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"ghost of garbo"
That's all it took right from the get go to know that this
was a terrific write. The fj clinic in how to write a lyric
continues and this time we also get some cool insight as to
how the production came about. Somebody, perhaps
Peter, used the word sophisticated. Yep, it is - but
in a manner that also offers the listener easy entry into
the story. That is a great balance and one that I can
appreciate the finesse required to pull it off.
Super write, vocal and production by as Greg said
"a man who knows how to do it."
Thanks for the ride.
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 are here on our website.
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Hi Floyd. Any sailing metaphor has me hooked from the start. Really lovely. Love those horns. Would love to know the song it is based on. Reminded me of Joshua Kadison but I don't think that is it 'cause I never heard horns in his stuff. Thanks, Joanne. I had never heard Josua.... cool stuff... Floyd,
I really like this one a lot - love how the trumpet follows your vocal throughout the song... Very cool.
Bob Appreciate that, Bob... (where's your next one?)
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Floyd
Another piece of genius. No surprise coming for you.
You have a sensational ability to make your songs sound effortless, when indeed they are the product of great thought, creativeness and always provided with technically challenging delivery.
Your phrasing is just perfect, your have enhanced the instrumentalist backing beyond where it could ever got on its own, and projected your songwriting skills to a new dimension (again).
Always enjoy your music.
Trevor
BIAB & RB2025 Win.(Audiophile), Sonar Platinum, Cakewalk by Bandlab, Izotope Prod.Bundle, Roland RD-1000, Synthogy Ivory, Kontakt, Focusrite 18i20, KetronSD2, NS40M Monitors, Pioneer Active Monitors, AKG K271 Studio H'phones
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Ok...here is my only complaint...could you please just pick ONE thing to be good at? Is it really necessary to do every aspect of a song right on your own? Rant over.
After reading the comments referring to reverb, I was somewhat expecting not to like it. For me, reverb can be used poorly fast, and ruin a song. Yours however is truly, masterfully done. I have NO idea how you do that!? It's lush, rich, with the exact parameters needed.
I totally get this isn't the song you are referring to, but...the horn, reverb,and atmosphere you created reminds me of "Careless Whisper." I'm not someone that goes around listening to it, but that song also created such an intentional mood using some of your same devices.
I was sort of expecting to hear a mic get dropped at the end of the song. I'm not sure if you will get that reference? Great job my friend! Caaron... I miss your forum posts. I wish you would come around more often. I did not know "Careless Whisper" - but it did take me back to the '80's... it's always nice to remember... Thanks for your nice post. (Drops mic.... walks off stage...)
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With an eye and ear on production - you made the mark.
I like this one a lot, superb write, arrangement and performance. Thanks, Charlie. Always like seeing you drop by...
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First, thank you for your commentary on the song. It is SO helpful to not only have your thoughts on it, but the suggestions of what to try for ourselves. Awesome!
I was certain the song I referenced was NOT the song but I listened to it in it's entirety when in school. The best way I have been able to state it is, I don't like it, but I really appreciate what they did production wise. I will have to leave it at that.
I'm glad you brought up the idea of finding the pieces and using them. So many times I feel like "someone will know and think less of what I'm doing!" Then I remember, I'm not doing anything TOTALLY original anyway!
Last, I had never heard the song that inspired your production so it's a great day to have been introduced to another great song! All good things my friend! I consider "Born To Run" one of the greatest records ever made. If I could have written "Thunder Road" and no other song the rest of my life, I could die happy...
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I like this suggestion of using templates... especially for me, because unlike a lot of the people in this forum who have a very recognizable and signature style, playing cover songs has turned me into a chameleon.
I think once I get a few animated projects that are already in process out of the way, I'm going to take this idea and run with it... recording songs "in the style of" my favorite artists. In this case, the template won't be a single song, but rather it will be patterned after the artist's style.
Great idea, Floyd! Thanks for sharing your technique... and especially, thanks for making it interesting by turning it into a puzzle we had to think about before you revealed your answer. Seems like something a song writer might do... ;-) Always keep in mind... the objective is NOT to make your song sound like whatever song you are using as a template, but for that template to take your song to a place you might not have otherwise gone... it helps to keep your productions "fresh"...
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Pattern Productions (In the style of) has pretty much become my BIAB hobby and daily use of BIAB/RB. As you point out, I import a commercial release into my project and attempt to recreate it within BIAB/RB.
When I'm not doing Pattern Productions I download good acoustic covers of commercial releases (guitar and singer or piano and singer) from YouTube and Facebook and use BIAB/RB to turn them into full blown productions.
Former The Voice contestant James David Carter has a pretty extensive library of modern country. Joe Var Veri has a lot of Elvis covers and some other good covers as well. Mike Masse and Jeff Hall have a lot of high quality covers. You can have a lot of fun with the Jazz of Gina Cicilia.
Unique arrangements and varying tempo maps can be quite challenging and these are excellent learning tools for the day your cousin sends you an MP3 of his original hit he wrote and wants you to do a quality, free backing track for his demo.
That's a clever idea, Charlie....Great way to get good at the production end. I wish that we could here some of what you've done in that manner...
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The trumpet intro & 1st few words made me think of vintage Springsteen - from the gentler tracks on The Wild The Innocent & the E Street Shuffle.
Very cool song and had the trumpet been a sax I'd have been convinced it was Bruce.
Nuff said. Thanks, Ray... actually, the trumpet was "ripped off" from the Born To Run era (Meeting Across The River).
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Beautiful production. The trumpet was an unexpected treat. I will say, the lyric, perfectly matched with the melody, and the timbre of your voice, made me incredibly sad. That said, is exactly what the blues, jazz torch, and country songs are suppose to do, evoke emotion; this one certainly does. Great song.
Peace,
-Carolyne Thanks, Carolyne - nice things to say...
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I like this suggestion of using templates... especially for me, because unlike a lot of the people in this forum who have a very recognizable and signature style, playing cover songs has turned me into a chameleon.
I think once I get a few animated projects that are already in process out of the way, I'm going to take this idea and run with it... recording songs "in the style of" my favorite artists. In this case, the template won't be a single song, but rather it will be patterned after the artist's style.
Great idea, Floyd! Thanks for sharing your technique... and especially, thanks for making it interesting by turning it into a puzzle we had to think about before you revealed your answer. Seems like something a song writer might do... ;-) Always keep in mind... the objective is NOT to make your song sound like whatever song you are using as a template, but for that template to take your song to a place you might not have otherwise gone... it helps to keep your productions "fresh"... are you suggesting there's only one objective in song writing? I accept that as YOUR objective... but I won't know what my objective is until I start on the song. (Not trying to be a wise guy, but that observation surprised me more than a little) ;-)
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Hi floyd. The first time I listened to this was almost immediately after you posted it. You see, my alarm clock rings at 5:45 am and the first thing I do when I get up is to turn the computer on and find out who's posted songs overnight (I set my alarm to awaken a little earlier than I need to so that I have a bit of pre-workday PG Music forum time  ). As you can see from the below time and date stamp in Australian Time East Standard time, you posted this song on Wednesday April 13 at 5:26 am (Australia and the US are a bit topsy-turvy when it comes to time difference). I listened to it around 5:50 am - just after Greg had commented.  My response at that time was (a) to double-check that the song was posted by you because it took me by surprise and (b) to realise that I would need a lot more time than 10 minutes to write about my listening experience. It's now 10 days later and early in the evening of April 23. The song is fantastic. Your arrangement is daring and very creative. By 'daring', I mean that it challenges what one has come to expect that a mainstream arrangement should sound like. In this regard, though, it is worth noting that all new developments in music began as something that someone dared to do that was different from what preceded. It was after these thoughts that the word “experimental” came to mind. A trumpet, piano and vocal trio that's held intact by a bass line gave me the impression of a musical tapestry. As I listened with eyes closed, it was like I could see threads of sound weaving a picture. Your composing, performing, arranging and producing all work together to build a very emotive musical journey. For me, a feeling of loneliness and/or sadness or emptiness, pathos(?), were the emotions that underscored the lyrics and their accompaniment. To my way of thinking, the most important line in the song is “the little boy is an easy sell”. This line makes sense of the chorus. It also colours the rest of the song and paints a picture of a man who, in reality, is more boy than man. This is outstanding lyric development. In verse one, I met the man. In verse two, I stepped inside his head and I could see that while the mirror shows him to be a man, he is just a little boy who is floundering and trying to make sense of Life but he cannot let go of his world of dreams and wishes and fairytales. For him, Life is a storm from which he is continually seeking refuge. Once these images appeared to me, the lyrics became about the journey of wanting to grow up but not quite working out how to get there. These words strike me as being from the Impressionistic wing of the lyric-writing gallery. They are skilfully painted with a poignancy that resonates with craftsmanship. While I have zero ability when it comes to writing impressionistic lyrics, I admire the talent on show here. If you were born in Spain and it was 1900, your name would probably have been Pablo Picasso (I've most likely mixed metaphors here given that Picasso was post-impressionism... oh well, the comparison sounds valid and justified to me). You've done an absolutely incredible job. My favourite... I love the flow of the rhymes time/behind/find in the bridge. They must feel really good to sing! Well, floyd, you've given me yet another song-creation template but this one I have no idea how to use! (Well not yet at least.) Thank you for the journey and for yet another dose of inspiration! Noel
MY SONGS...Audiophile BIAB 2025
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I like this suggestion of using templates... especially for me, because unlike a lot of the people in this forum who have a very recognizable and signature style, playing cover songs has turned me into a chameleon.
I think once I get a few animated projects that are already in process out of the way, I'm going to take this idea and run with it... recording songs "in the style of" my favorite artists. In this case, the template won't be a single song, but rather it will be patterned after the artist's style.
Great idea, Floyd! Thanks for sharing your technique... and especially, thanks for making it interesting by turning it into a puzzle we had to think about before you revealed your answer. Seems like something a song writer might do... ;-) Always keep in mind... the objective is NOT to make your song sound like whatever song you are using as a template, but for that template to take your song to a place you might not have otherwise gone... it helps to keep your productions "fresh"... are you suggesting there's only one objective in song writing? I accept that as YOUR objective... but I won't know what my objective is until I start on the song. (Not trying to be a wise guy, but that observation surprised me more than a little) ;-) No...I was talking about production (or arrangement and instrumentation) ...not songwriting.
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Super job all around. It's nice to listen to a sparsely arranged song. I like your chord progression here. It takes the melody to places my ear can't anticipate and that keeps me engaged.
Great write! Thanks, Lawrence. An interesting observation (a good one, I think...)
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Hi Floyd.
Not had chance to listen to the forum songs this week, so arriving a bit late to this one.
I listened to the Springsteen song, though the linked version appears to have been taken down. If that was the model, then you've achieved it one hundred percent.
This is a super production and SO well performed. Superb and very clever lyrics, apart from one line.
Going back to listen again.
ROG. Thanks, ROG. I am wondering what the one line that didn't work for you was...
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Hi, Floyd !:))
Your best !
Simply outstanding
seen from any aspect !:))
I dig your vocal and you
know it, here the trumpets
and the piano sounded also
pretty mighty !:))
Cheers
Dani Thanks you, Norman...
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"ghost of garbo"
That's all it took right from the get go to know that this
was a terrific write. The fj clinic in how to write a lyric
continues and this time we also get some cool insight as to
how the production came about. Somebody, perhaps
Peter, used the word sophisticated. Yep, it is - but
in a manner that also offers the listener easy entry into
the story. That is a great balance and one that I can
appreciate the finesse required to pull it off.
Super write, vocal and production by as Greg said
"a man who knows how to do it."
Thanks for the ride.
J&B Y'all are so kind...
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Floyd
Another piece of genius. No surprise coming for you.
You have a sensational ability to make your songs sound effortless, when indeed they are the product of great thought, creativeness and always provided with technically challenging delivery.
Your phrasing is just perfect, your have enhanced the instrumentalist backing beyond where it could ever got on its own, and projected your songwriting skills to a new dimension (again).
Always enjoy your music.
Trevor Thanks, Trevor. I always enjoy your reviews. Hoping to see more songs from you, more often...
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Hi floyd. The first time I listened to this was almost immediately after you posted it. You see, my alarm clock rings at 5:45 am and the first thing I do when I get up is to turn the computer on and find out who's posted songs overnight (I set my alarm to awaken a little earlier than I need to so that I have a bit of pre-workday PG Music forum time ). As you can see from the below time and date stamp in Australian Time East Standard time, you posted this song on Wednesday April 13 at 5:26 am (Australia and the US are a bit topsy-turvy when it comes to time difference). I listened to it around 5:50 am - just after Greg had commented. My response at that time was (a) to double-check that the song was posted by you because it took me by surprise and (b) to realise that I would need a lot more time than 10 minutes to write about my listening experience. It's now 10 days later and early in the evening of April 23. The song is fantastic. Your arrangement is daring and very creative. By 'daring', I mean that it challenges what one has come to expect that a mainstream arrangement should sound like. In this regard, though, it is worth noting that all new developments in music began as something that someone dared to do that was different from what preceded. It was after these thoughts that the word “experimental” came to mind. A trumpet, piano and vocal trio that's held intact by a bass line gave me the impression of a musical tapestry. As I listened with eyes closed, it was like I could see threads of sound weaving a picture. Your composing, performing, arranging and producing all work together to build a very emotive musical journey. For me, a feeling of loneliness and/or sadness or emptiness, pathos(?), were the emotions that underscored the lyrics and their accompaniment. To my way of thinking, the most important line in the song is “the little boy is an easy sell”. This line makes sense of the chorus. It also colours the rest of the song and paints a picture of a man who, in reality, is more boy than man. This is outstanding lyric development. In verse one, I met the man. In verse two, I stepped inside his head and I could see that while the mirror shows him to be a man, he is just a little boy who is floundering and trying to make sense of Life but he cannot let go of his world of dreams and wishes and fairytales. For him, Life is a storm from which he is continually seeking refuge. Once these images appeared to me, the lyrics became about the journey of wanting to grow up but not quite working out how to get there. These words strike me as being from the Impressionistic wing of the lyric-writing gallery. They are skilfully painted with a poignancy that resonates with craftsmanship. While I have zero ability when it comes to writing impressionistic lyrics, I admire the talent on show here. If you were born in Spain and it was 1900, your name would probably have been Pablo Picasso (I've most likely mixed metaphors here given that Picasso was post-impressionism... oh well, the comparison sounds valid and justified to me). You've done an absolutely incredible job. My favourite... I love the flow of the rhymes time/behind/find in the bridge. They must feel really good to sing! Well, floyd, you've given me yet another song-creation template but this one I have no idea how to use! (Well not yet at least.) Thank you for the journey and for yet another dose of inspiration! Noel Noel - It is always such a joy to read your thoughts on a song. Songwriting is a very important thing to me - a very important part of my life - how I define myself - and I have "invested" many hours (many years) in perfecting the craft as best I can. The fact that you "get it" and understand so much of what goes into every word choice I make means SO much to me. I want you to know I TRULY appreciate it. One of the things that make it all worthwhile. Icing on the cake.
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Floyd, I think we all know where your REAL trumpet inspiration came from... Floyd's Inspiration I guess it's true, imitation is the greatest form of flattery.  (ok, before everyone gets me kicked from the forums, realize this...I had to hear the song in the vehicle with my kids...THEN make the effort to remember the name of the song...which my brain suppressed for obvious reasons...THEN do a search and listen to a few of his songs to find the one with the trumpet part. I think what I have done to myself FAR exceeds any punishment coming forth. Sentence served?  )
Chad (Hope that makes it easier)
TEMPO TANTRUM: What a lead singer has when they can't stay in time.
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We’ve added new RealTracks across bro country, Americana, praise & worship, vintage country, and songwriter piano. Highlights include Brent Mason (electric guitar), Eddie Bayers (drums), Doug Jernigan (pedal steel), John Jarvis (piano), Glen Duncan (banjo, mandolin & fiddle), Mike Harrison (electric bass) and more—offering everything from modern sounds to heartfelt Americana styles
Check out all the 202 New RealTracks (in sets 456-467)
And, if you are looking for more, the 2025 49-PAK (for $49) includes an additional 20 RealTracks with exciting new sounds and genre-spanning styles. Enjoy RealTracks firsts like Chinese instruments (guzheng & dizi), the bandoneon in an authentic Argentine tango trio, and the classic “tic-tac” baritone guitar for vintage country.
You’ll also get slick ’80s metal guitar from Andy Wood, modern metal with guitarist Nico Santora, bass player Nick Schendzielos, and drummer Aaron Stechauner, more praise & worship, indie-folk, modern/bro country with Brent Mason, and “Songwriter Americana” with Johnny Hiland.
Plus, enjoy user-requested styles like Soul Jazz RealDrums, fast Celtic Strathspey guitar, and Chill Hop piano & drums!
The 2025 49-PAK is loaded with other great new add-ons as well. Learn more about the 2025 49-PAK!
Bonus PAKs for Band-in-a-Box 2025 for Mac!
With your version 2025 for Mac Pro, MegaPAK, UltraPAK, UltraPAK+, Audiophile Edition or PlusPAK purchase, we'll include a Bonus PAK full of great new Add-ons FREE! Or upgrade to the 2025 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 2025 RealCombos Booster PAK:
-For Pro customers, this includes 33 new RealTracks and 65+ new RealStyles.
-For MegaPAK customers, this includes 29 new RealTracks and 45+ new RealStyles.
-For UltraPAK customers, this includes 20 new RealStyles.
- Look Ma! More MIDI 13: Country & Americana
- Instrumental Studies Set 22: 2-Hand Piano Soloing - Rhythm Changes
- MIDI SuperTracks Set 44: Jazz Piano
- Artist Performance Set 17: Songs with Vocals 7
- Playable RealTracks Set 4
- RealDrums Stems Set 7: Jazz with Mike Clark
- SynthMaster Sounds and Styles (with audio demos)
- 128 GM MIDI Patch Audio Demos.
Looking for more great add-ons, then upgrade to the 2025 49-PAK for just $49 and you'll get:
- 20 Bonus Unreleased RealTracks and RealDrums with 20 RealStyles,
- FLAC Files (lossless audio files) for the 20 Bonus Unreleased RealTracks and RealDrums
- Look Ma! More MIDI 14: SynthMaster,
- Instrumental Studies Set 23: More '80s Hard Rock Soloing,
- MIDI SuperTracks Set 45: More SynthMaster
- Artist Performance Set 18: Songs with Vocals 8
- RealDrums Stems Set 8: Pop, Funk & More with Jerry Roe
Learn more about the Bonus PAKs for Band-in-a-Box® 2025 for Mac®!
New! Xtra Styles PAK 20 for Band-in-a-Box 2025 and Higher for Mac!
Xtra Styles PAK 20 for Mac & Windows Band-in-a-Box version 2025 (and higher) is here with 200 brand new RealStyles!
We're excited to bring you our latest and greatest in the all new Xtra Styles PAK 20 for Band-in-a-Box! This fresh installment is packed with 200 all-new styles spanning the rock & pop, jazz, and country genres you've come to expect, as well as the exciting inclusion of electronic styles!
In this PAK you’ll discover: Minimalist Modern Funk, New Wave Synth Pop, Hard Bop Latin Groove, Gospel Country Shuffle, Cinematic Synthwave, '60s Motown, Funky Lo-Fi Bossa, Heavy 1980s Metal, Soft Muted 12-8 Folk, J-Pop Jazz Fusion, and many more!
All the Xtra Styles PAKs 1 - 20 are on special for only $29 each (reg $49), or get all 209 PAKs for $199 (reg $399)! Order now!
Learn more and listen to demos of the Xtra Styles PAK 20.
Video: Xtra Styles PAK 20 Overview & Styles Demos: Watch now!
Note: The Xtra Styles require the UltraPAK, UltraPAK+, or Audiophile Edition of Band-in-a-Box®. (Xtra Styles PAK 20 requires the 2025 or higher UltraPAK, UltraPAK+, or Audiophile Edition. They will not work with the Pro or MegaPAK version because they need the RealTracks from the UltraPAK, UltraPAK+, or Audiophile Edition.
New! XPro Styles PAK 9 for Band-in-a-Box 2025 and higher for Mac!
We've just released XPro Styles PAK 9 for Mac & Windows Band-in-a-Box version 2025 (and higher) with 100 brand new RealStyles, plus 29 RealTracks/RealDrums!
We've been hard at it to bring you the latest and greatest in this 9th installment of our popular XPro Styles PAK series! Included are 75 styles spanning the rock & pop, jazz, and country genres (25 styles each) that fans have come to expect, as well as 25 styles in this volume's wildcard genre: funk & R&B!
If you're itching to get a sneak peek at what's included in XPro Styles PAK 9, here is a small helping of what you can look forward to: Funky R&B Horns, Upbeat Celtic Rock, Jazz Fusion Salsa, Gentle Indie Folk, Cool '60s Soul, Funky '70s R&B, Smooth Jazz Hip Hop, Acoustic Rockabilly Swing, Funky Reggae Dub, Dreamy Retro Latin Jazz, Retro Soul-Rock Fusion, and much more!
Special Pricing! Until July 31, 2024, all the XPro Styles PAKs 1 - 9 are on sale for only $29 ea (Reg. $49 ea), or get them all in the XPro Styles PAK Bundle for only $149 (reg. $299)! Order now!
Learn more and listen to demos of XPro Styles PAKs.
Video: XPro Styles PAK 9 Overview & Styles Demos: Watch now!
XPro Styles PAKs require Band-in-a-Box® 2025 or higher and are compatible with ANY package, including the Pro, MegaPAK, UltraPAK, UltraPAK+, and Audiophile Edition.
New! Xtra Styles PAK 20 for Band-in-a-Box 2025 and Higher for Windows!
Xtra Styles PAK 20 for Windows & Mac Band-in-a-Box version 2025 (and higher) is here with 200 brand new RealStyles!
We're excited to bring you our latest and greatest in the all new Xtra Styles PAK 20 for Band-in-a-Box! This fresh installment is packed with 200 all-new styles spanning the rock & pop, jazz, and country genres you've come to expect, as well as the exciting inclusion of electronic styles!
In this PAK you’ll discover: Minimalist Modern Funk, New Wave Synth Pop, Hard Bop Latin Groove, Gospel Country Shuffle, Cinematic Synthwave, '60s Motown, Funky Lo-Fi Bossa, Heavy 1980s Metal, Soft Muted 12-8 Folk, J-Pop Jazz Fusion, and many more!
All the Xtra Styles PAKs 1 - 20 are on special for only $29 each (reg $49), or get all 209 PAKs for $199 (reg $399)! Order now!
Learn more and listen to demos of the Xtra Styles PAK 20.
Video: Xtra Styles PAK 20 Overview & Styles Demos: Watch now!
Note: The Xtra Styles require the UltraPAK, UltraPAK+, or Audiophile Edition of Band-in-a-Box®. (Xtra Styles PAK 20 requires the 2025 or higher UltraPAK, UltraPAK+, or Audiophile Edition. They will not work with the Pro or MegaPAK version because they need the RealTracks from the UltraPAK, UltraPAK+, or Audiophile Edition.
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