Been absent from the forum for a while, again, so slowly catching and starting from the top gave me all the motivation I need. Great write Floyd and your productions keep getting better and better (if that is possible!) Loved it!
I read with interest about a "clash" in a familiar, straightforward chord sequence. Here's an easy to finger C#m7/B. In the picture below, the circled area is a C#mi triad, with the little finger playing B in the bass. So C#mi/B is C#m7/B with the mi 7 in the bass. Possibly this could be useful. Good tune.
This one sits nicely in the Floyd Jane signature hit template. No two are ever alike but each song has a unique something that immediately marks it a Floyd Jane production.
You give us something comfortable to hang on to even when we journey with you into uncomfortable subjects. That is a particularly good talent to have and easily keeps you in the top 1% of lyricists and storytellers here on the forum.
Enjoyed this one a lot.
Charlie
Charlie - I really enjoyed reading your review. Thanks for that...
Originally Posted By: RnAM
Hi Floyd,
Yes, another cool ballad with that typical Floyd signature. Professional arrangement, very good choice of RTs, and of course beautiful vocal and backing vocals (TC Helicon?)
Rob and Anne-Marie
PS in our opinion nothing wrong with the bass
Thanks, y'all! Appreciate that....
Originally Posted By: RichMac
Very nice Floyd. Sounds a touch Jimmy Buffet to me. Smooth. Cheers.
Thanks, Richard. I was listening to JB before most of the world had heard of him, so there is bound to be a bit pop up now and then...
i've walked my way across mexico safaried the african plains sailed the mediterranean seen most of hemingway's spain
What a set of lyrics to start a song! This is up to your normal professional standard with beautiful singing and an excellent production.
to paraphrase your closing remark Keep at it
Alyn
Thanks, Alyn. If only all "start lyrics" would come as easily as those did... they sort of just "fell outta somewhere"...(they did come from Buzz's stories - he actually did all that stuff...)
Originally Posted By: tommyad
floyd, That beach under the Ruins in Tulum is one of the prettiest places I've ever seen. I have been there several times. This is another gorgeous production and write. There is great melancholy and beauty in this song. I had to listen many times to the fourth chord in the intro. There is a clash with the bass and guitar that at first sounded quite odd, but I have grown to like it as it sets a tension up to dive into the 1 chord for the beginning of the 1st verse. I don't hear that one off note when that bar is repeated during the verse as the guitar plays the chord in a different position. I know this is being really picky. I know you are a perfectionist and I'll bet this didn't go unnoticed. So did you also grow to like way the intro hung on that clashing chord before it resolved? I hope these comments don't detract from the fact that I really love the song and am going back for more. All these words about one little chord choice. What the hell is wrong with me? Another Great Song! Tom
Tom - I mentioned earlier that I have changed the bass line to not walk down to the B, since the fingerpick guitar would not do it - and so clashed because it stayed on the C#... should have done it to start with, but you know how easy it is to "move on"...
When we were in Tulum in '81, the ruins weren't a tourist site (as they are now) - they were "just there" to walk around if you wanted... we camped in pup tents on the cliffs above the beach about a half mile south... there was a small thatched "gazebo" with a grill where some guy would cook whatever fish the locals caught that day - each night for dinner - our one meal each day, since there was nothing else there... heaven - best grouper I've ever had in my life! It would be tough to find anything like it anywhere in the world anymore...
Thanks so much Floyd for your comment on Law and Order. It's much appreciated.
Now, what I was really hoping to hear is the workaround chord I suggested in the diagram turned out to be useful. Of course, whether that particular voicing will work inside the song is your call. As far as the "clash" goes, I don't hear it because my ears are used to hearing, say, the mi7 played by the bass. You can walk the bass all the way down just as it stands. I'm really not sure what folks are hearing, only that it isn't familiar.
A well written, well-performed tune. I've used that same perc realdrum in conjunction with another drum set -- it works very nicely in certain situations, like this one here.
In any case, another super song, excellent! You have a way with words that very few do.
P.S. I was on the later side to Jimmy Buffet, didn't find out about him until Living and Dying in 3/4 Time. But White Sports Coat, 3/4 Time and A1A were a major part of my mis-spent youth. I started drifting away from his albums after Changes in Attitudes, though. My friend got his first Nashville album at some point in time back then.
Thanks so much Floyd for your comment on Law and Order. It's much appreciated.
Now, what I was really hoping to hear is the workaround chord I suggested in the diagram turned out to be useful. Of course, whether that particular voicing will work inside the song is your call. As far as the "clash" goes, I don't hear it because my ears are used to hearing, say, the mi7 played by the bass. You can walk the bass all the way down just as it stands. I'm really not sure what folks are hearing, only that it isn't familiar.
Dean
Hi, Dean. By the time you got here, the "clash" no longer existed - that's why you did not hear it. I had "asked" BIAB to play that slash chord for me - which it doesn't do - it will do many slash chords, but the 6m7 with a bass a full step down is one the fingerpick RealTrack won't do...I tried a few substitutes, but never found one that worked. I recoded a track myself, but it would not sit right in he mix - so finally, I simply eliminated the slash bass note since that was where the clash occurred...
Floyd, I get it. It's fairly typical for BIAB not to have certain chords in the vocabulary of any particular style and I worked out a million tricks to get it play what I wanted - and all of them used slash chords. It turns out that the freakiest chords you've ever seen can always be rewritten as "stacked triads," which generalize slash chords. Instead of a single note in the bass, you have entire triads. Will BIAB will ever advance to that stage? I doubt it because there's likely to be little call for them.
In any case, I see your name all over the Forum page. You seem to have unlimited imagination and all the necessary chops to bang across whatever's in your head. You're one of a kind.
One of my favorites ever from one of my favorites ever!! Beautifully done. I love songs that are reflective and poetic. This one hangs in there with the greats of Jimmy Webb, Floyd. It is just a pleasure to listen to. From an art of songwriting perspective, this is a wonderful lesson. It is crafted by a fine artisan with each word and note placed with tenderness and care. Absolutely love it!! Take care. Greg
Been absent from the forum for a while, again, so slowly catching and starting from the top gave me all the motivation I need. Great write Floyd and your productions keep getting better and better (if that is possible!) Loved it!
Thanks for dropping by, Joanne...
Originally Posted By: Kemmrich
A well written, well-performed tune. I've used that same perc realdrum in conjunction with another drum set -- it works very nicely in certain situations, like this one here.
In any case, another super song, excellent! You have a way with words that very few do.
P.S. I was on the later side to Jimmy Buffet, didn't find out about him until Living and Dying in 3/4 Time. But White Sports Coat, 3/4 Time and A1A were a major part of my mis-spent youth. I started drifting away from his albums after Changes in Attitudes, though. My friend got his first Nashville album at some point in time back then.
Thanks, Kevin. I heard "Sport Coat" before it was released to the public - my buddy and I used to rummage through LPs at our local radio station - Easy Listening, so all the good stuff went to boxes in the basement - When we started playing in bars at 17, we called our duo "Pencil Thin Mustache"...
Man, what a write. A literate but not at all pretentious love song. That's a hard target to hit. A veritable clinic in how to write this type of tune. The RT/Drums/Percussion choice is both interesting and very supportive of the lyric and the typical fine vocal. With an instrument like your voice mixing it up front like this is perfect. The harmony is as lush as the strings.
Another great tune rolls outa the palatial jane studios!
J&B
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Band-in-a-Box® 2026 Mac Special Offers Extended Until May 31st!
Good news- we've extended our Band-in-a-Box® 2026 for Mac® special offers until May 31, 2026!
Band-in-a-Box® 2026 is packed with major new features, enhancements, and an incredible lineup of new content! The program now sports a sleek, modern GUI redesign across the entire interface, including updated toolbars, refreshed windows, smoother workflows, a new dark mode option, and more. The brand-new side toolbar provides quicker access to key windows, while the new Multi-View feature lets you arrange multiple windows as layered panels without overlap, creating a flexible, clutter-free workspace. We have an amazing new “AI-Notes” feature. This transcribes polyphonic audio into MIDI so you can view it in notation or play it back as MIDI. You can transcribe an entire track (all pitched instruments and drums) or focus on individual parts like drums, bass, guitars/piano, or vocals. There's an amazing collection of new content too, including 202 RealTracks, new RealStyles, MIDI SuperTracks, Instrumental Studies, “Songs with Vocals” Artist Performance Sets, Playable RealTracks Set 5, two RealDrums Stems sets, and much more!
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202 New RealTracks Released with Band-in-a-Box 2026!
With Band-in-a-Box® 2026, we've released 202 incredible new RealTracks (in sets 468-488) in a variety of genres—featuring your most requested styles!
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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.
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.
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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)
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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)
XPro & Xtra Styles PAK Sets On Sale Now - Until May 15, 2026!
All of our XPro Styles PAKs and Xtra Styles PAKs are on sale until May 15th, 2026!
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