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Thank you Rayc,

That’s a good thought with regard to ramping up the guitar at the prechorus. It would make sense to give it that extra edge leading into the chorus. Thank you for the comments on the Vox and the lead guitar. I’m always self conscious of any lead work as it’s generally just an improv, if you were to ask me to play it again, I’d never be able to find out what I’d played!! But I’m glad it sits and fits appropriately.

Cheers, kind regards

Lee,

Another goodie from you! The simplicity of the tracks and chords is a great setting for the vocals and story. Very nicely done. Good stuff!

Alan

Good song! Mix needs work, mostly with the vocal, but you already know that Vocal itself is good, and a good write too. Some nice playing happening during the outro.

Nice to meet you on here, and welcome to the forum!

Timely. This works so well in the chosen style. I like the vocal treatment on certain words...adds a cool dimension.

We enjoyed the Beatles vibe through out. Well done.
You wrote a timely and intriguing narrative.
Your axes and vocals are well performed.
And you picked a cool group of BiaB session guys to join in.

Enjoyed it!

J&B

PS We always say "mixing is never finished ... just abandoned."

Catchy chorus. Your guitar work sounds good. I noticed that the vocal in the chorus jumps in volume from the chorus a little too much, but that's an easy fix. Yes, not a ballad, just a good folk song.

G'Day Lee.
Nice to 'cyber' meet you.
You set out to convey a "simplistic point of view about gun control," highlighting that guns "ruin lives, and more often than not it's the innocent who pay the ultimate price." And you know what, Lee? You absolutely do convey that.
The lyrics are direct, unflinching, and paint a stark picture:
"Cradling my firearm, keeping safe from harm. Holds at bay the darkness of the approaching storm." – This immediately establishes the dangerous illusion of security.

"A moment of tension, just one bad word. It's my voice of reason, waiting to be heard." – The terrifying pivot point, the thin line between restraint and irreversible action.

"It's funny how in an hour from now. Not a single word will be spoken. Wrong or right, I'm up for the fight. Don't care what rules or lives broken." – This second verse is particularly chilling in its depiction of post-act silence and pre-act recklessness.

The repeated chorus of "Think it through, whatever's hurting you... The fog will clear by the morning... Don't look back... infamy is calling" serves as a powerful, sobering mantra. "Infamy is calling" is a particularly potent phrase, starkly contrasting the fleeting anger with lasting consequence.

The message is clear, unambiguous, and delivered with genuine conviction. You treated the subject with "kid gloves" in terms of avoiding overt political rhetoric, which I think actually strengthens its universal appeal. It's not about policy, it's about the deeply human, tragic choice. So, yes, the message comes across loud and clear.

Musicality: The Electric Ballad That Wasn't
You noted that it "got away" from you, becoming "far too much electrification" for the intended ballad, and you're not wrong. There's a tangible conflict between the acoustic heart you envisioned and the electric attire it ended up wearing.

Where it excels:
Your Vocals (mostly!): Despite your self-critique, your voice carries the earnestness required. The doubling and quad-tracking in the pre-chorus and chorus does add significant weight and emotional impact, creating a wall of sound that reinforces the gravity of the message. And yes, "reaching orgasm in the chorus" – a wonderfully honest and relatable descriptor for hitting that sweet spot of vocal layering!
Your Lead Guitar: The intro and outro solos, while "not Joe Satriani" (whose is?), serve their purpose. They're melodic enough to draw the listener in and out, and the improv feels natural. It’s a nice personal touch that breaks free from the BIAB sheen.
The Vibe (despite itself): It settles into a kind of melancholic classic rock groove that isn't unpleasant. There's a certain raw, unpolished charm that aligns with the song's gritty subject matter.

Areas for Improvement (Musically) To be taken witha large grain of salt :
Commit to a Vision: If you wanted a ballad, strip it back. Showcase that Seagull Coastline acoustic more prominently. Let the spaces breathe. If you want electric, then lean into the power of hard rock, with more dynamic shifts, powerful riffs, and perhaps more varied guitar textures. The current arrangement sits in a somewhat neutral zone – it's electric, but not particularly driving or balladic.

Areas for Improvement (Lyrically) Again, to be taken witha large grain of salt :
You mentioned visualizing the "darker side of the human psyche" for the video. Could the lyrics hint more at why someone would choose this path? Not to condone, but to explore the internal struggle.
Perhaps a line that hints at the fear that drives the "cradling my firearm," or the despair that leads to not caring about "rules or lives broken." "A cold dread whispers in my ear," or "The world narrowed now to this desperate fear

Conclusion:
Think It Through" is a genuinely thoughtful and important song. The core message is undeniably potent and, sadly, ever-relevant. Your lyrics are direct and effective, striking at the heart of impulsive violence and its tragic consequences.
There's a wonderful raw earnestness that shines through, particularly in your vocal performance and original guitar work. If you ever do a remix (IMO) you should lean into the acoustic heart you originally envisioned. Imagine this song stripped down, with the Seagull front and centre, perhaps a cello or a subtle piano providing a brooding bed, and your powerful layered vocals taking centre stage. That intimacy would amplify the starkness of your message exponentially. If you want it electric, find a way to make those electric elements feel as organic and dynamic as your own voice.

Oh I almost forgot - It's a great song- congrats 👋
(And no, "Happiness is a Warm Gun" is absolutely NOT a ballad. Good instincts there.)

ʎzzI

A strong write
I like your Band
Good arrangement
Mixed well

Sounds like a radio song from 1970.
Real

.fj

Thank you for listening and your review Marty. Yes, the Beatles have influenced my style and playing a lot. Whilst that’s a good thing, it would be good to break out of that style every now and then.

All good, kind regards

Thank you for listening and the review Waoband. I will pay particular attention to the vocal in future releases to make sure it sits better.

Kind regards

Thank you for your review and kind comments Mario.

Kind regards

Thank you for listening and your kind words.

Regards

Thank you BlueAttitude, nice to meet you too. Thanks for your comments on writing and playing, it’s always good to get reassurance from other players.

Kind regards

Thank you for your kind review and for listening BYOBand

Kind regards

Thank you Janice & Bud

Glad you enjoyed the song. The forum has given me lots of aspects and things to think about on future releases, but that’s all good feedback.

Kind regards

Thank you Ezekiel’s Storm

Yes I felt when I got to the chorus it needed to have a lift somehow, whether it be volume or vocal dynamics and that’s why I added the ooohs, otherwise it would have been flat all the way through the song (a durge).

Thank you for listening, kind regards.

Nice to meet you too Izzy.

Wow! That is a comprehensive review Izzy. You have taken a lot of time and given a lot of thought to this review, thank you so much. I’m not sure the song itself merits that much attention but you have given me a lot to think about and to work on. I’ve got to read your review several times to let it all sink in.

You’ve been very generous, kind regards

Thank you Floyd Jane

Yeah, being brought in the 70s, the post Beatle era are where I draw a lot of influences from, probably a little too often.

Thank you for listening, kind regards.