the hell was it? Cool, that's what it was. Probably the largest dynamic jump from intro to hit. Digging the guitars. Layers upon layers of vocal samples are used... perfectly, I think. Kind of reminds me of Frankenstein's monster having an in depth philosophical discussion (in the novel, not the movies which is a bit of a shame in a way) in that the parts all seem foreign but taken together it says something that strikes a deeper chord. After the 1985 line I thought you sang "that was the last time Ronald Reagan was alive" which I found very humorous. But you're slightly more straight take works, too.

Yaks of the Industry: Not so much of a quiet intro as a quiet first verse but I dig the use of dynamics. The tuning sounds good here, I like the effect (which is not always the case.) I'm missing your lyric in the lyric thread but from what I'm making out I like it. I like that your song both fits in with the overall feel of this fight (with the exception of mine) but also stands on its own.

I'd like to thank everyone for writing and recording such solid songs. Also, I'd like to thank you for not rocking too hard thereby making my song sound heavy in comparison.

[WreckdoMelle]

Paco del Stinko - The guitars are all around very good. Wondered if you do your own drums? I like the vigorous reprise and subsequent groove. And I appreciate this seize the day sentiment, that the good times are right now, do it, go to the show!

Pannacotta Army - I saw the lyrics before I heard this song and found them quite dark, which both contrasts yet compliments the music. Well executed, well mixed. Has that longing, melancholy feeling (certainly there is some long word in another language which describes the feeling). I hope you're okay though!

Dirge - The guitars throughout and the vocal harmonies are beautiful. Rockin' chorus. The layering toward the end really built up the energy.

Pigfarmer Jr - I'm going to compare this to Iron Maiden in the sense that I learned about history through a seriously rockin' tune. The energy is great, and I've really been enjoying these fast, quick-strike tunes lately. The guitars and bass sounded good, but could be a bit louder perhaps. That sounds like a terrible year though, honestly...

Yaks of the Industry - The vox on this tune and the chorus hook are candy, in the good way. This perfectly evokes that end of the evening slow dance. The harmonies are so pretty I kind of want to cry, again, in the good way. Can't quite make out all the lyrics though, is it supposed to be ominous?

R. Mosquito - A standout from the bunch, suitably brooding and transgressive, it of course earns a stamp of approval for that alone but then the lyrics come out of a horror story... so two stamps of approval? My only complaint would be that the vox are a bit lost in the reverb.

WreckdoM - Well you know how it is, you show up somewhere and it's always just over with - even when I arrived in town twenty-odd years ago people were saying the place was done. Now I'm saying it's done, and so on. It's part this FOMO and part people missing Archie Bunker, drinking from garden hoses, et cetera, in essence you used to know what to expect, or at least think you did. Later you might find out all the stuff that nearly happened and realize you actually couldn't know what to expect, maybe things just went your way. Or not.

Berkeley Social Scene - Nice to hear a time signature not 4/4 sometimes. This is one of those times. Very well sung, and the instrumentation, though sparse, is lively and carries the energy. Was it just one guy this time? At any rate, nice!

hoodmo - Melancholy feeling. The combination of instrumentation works well and the drums fit in the mix perfectly, personally I have a hard time doing suitable drums particularly in a more understated context like this one. Not to make it about me though.

Jon Porobil - I would describe this as both epic and sweeping. The bass drum and the vox are a little loud in the mix and the guitar is quiet. Good energy and use of dynamics. Stylistically not my cup of tea but marks for going after it with gusto.

Well there weren't as many ragers as last fight - seemed a lot of folks dialed it back, got a bit introspective, or otherwise dug out the dark or heavy topics. A somber pack of tunes, ours included. But all very well executed, in my opinion, pardon the grim verb. Or not. A very capable cohort all around!

[JonPorobil]

Hey folks, I've been pretty overextended these last few weeks, but I finally got around to listening to the whole fight today. I might have time for full reviews tomorrow, but in the meantime, I wanted to leave some brief impressions. In addition to myself, I voted for hoodmo on the basis of their clever lyrics, and for Paco del Stinko on the basis of his song being frickin' awesome. Honestly, Paco's song was so head-and-shoulders above the rest of the fight, in my opinion, that I probably would have voted for him back in the old one-vote system, even above my own song.

As for mine? My brother recently contacted me about needing to move cross-country quickly, and I dropped everything to help him. He's lived in New Orleans his whole life, but in the span of a few weeks he sold or gave away most of his belongings, loaded what was left in a rented SUV, and drove (you guessed it) eleven hundred miles to stay with me for a couple of months. He's now living in the room that until recently served as my recording studio. Reflecting on all the big and sudden changes in his life inspired these lyrics. Also, the title happened to line up with something I've been saying for years - "What if [current year] isn't the worst year ever, but will in fact be remembered as the last good year?"

Shout out to Pigfarmer for noticing the key change in the bridge, jumping from C to A♭, which I was particularly proud of. My production was very rushed, but I'm pleased with the song itself, and looking forward to remixing it (oy, that kick drum! How did I fail to notice it being so uncomfortably loud?). There was one thing I expected to be raked over the coals for, but to my surprise nobody has mentioned it yet, so let's just see if it comes up on its own before I tell on myself.

Thanks for all the reviews so far!

[Lunkhead]

Paco ties with the Yaks!

[MellyP]

Well deserved both!

[dirgetheband]

Such a solid round…. Paco’s song is one of my favorites of his ever and the Yaks are on quite a run of submissions. But really surprised Pannacotta didn’t pull it out; I really thought that one was in a class of its own.

Also, the low voter turnout was mentioned: if you add the votes as shown you get 39, but 42 was listed as the “total”. Are three votes “missing”? Hanging chads? Lol.