Soundcloud: Tongue-tied YouTube: Tongue-tied DEVELOPMENT I wrote this in 2017 on guitar, which isnât unusual in itself, but I probably do most of my song development in Band-in-a-Box, then sing and play it on guitar to ensure its âsingabilityâ. My recollection is that I was inspired by 'The Hard Way' by Thirsty Merc and the chord extensions they used in that song. While the songs are completely different, it motivated me to write this song. The title âTongue-tiedâ came to me while I was working out the chords and melody and I kept it as I felt it was going to be a useful concept for writing the lyrics. Once I had the melody, I put the chords into BIAB and chose a style. Here is the BIAB file rendered to mp3. Soundcloud: Original BIAB MGU Regarding the lyrics, some of them can best be described as âobliqueâ â meaning they only have a thin connection to the theme. In fact, just last week, I was still wondering if I should try and replace some of these lines, so in order to avoid effort, I asked Copilot AI what it saw as the connection between these lines and the main song concept. It responded âŠ
âYour lyrics are rich with poetic imagery and emotional nuance, and the oblique lines youâve marked beautifully reinforce the central theme of being âtongue-tiedââemotionally overwhelmed, inarticulate, or hesitant in moments that demand vulnerability or clarity.â Thank you AI, you sycophantic devil, you! Copilotâs full interpretation of each line is included in the attachment.
I made a partial recording in 2018 after completing the lyrics, then in 2022, recorded my bass, rhythm guitars and added layers of vocals - probably too many layers. My vocals were a bit flaky, so I always intended to come back to them. In this 2025 remix, I add piano, smarten up the mixing of the vocals and add a guitar solo outro. The guitar solo is the sort â pinching one of my own phrases â âRhythm guitarist decides to have a crack at lead guitar and lead guitarist shakes his headâ. I decided to make the intro vocals acapella (I think that's what it's called) â also influenced by another Thirsty Merc song âMy Completenessâ, which IMHO is an absolute banger.
BIAB SUMMARY While there is not much left of the BIAB band apart from the drums, I have included a link (above) to Soundcloud where you can hear my original chords and melody in the BIAB MGU file. Style is _RCKWLZM.STY (Rock Waltz w/ Muted Electric Gui) RealTracks in style: 778:Bass, Acoustic, PopWaltz Ev 085 (B:energetic) RealTracks in style: 861:Guitar, Electric, Rhythm HardRockWaltzSustainHeld Ev 140 RealTracks in style: 858:Guitar, Electric, Rhythm HardRockWaltzMutedSteady Ev 140 RealTracks in style: 856:Guitar, 12-String Acoustic, Rhythm RockWaltzStrumming Ev 140 RealDrums in Song:PopRockWaltzBrushesEv: a: Brushes b: PopRockWaltzBrushesEv M-Audio Oxygen 49 MKV using Spitfire Audio LABS Autograph Grand instrument SE X1 Condenser mic 2 x lead vocal tracks 9 x BV tracks Recorded and mixed in Reaper. On the first recording, I had used ReaTune to manually pitch correct all BV tracks (yes, it took ages!) but took it all off in the final render as it did nothing.
LYRICS INTRO
VERSE 1 Thereâs some things unsaid, so it goes Itâs a quiet wind that runs between the trees When one ship passes by, one cloud in the sky Always moving, always changing but never alone
VERSE 2 The stream â down from the mountain it flows Thereâs joy in friendship - everyone agrees When the players play as one and the marathon is run Together, lonely never, free and found
PRE-CHORUS 1 Though I want to say it loud My throat is gagged and bound Can I ever? Will I never? Will I freeze?
CHORUS 1 I donât know what to say, Iâm lost, yes Iâm tongue-tied I know itâs only words theyâre the only words I know You say you never hear me say â my heartâs so hard to find a way The stakes are high, you call my bluff My good intentions just ainât quite enough But youâll ease me through the tough times when Iâm tongue-tied
VERSE 3 Thereâs a time when all things must said But itâs not a place Iâm comfortable being in Why do the words I want to say quickly slip away If the truth be told, yes it must be told, yes it must
PRE-CHORUS 2 Words will fail me, disengage me Thoughts will come and then escape me (n.b. I should have gone with 'assuage me') Floundering and listless on my knees
CHORUS 2 I donât know what to say, Iâm lost, yes Iâm tongue-tied I know itâs only words theyâre the only words I know You say you never hear me say â my heartâs so hard to find a way The stakes are high, you call my bluff My good intentions just ainât quite enough But youâll ease me through the tough times when Iâm tongue-tied
Well that opening was really interesting, it really didnât give any indication where the song was going to go and for a moment there I thought perhaps there wasnât going to be any lyrics at all. How did you go about compiling and producing that sound, itâs almost a mesmerising chant. I really like the intro and whilst it set the opening mood, I was left wondering why there wasnât a reprise, either in the middle or at the outro. I donât suppose it had to be and thatâs where artistic expression comes into songwriting and as listeners we shouldnât be anticipating what the musician is going to do, even though we naturally do. Your vocals were steady and measured throughout and the backing Vox were excellent. The lead guitar on the outro was also really good, you neednât worry about that. Another good write, Mr.Dee.
Andrew, another very hummable rock gem. Like your vocal ensemble in the intro and transition to the main song. Cool BGVs. Super lead vocals. These doubled tracked vocals are a bit of a change of sound, but I like them a lot. The BiaB drums work fine, and very fine playing by you everywhere else, most conspicuously in the guitar outro. Sublime stuff.
DC Ron BiaB Audiophile Presonus Studio One ASUS I9-12900K DAW, 32 GB RAM Presonus Faderport 16 Too many guitars (is that a thing?)
Well that opening was really interesting, it really didnât give any indication where the song was going to go and for a moment there I thought perhaps there wasnât going to be any lyrics at all. How did you go about compiling and producing that sound, itâs almost a mesmerising chant. I really like the intro and whilst it set the opening mood, I was left wondering why there wasnât a reprise, either in the middle or at the outro. I donât suppose it had to be and thatâs where artistic expression comes into songwriting and as listeners we shouldnât be anticipating what the musician is going to do, even though we naturally do. Your vocals were steady and measured throughout and the backing Vox were excellent. The lead guitar on the outro was also really good, you neednât worry about that. Another good write, Mr.Dee.
Thanks Lee! I recorded the intro with 9 tracks - 3 x 3 - so I mapped the chord progression with the notes in each chord and worked out the high, mid and low notes of each chord and worked out the notes each set of 3 could take with minimal movement - I think this technique is called âvoice leadingâ? Three takes per note were to smooth out any vocal deficiencies and to provide depth. It is the very same stems from the intro copied and pasted sitting under each chorus. Thanks for listening! Andrew
Andrew, another very hummable rock gem. Like your vocal ensemble in the intro and transition to the main song. Cool BGVs. Super lead vocals. These doubled tracked vocals are a bit of a change of sound, but I like them a lot. The BiaB drums work fine, and very fine playing by you everywhere else, most conspicuously in the guitar outro. Sublime stuff.
Thanks Ron! Iâm reasonable happy with the guitar solo. Listening back, there are a couple of phrases where I wished I had used hammer on and pull off rather than picking each not - to add some smoothness to it. I learned a new lick trick for this solo and pretty happy how it came out. I think I need to experiment with different amp and fix settings to understand how what I hear âliveâ translates to the recorded results. Thanks for listening! Andrew
Andrew, this is an outstanding song. Great vocal. Loved the background aahs. The guitar lead fits like a glove; you should play more leads. You picked the perfect backing band for this song. Super mix also. An outstanding song.
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Liked this a lot, Andrew, especially the chorus. The intro was fine, but felt detached from verse one - something to musically connect them would be nice. Vox good, lyrics good, a fine outing here!
Windows 11, Intel Core I5 10400, 16 gig ram, Scarlett 2i2, Sony Acid Music Studio 10, BIAB 2020 UltraPlus Pak
Andrew, this is an outstanding song. Great vocal. Loved the background aahs. The guitar lead fits like a glove; you should play more leads. You picked the perfect backing band for this song. Super mix also. An outstanding song.
Thanks Mario for your generous comments! I don't have a lot of 'licks' in my lead toolkit, so I tried to base a lot of the solo around phrases in the chorus melody. I heard someone say once to play lead like you want to sing it. Given I am not a quick singer (syllables can trip me up), that suits me fine. Andrew
Liked this a lot, Andrew, especially the chorus. The intro was fine, but felt detached from verse one - something to musically connect them would be nice. Vox good, lyrics good, a fine outing here!
Thanks a lot Rob - I'm glad you liked it. The original recording had the full band playing with the intro BVs, but I felt it was a bit much, so I muted all the band then brought the drum fill in to lead into the verse. I recognise there is not a lot of melodic movement in the intro ATM. If I revisit, one idea to build more connection might be to put a subtle chorus instrument melody over the intro (the intro is the chorus chords) so there is some familiarity with the chorus when it reappears. Andrew
Ooooo Ooooo Oooo I like your ooopening, and then hte rest of the song really jumped out as an wonderful mix of the opening and the melody you brought to it. I understand what TM Bob is saying about in connecting them, but you did exactly what I would have done. Drums. Man, that video is perfect to accomany the lyrics. You extend the definition of tongue-tied, and didn't stutter once.
Enjoy whatever happens! marty
YouTube: https://www.youtube.com/@babumusic51 SoundCloud: https://soundcloud.com/marty-straub Band in a Box, Reaper, Cakewalk, Ozone 12, EZDrummer
Hi Andrew, I listened to this earlier on youtube and then just now on Soundcloud. I have to say I liked it more the 2nd time around. It has a kind of nostalgic rocker feel. I hear Beatles; I hear Thompson Twins. I like oblique lyrics (think Michael Stipe) because the listener gets to impose a unique and personal meaning to them.
Just popping back to add... I'd heard the progression you used in the beginning somewhere somewhere before. I couldn't pin it down, it was such a distant memory. Now I remember! It's the Beauty School Drop Out song from Grease!
Ooooo Ooooo Oooo I like your ooopening, and then hte rest of the song really jumped out as an wonderful mix of the opening and the melody you brought to it. I understand what TM Bob is saying about in connecting them, but you did exactly what I would have done. Drums. Man, that video is perfect to accomany the lyrics. You extend the definition of tongue-tied, and didn't stutter once.
Thanks Marty! Glad you liked it - and the video. When I found the stock footage of people standing frozen in crowds, I yelled âYes!â No stuttering, but I did have a minor lisp when I wath younger, and tho did my wife, but mosthly dithappeared for both of uth. Andrew
Just popping back to add... I'd heard the progression you used in the beginning somewhere somewhere before. I couldn't pin it down, it was such a distant memory. Now I remember! It's the Beauty School Drop Out song from Grease!
Hi Beth! I remember that song. I had to go and listen and also look at the chords on Ultimate Guitar. Unfortunately (fortunately for me) there are NOT a lot of similarities in the chord progressions of the two. My progression jumps out of the key signature quite a bit more than Beauty School Dropout. However, they do sound similar. I think the similarity in sound is aided by the 6/8 time signature and the comping of the piano in both songs which were prevalent in songs of the late 50s and early 60s - which is what I was aiming for. In reply to your first post, I am only aware of one Thompson Twins song - Hold me now - but my favourite Beatles song off the Abbey Road album is âOh Darlingâ which also has 6/8 and piano comping (or is it my favourite? Ahhh! So many good ones to choose from!) which is nowadays only receiving the popular acclaim that it deserves. If forum members have not heard that song, please listen to the masterclass that is Paul McCartneyâs vocals on that song - something he dares not perform live. Thanks for listening! Andrew
The coolest intro I've heard in a long time. I was pleasantly surprised that it's a waltz, and a good one at that. Enjoyed my listen a lot!
Thanks B.D.! Iâm never quite sure the difference between 3/4, 6/8 and 12/8, but, yeah, one of those! I am glad you liked the intro. Originally it had the full band underneath it, but at close to 5 minutes, this was one of the choices in my remix to create some difference in texture, inspired as I mentioned in my OP by the vocal intro to My Completeness by Aussie band Thirsty Merc. Thanks for listening! Andrew
Hi, Andrew. Cool intro! I like the pared-back backing. With retro piano vocal doubling, it's got a touch of John Lennon to it. It works for me. Nice! And, yes - AI can be super-irritatingly boot licking.
Thanks David - glad you liked the intro - I wasnât hesitant about it, but did wonder how it would go down. Andrew
Great work! I esp like the dah-dah-dah-dah rhythm of the piano and the pace that it gave it. I agree with others that the intro is really cool, but doesn't seem connected to the rest--maybe you made 2 different songs in one--perhaps consider splitting it off and developing it separately--it's so nice! Guitar work is really good. And so nicely produced. Thanks for posting, I enjoyed it!
Windows 11, Intel Core i5-8600T 2.3Ghz, 16 gig ram, BIAB 2025 MegaPak, SampleTank 4, Keystation49 Kybd, Neewer NW-800 mic
zplane recently interviewed Peter Gannon, the founder and creator of Band-in-a-Box, about the software's early days, what sets it apart from AI, how zplane's audio algorithms are used in Band-in-a-Box, and more!
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Last Chance! The Band-in-a-BoxÂź 2026 for MacÂź Special Ends Today (May 31, 2026) at 11:59pm PDT!
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Band-in-a-BoxÂź 2026 Mac Special Offers Extended Until May 31st!
Good news- we've extended our Band-in-a-BoxÂź 2026 for MacÂź special offers until May 31, 2026!
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202 New RealTracks Released with Band-in-a-Box 2026!
With Band-in-a-BoxÂź 2026, we've released 202 incredible new RealTracks (in sets 468-488) in a variety of genresâfeaturing your most requested styles!
Jazz, Funk & World (Sets 468-475):
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Rock & Pop (Sets 476â482):
Our new rock & pop RealTracks bring a powerful mix of requested favorites, fresh genres, and modern chart-inspired styles! We have more of our popular âProducer Layered Acoustic Guitars (15)â featuring Band-in-a-Box favorite Brent Mason. Weâve continued our much-requested disco styles (10), and added new Celtic guitar (5) with a more basic, accessible approach than our previous Drop-D or DADGAD offerings. There are also highly requested yacht rock styles (17), inspired by the smooth, polished soft-rock sound of the late â70s and early â80s â laid-back grooves, silky electric pianos, warm textures, elegant harmonic movement, and pristine production aesthetics. Fans of heavier styles will love our new glam metal (13), capturing the flashy, high-energy sound of â80s arena-ready guitar rock. We also have a set of rootsy modern-folk rock (18), with a warm, organic sound combining contemporary folk textures and driving acoustic strumming. And weâve added lots of new modern pop styles (16) â the kinds of sounds youâre hearing on the radio today, featuring exciting new drums, synths, and cutting-edge RealTracks arrangements.
Country, & Americana (Sets 483â488):
Our new country & Americana RealTracks deliver a rich collection of acoustic, electric, and roots-inspired styles! We have new country pop (9) with legendary guitarist Brent Mason. There is also a potpourri (14) of bouzouki, guitars, banjo, and more, perfect for adding texture and character to contemporary acoustic arrangements. Weâve added funky country guitar (5) with PG favorite Brent Mason, along with classic pedal steel styles (5) featuring steel great Doug Jernigan. There are more country songwriter styles (8) that provide intimate, rootsy foundations for storytelling and modern Americana writing. Finally, we have âbackground soloingâ acoustic guitar (12) with Brent Mason â simpler, but still very tasty acoustic lines designed to sit beautifully behind vocals or act as a subtle standalone solo part.
And, if you are looking for more, the 2026 49-PAK (for $49) includes an impressive collection of 20 bonus RealTracks, featuring exciting and inspiring additions to add to your RealTracks library. You'll get new country-rhythm guitar styles from PG Music favorites Johnny Hiland and Brent Mason, along with modern-pop grooves that capture todayâs radio-ready sound! There are also new indie-folk styles with guitar, bass, 6-string bass used as a high-chording instrument, acoustic guitar, and banjo. Plus, dedicated "cymbal fills" RealDrums provide an added layer that work very well with low-key folky styles with other percussion.
The 2026 49-PAK is loaded with other great new add-ons as well. Learn more about the 2026 49-PAK!
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