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Excellent song, excellent writing, great selection of real tracks - the mandolin worked quite well in your mixture of instruments. Your production was crisp.
Another good song.
Musically, "i know it's over, my heart needs to break some new ground" the phrasing of 'neeeeeeeeeeeeew'seemed a bit awkward in relation to the rest of the lyrics. Having a nit over the phrasing of a single word is really saying, there aren't really any nits to fret over.
Good job and I enjoyed the listen. Charlie Thanks, Charlie... the mandolin was part of the style... I listed the Style for a change since I used most of it.. it is a nice combination. I can see where holding "new" might throw your ear off some. It felt comfortable to me to emphasize it - but it could certainly be done without that... if I revisit the vocal, I will give that a try... Great song Floyd!!!
Music, vocals, everything.
Fascinating from the beginning to the end.
Rob and Anne-Marie Thanks, guys... I appreciate that... Great tune. Absolutely love the lyric!
-Carolyne Thanks, Carolyne...
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if we could cut it down the middle, divide it with a fence
maybe my heart would stand half a chance...
As much as I loved the song through and through (AND I DID), this is one of the best bridges I've ever heard....short, concise, great alternative angle on the theme...Brilliant!
The rest of the song is excellent as well. We've all experienced that painful reality of having to be around someone who still turns your world upside down in a town, a team, a class, a workplace, whatever. This song perfectly taps into that painful emotion. Beautifully crafted lyric and flawless use of "the band" to bring the song to life. Another home run Floyd!! Take care. Greg +1, I also loved the bridge. Everything here is of pro quality. The writing , the vocals, the arrangement, and the mix couldn't be better. Please explain a little more about building the drum track. There is much to be learned here. The level of these productions couldn't be higher. Much enjoyed. Tom
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Another radio-ready gem! Love this one...
Bob
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As usual another hit....great work and great lyrics..........Now a question, to get that good crisp mix, what do you use? I have Nectar 2, Alloy 2, Ozone 6, if you could, give me the run down on your mix and what, where and etc. PM if you want or post here, any help in this area would be greatly appreciated. Thanks
Critter
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Floyd,
You definitely nailed it again!
Like others I can't get over how good the production sounds. The drums and especially that snare sound is to die for. The vocals are perfect too.
I would have loved to hear a lap steel slide solo in there but that's really nitpicking.
Fantastic job once again!
Rec
BIAB 2022 UltraPAK, CbB, Studio One 5 Pro, Fender USA Tele, Harley Benton Fusion & others.
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+1, I also loved the bridge. Everything here is of pro quality. The writing , the vocals, the arrangement, and the mix couldn't be better. Please explain a little more about building the drum track. There is much to be learned here. The level of these productions couldn't be higher. Much enjoyed. Tom Before I do anything else... I'll attempt to answer Tom's request for more on how I built the drums for this song. Normally, I use the BIAB drums as they are generated - typically EQing them to accentuate what I want - which is typically a dominate snappy snare. Most modern Country and Pop songs depend on a dominate snare and I will often suggest to people that they bump up their drums a little. (We guitar players often focus on the guitars a bit too much) For this song, I want a particular pattern throughout the song - which was, basically... kick-snare-kick-snare-kick-snare-kick-kick-snare with a few variations here and there. For this song I did not need or want the typical hi-hat. I'm not clever enough to "program" realistic drum fills... so where I want them, I used the generated BIAB RealDrums track. Another important thing - the RealDrum track is used to know where to place the samples that I use - so that they land where a REAL drummer would - with the human nuances... I add 2 tracks for kick - one for the constant (beat 1 and 3) and another for what will be the second kick of the kick-kick (the "and" of 3-and). I add one track for just snare. (beat 2 and 4) It looks like this:  track 1 - kick 1 track 2 - kick 2 track 3 - snare track 4 - RealDrum track. The snare sample and the kick samples need to line up with the RealDrums hits (for realistic timing). Here is a sample when first dropped in - misaligned...  I then walk my way through the entire track and line them up...  I then add in the fills from the RealDrums tracks:  Also... I draw a volume envelope over the snare and kick track so that the velocity of the hits varies randomly - so they don't all sound exactly alike... it is a fairly quick draw in Studio One - I would imagine other DAWs have the same functionality... the variance is fairly small...You could probably get away without doing this particular step... And now I have complete control over the snare and the kick. I can really jack 'em up...I can add as much reverb to either as I need.. If you think of something I may have forgotten to mention, let me know...
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Floyd, Congratulations with your new song. Again you deliver a classic. The song: catches from the guitar intro, the drums are so clear, they carry the song all the way. The bridge wich brings us to the final chorus is short, but summarizes the despare of the singer, moving up a tone and on to the final. And then the final chord... I think I didnt hear a chord fading out so long since "a day in the life". Floyd, I love your music, professional with a message all the way. But even more I Listen to your production, and I read every word about "the making of"... Thank you for sharing your experience and know how! Hopefully you'll notice some of your tips finding their way to my music. Listen to the final chord in my next  Greetings, Fred
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The problem with this song!
Is in my hearing aids!
Hi Floyd. couldn't understand why no-one else could hear all the harshness in this song. Particularly the dischords at the end.
Am getting used to using the hearing aids again and must have had them on the no2 setting when listening to your song. ( and a few others )
Taken me a couple of days to figure out what was happening.
The aids add various degrees of overtones and strange sounds to the music I have discovered.
So from now on. Hearing aids out for the music!
So please allow me to add my congratulations for this fine song. Not harsh at all. Sounds great through natural ears.
Cheers
Last edited by RichMac; 02/02/15 11:39 AM.
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Hey Floyd.
Usual top notch production.
Really liked the vocal phrasing, the bridge and key change.
The last couple of bars sound very harsh to me.
Is that deliberate?
Cheers. The problem with this song!
Is in my hearing aids!
Hi Floyd. couldn't understand why no-one else could hear all the harshness in this song. Particularly the dischords at the end.
Am getting used to using the hearing aids again and must have had them on the no2 setting when listening to your song. ( and a few others )
Taken me a couple of days to figure out what was happening.
The aids add various degrees of overtones and strange sounds to the music I have discovered.
So from now on. Hearing aids out for the music!
So please allow me to add my congratulations for this fine song. Not harsh at all. Sounds great through natural ears.
Cheers Richard - That is interesting... Hearing has begun to fascinate me lately... I've had a number of conversations of late about hearing aids and what they can and can't do..and the frequencies that people lose or don't. I'm beginning to have some ringing, but I still hear highs pretty well (it seems). The guitar that finishes the song is, in fact, a thinner, colder sound than I usually use - it actually repeats throughout the song - it is the opening, too and the middle interlude... so I was wondering why you did not mention it being harsh in those spots as well - though it might be what is underneath it at the time. Anyway, thanks for coming back around for a second go... I appreciate it... I think it's about time for another from you, too...
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love that you took all the cymbals and hats out (except in the fills), and the modulation at the end did it's job to perfection!
Great lyrics with some stand out lines!
much enjoyed!
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I really do like it when a bit of "Rock" gets mixed into your songs and there's absolutely nothing in this which I didn't like. Everything is up to your usual high standard of professionalism.
Maybe a solo would have been nice? It's such a good track to solo over, I found myself desperately wanting to put one in!
Still a great track though. ROG. Thanks, ROG - always enjoy your take on a song... It's interesting (to me) that this one has you looking for a lead (so to speak). From the get-go, I arranged this without a lead spot. Partly because the opening "signature" plays in a number of places through the song (not sure anyone actually noticed that) and it seemed "long-ish" to me, so I chose to leave it as "the guitar part" and not add another. Plus the modulation gives some of the variety that a standard lead typically provides... And so... the song come in at around 3:20 which is getting to the time limits in the "world I used to live in"...and I still seem to have that firmly in my head...old dog, ya know... I'll look for another that you can jump in on...
Maybe a solo would have been nice? It's such a good track to solo over, I found myself desperately wanting to put one in!
Yup.... my thoughts exactly.... coulda laid one down for you bro..... See above... (but thanks)
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Hi floyd, This sounds as professional as anything I've heard that's come out of demo studios in Nashville. It's radio material through and through – brilliant writing, brilliant singing, brilliant production. There's nothing quite like the discreet use of hyperbole to raise the bar of emotional intensity in lyrics. Personally, I find hyperbole a powerful songwriting tool and I always keep it in mind as a lyric development device. For this reason, I tend to use it later in a song's lyrics: often verse 2 or the bridge. You've employed it way up front in the chorus! It's never occurred to me to do that. To my ears, your use of it was very effective. I thought that using the exaggeration of... - around every corner, on ev'ry face i meet
on ev'ry cobblestone of every street
...was a very skilful way of showing us just how much this woman was inside the head of this guy and how this has trapped him in a web of misery that's pretty much impossible for him to escape from. It set-up the phrase "over-crowded memories" perfectly! The lyric sequence worked for me Really, really terrific songwriting. More please! Noel P.S. Great key change! P.P.S. I've just seen that David Cuny also talks about "cobblestones" from a different perspective. It's good to have multiple views on things! Noel - Thanks for another delightful discussion on a lyric! And thank you for the multiple "brilliant"'s... That made me smile... I also appreciate you providing the hyperbole backup - it is, in fact, the point to that section of the song - an exaggeration of exasperation... Watching Liza wears you out! She does work it... First of all, great execution (as usual). Great singing, production, clever lyrics... My only issue is the song is a bit too clever in spots. I can overlook "small talk", but "cobblestones" breaks the fourth wall completely. That said, I particularly like: if we could cut it down the middle, divide it with a fence
maybe my heart would stand half a chance...David - thanks for the listen and your thoughts... I'm not sure why "small talk" would give you pause... I get that "cobblestones" is perhaps archaic (though there are still plenty of cobblestone streets in certain areas) - it was intended as an exaggeration - as Noel pointed out... I appreciate you taking the time... Hi Floyd,
great song again!
Lyrics, music, vocals, everything the usual high standard.
Have I already mentioned that I'm a fan?
Guenter Thanks, Guenter... I certainly appreciate that...
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I like everything about this one. Once again, great use of BIAB.
"katmandu" - I loved that one!
Regards,Bob Thanks, Bob! I am also in the "I like everything about this song" crowd.
Not only are you an outstanding lyricist you are also an outstanding producer, singer, guitarist, mix engineer etc!.
This was perfect! Mario - you are too kind, my friend... A quintessential country song,
Perfect vocals love the chorus.
I can see this easily making airplay.
You also have a touch of Nickle back going on as well.
Id love to be able to write like this,
Spot On.
Rob
Rob - I appreciate you dropping by... thanks.. that's my first Nickleback comparison...
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WOW – a really GREAT song, performance and fabulous production!
U nailed it! :-)
MacUser!
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Another in your string of hits!
-rob
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Floyd
Another Masterpiece!
Sensational Lyrics
Sensational Melody
Sensational Build
Sensational Vocals
Sensational Mix
You've been working overtime on this, you must have.
Yes, you should put it up for air-play
This is another one of those 'really stand-out' songs on the User Showcase.
Great job Floyd.
Trevor Trevor - wow - have to say, that has got to be one of my favorite reviews I've ever gotten... I do appreciate it - thanks for dropping by! Great voice. Thanks for sharing! Thanks, Uffe... if we could cut it down the middle, divide it with a fence
maybe my heart would stand half a chance...
As much as I loved the song through and through (AND I DID), this is one of the best bridges I've ever heard....short, concise, great alternative angle on the theme...Brilliant!
The rest of the song is excellent as well. We've all experienced that painful reality of having to be around someone who still turns your world upside down in a town, a team, a class, a workplace, whatever. This song perfectly taps into that painful emotion. Beautifully crafted lyric and flawless use of "the band" to bring the song to life. Another home run Floyd!! Take care. Greg +1, I also loved the bridge. Everything here is of pro quality. The writing , the vocals, the arrangement, and the mix couldn't be better. Please explain a little more about building the drum track. There is much to be learned here. The level of these productions couldn't be higher. Much enjoyed. Tom Thanks, Tom. Appreciate all that... in case you missed it, I did a post about the drum build... And, just to re-iterate (based on a comment elsewhere) I don't do this for every song. It's the exception - 75% of the songs I do use the RealDrum tracks as they are provided by BIAB (with EQ added - and as LOUD as I can get them)... for the other 25% I may build small parts (like a kick only section) but, generally BIAB WILL give you all you need....
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Another radio-ready gem! Love this one...
Bob Thanks, Bob... As usual another hit....great work and great lyrics..........Now a question, to get that good crisp mix, what do you use? I have Nectar 2, Alloy 2, Ozone 6, if you could, give me the run down on your mix and what, where and etc. PM if you want or post here, any help in this area would be greatly appreciated. Thanks Steve, thanks... Nectar 2, Alloy 2, Ozone 6... those are great tools - and should be about all you need for any production... Often, it's a matter of experimenting enough until you get a good feel for what each of them will do - and where and when to use them. Like anything else, you improve with practice.. I answered a similar question in another song thread.. http://www.pgmusic.com/forums/ubbthreads.php?ubb=showflat&Number=260854&page=3look through until you find my answer to R & AM (It's fairly long, so easy to find)
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Floyd,
You definitely nailed it again!
Like others I can't get over how good the production sounds. The drums and especially that snare sound is to die for. The vocals are perfect too.
I would have loved to hear a lap steel slide solo in there but that's really nitpicking.
Fantastic job once again!
Rec Thanks, Rec... I've had a lot of practice... As I mentioned in an earlier response, as I put this together, using the structure that I did, adding a lead section did not seem the right thing to do - but, obviously others felt that there should have been one... I'm just not sure where it sit right... Floyd, Congratulations with your new song. Again you deliver a classic. The song: catches from the guitar intro, the drums are so clear, they carry the song all the way. The bridge wich brings us to the final chorus is short, but summarizes the despare of the singer, moving up a tone and on to the final. And then the final chord... I think I didnt hear a chord fading out so long since "a day in the life". Floyd, I love your music, professional with a message all the way. But even more I Listen to your production, and I read every word about "the making of"... Thank you for sharing your experience and know how! Hopefully you'll notice some of your tips finding their way to my music. Listen to the final chord in my next Greetings, Fred LOL - Fred... I'll definitely be looking for that last chord as you post more... thanks for the kind words...
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love that you took all the cymbals and hats out (except in the fills), and the modulation at the end did it's job to perfection!
Great lyrics with some stand out lines!
much enjoyed! Thanks, Lawrence... appreciate that... WOW – a really GREAT song, performance and fabulous production!
U nailed it! :-) molsenhouse - nice of you to say... thanks...
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All we are going to add to the accolades is
immediately upon our first listen each of us
almost simultaneously said "Dean Dillon and
George Strait!" Dean Dillon wrote some of
Strait's biggest and best crafted songs in
our opinion.
We're not typically ones to drop other artists'
names when commenting on a song but Dillion
is a fine writer and we felt Mr jane
would enjoy the comparo. We recently watched
Strait's final Dallas concert "The Cowboy
rides Away" and this song would have fit
perfectly in the show. 'nuff said!
J&B
Our albums and singles are on Spotify, Apple Music, Amazon Music, YouTube Music, Pandora and more. If interested search on Janice Merritt. Thanks! Our Videos
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Last Chance! The Band-in-a-Box® 2026 for Mac® Special Ends Today (May 31, 2026) at 11:59pm PDT!
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Our new jazz, funk & blues RealTracks include a groovin’ collection of RealTracks and RealDrums! These include more requested “soul jazz” RealTracks featuring artists Neil Swainson (bass), Charles Treadway (organ), Brent Mason (guitar), and Wes Little (drums). There are new “smooth jazz” styles (4), which include a RealTracks first: muted trumpet, as well as slick new smooth jazz brushes options for drums. Blues lovers will be thrilled—there are more “classic acoustic blues” styles, including guitar (5), bass (4), and drums (10) with blues master Colin Linden, featuring understated and tasty background acoustic soloing, plus brushes drums and acoustic bass. There are also new electric blues RealTracks, including electric blues with PG favorite Johnny Hiland (3) and soulful electric slide guitar from Colin Linden (4). If you love funk & gospel, there are great new options this year, including gospel organ (3) from Charles Treadway, as well as new funk, tango, and rock ’n’ roll drums (3) and bass (1). And for big, bold arrangements, we have uptempo soul horns (4) featuring a three-part hip horn section with options for a full mix or stems of each individual horn — plus an accompanying rhythm section (4) of drums, bass, guitar, and electric piano!
Rock & Pop (Sets 476–482):
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 “Producer Layered Acoustic Guitars (15)” featuring Band-in-a-Box favorite Brent Mason. We’ve 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 ’70s and early ’80s — 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 ’80s 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 we’ve added lots of new modern pop styles (16) — the kinds of sounds you’re hearing on the radio today, featuring exciting new drums, synths, and cutting-edge RealTracks arrangements.
Country, & Americana (Sets 483–488):
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. We’ve 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 “background soloing” acoustic guitar (12) with Brent Mason — simpler, but still very tasty acoustic lines designed to sit beautifully behind vocals or act as a subtle standalone solo part.
Check out all the 202 new RealTracks (in sets 468-488)!
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 today’s 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!
2026 Free Bonus PAK & 49-PAK for Band-in-a-Box® 2026 for Mac®!
With your version 2026 for Mac Pro, MegaPAK, UltraPAK, UltraPAK+, Audiophile Edition or PlusPAK purchase, we'll include a Bonus PAK full of great new Add-ons for FREE! Or upgrade to the 2026 49-PAK for only $49 to receive even more NEW Add-ons including 20 additional RealTracks!
These PAKs are loaded with additional add-ons to supercharge your Band-in-a-Box®!
This Free Bonus PAK includes:
- The 2026 RealCombos Booster PAK:
-For Pro customers, this includes 27 new RealTracks and 23 new RealStyles.
-For MegaPAK customers, this includes 25 new RealTracks and 23 new RealStyles.
-For UltraPAK customers, this includes 12 new RealStyles.
- MIDI Styles Set 92: Look Ma! More MIDI 15: Latin Jazz
- MIDI SuperTracks Set 46: Piano & Organ
- Instrumental Studies Set 24: Groovin' Blues Soloing
- Artist Performance Set 19: Songs with Vocals 9
- Playable RealTracks Set 5
- RealDrums Stems Set 9: Cool Brushes
- SynthMaster Sounds Set 1 (with audio demos)
- iOS Android Band-in-a-Box® App
Looking for more great add-ons, then upgrade to the 2026 49-PAK for just $49 and you'll get:
- 20 Bonus Unreleased RealTracks and RealDrums with 20 RealStyle.
- FLAC Files (lossless audio files) for the 20 Bonus Unreleased RealTracks and RealDrums
- MIDI Styles Set 93: Look Ma! More MIDI 16: SynthMaster
- MIDI SuperTracks Set 47: More SynthMaster
- Instrumental Studies 25 - Soul Jazz Guitar Soloing
- Artist Performance Set 20: Songs with Vocals 10
- RealDrums Stems Set 10: Groovin' Sticks
- SynthMaster Sounds & Styles Set 2 (sounds & styles with audio demos)
Learn more about the Bonus PAK and 49-PAK for Band-in-a-Box® 2026 for Mac®!
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