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Thanx so much Scott. I appreciate your very kind words.

Thanx so much Laurent. Thanx Carl

Thanks much Noel! Because I often preview many styles but wish not to have all of them get loaded into my songs when I select them.

Thank you

Hi Herb! If you do have a crack at User Styles and succeed, you could always post to the User Styles forum and share - particularly if there’s a dearth of that style. I’m sure whatever you do will be good quality. I’ve been meaning to scan that forum for a while. Andrew

Use Focusrite ASIO (see image) work your way down the arrows You have 4i4 and I show 18i20, but they should look very similar, just fewer in/outs on 4i4

Hi Rob! I ain’t no blues man, but gee, I liked this. Good choice of singer (excellent, in fact), and your harmonica sounds good to me. A real toe-tapper! Andrew

Powerhouse of a song, Hans. Superb subject and thematic development. Love the melody and backing track. The synth bell and oohs provide subtle-but-delicious accents. Nice use of the soloist, too. GREAT vocals that convey an appropriate mix of tenderness and strength. Stellar production as well. Superb piece of songcraft here, Hans. Every day is a gift...

Thanks so much BabuMusic! I will keep them coming as I have a lot more. But in the future, as suggested, I will only post one at a time, as well as give the details of the BIAB instruments I used.

Good job! Love the chord progression. Very good write - well done!

Thanks, Ron! Really glad you enjoyed it!

Hans, LOL! No worries. We all hear different things. We appreciate the kind words. Bob

From Gemini Together, they defined the "Brill Building Sound" of the 1950s and 60s, transitioning the music industry from sheet music to the teen-pop era. The Relationship: Rivalry and Synergy The two buildings were the twin pillars of New York’s Tin Pan Alley. The Brill Building (1619 Broadway): The "classier" establishment. It housed older, more established publishers like Southern Music and Mills Music. 1650 Broadway: Located just a block away at 51st and Broadway, this building was often seen as the "younger, hipper" sibling. It was the hub for Aldon Music (Don Kirshner and Al Nevins), which employed the legendary stable of teenage songwriters. Who Worked Where The Brill Building (1619 Broadway) 1650 Broadway Key Songwriters Burt Bacharach, Hal David, Lieber & Stoller Carole King, Gerry Goffin, Barry Mann, Cynthia Weil Key Figures Johnny Mercer, Benny Goodman 1650 Don Kirshner, Al Nevins, Neil Sedaka Atmosphere Formal, corporate, established Fast-paced, competitive, "hit factory" style 20 Hits from Each Building From 1650 Broadway (Primarily Aldon Music) Will You Love Me Tomorrow – The Shirelles (Goffin/King) The Loco-Motion – Little Eva (Goffin/King) You've Lost That Lovin' Feelin' – The Righteous Brothers (Mann/Weil) Up on the Roof – The Drifters (Goffin/King) Breaking Up Is Hard to Do – Neil Sedaka (Sedaka/Greenfield) On Broadway – The Drifters (Mann/Weil/Leiber/Stoller) One Fine Day – The Chiffons (Goffin/King) Walking in the Rain – The Ronettes (Mann/Weil) Go Away Little Girl – Steve Lawrence (Goffin/King) Calendar Girl – Neil Sedaka (Sedaka/Greenfield) We Gotta Get Out of This Place – The Animals (Mann/Weil) Take Good Care of My Baby – Bobby Vee (Goffin/King) Blame It on the Bossa Nova – Eydie Gormé (Mann/Weil) I'm into Something Good – Herman's Hermits (Goffin/King) Kicks – Paul Revere & the Raiders (Mann/Weil) Crying in the Rain – The Everly Brothers (Greenfield/King) He's So Fine – The Chiffons (Bright Tunes Music - 1650 tenant) Oh! Carol – Neil Sedaka (Sedaka/Greenfield) Don't Say Nothin' Bad (About My Baby) – The Cookies (Goffin/King) Only in America – Jay and the Americans (Mann/Weil/Leiber/Stoller) From The Brill Building (1619 Broadway) Hound Dog – Elvis Presley (Leiber/Stoller) Stand By Me – Ben E. King (King/Leiber/Stoller) Raindrops Keep Fallin' on My Head – B.J. Thomas (Bacharach/David) Yakety Yak – The Coasters (Leiber/Stoller) Save the Last Dance for Me – The Drifters (Pomus/Shuman) Walk On By – Dionne Warwick (Bacharach/David) Jailhouse Rock – Elvis Presley (Leiber/Stoller) Spanish Harlem – Ben E. King (Leiber/Spector) This Magic Moment – The Drifters (Pomus/Shuman) Poison Ivy – The Coasters (Leiber/Stoller) Do Wah Diddy Diddy – Manfred Mann (Barry/Greenwich) Chapel of Love – The Dixie Cups (Barry/Greenwich/Spector) Leader of the Pack – The Shangri-Las (Barry/Greenwich/Morton) Be My Baby – The Ronettes (Barry/Greenwich/Spector) River Deep – Mountain High – Ike & Tina Turner (Barry/Greenwich/Spector) Sugar, Sugar – The Archies (Jeff Barry/Andy Kim) Blue Velvet – Bobby Vinton (1619 house publisher) A Teenager in Love – Dionne & The Belmonts (Pomus/Shuman) What the World Needs Now Is Love – Jackie DeShannon (Bacharach/David) Ruby Baby – The Drifters (Leiber/Stoller) Management and Distribution The "Brill Building" model was a vertical integration system. In one building, you had: Publishers: They owned the songs. Songwriters: Often worked in pairs in cubicles with pianos. Demographers: People who tracked what "the kids" were buying. Promoters: They would take a fresh acetate (demo) to the radio stations immediately. Don Kirshner (at 1650) was the mastermind of this. He didn't just sell songs; he managed the writers, the publishing, and eventually the TV interests (like The Monkees). Distribution was often handled by independent labels like Atlantic, Philles (Phil Spector), or Dimension Records. When Did They Cease to Exist? Technically, both buildings still stand physically, but their era as the "Songwriting Capital of the World" ended around 1964–1966. The decline was caused by: The British Invasion: Groups like The Beatles and The Rolling Stones wrote their own material, making the "hired songwriter" model less relevant. The Move to LA: The center of the music industry shifted west to Hollywood. The Singer-Songwriter Movement: Artists like Bob Dylan and Carole King (who left the factory to become a solo star) changed the industry's focus to "authentic" personal expression. Other Interesting Facts The "Demo" Singers: Many songwriters sang their own demos. If you listen to early Carole King demos, you can hear the blueprint for her Tapestry album. Cubicle Life: The rooms were so small that Carole King and Gerry Goffin often had to work in a room that was essentially a closet with a piano. 1650’s Basement: The basement of 1650 Broadway housed the Iridium Jazz Club for years (famous for Les Paul's residency), maintaining the building's musical DNA long after the publishers left. Phil Spector’s Start: Before his "Wall of Sound" fame, Spector was an apprentice of Leiber and Stoller at the Brill Building, where he co-wrote "Spanish Harlem."

This sounds great, Laurent! That vocal really works, and I like the sound of French language, makes it work almost like an instrument. Excellent job on the guitar leads! And the rest of the band sounds great too, also really like your mix. Really good, one of your best.

Thanks for all of that, floyd! Cheers, Laurent. Thanks for the listen and comments, Dan! Thanks, Mario.

My favorite singer too! Thanks, Brain! Yes, bassline is totally different than the BIAB bassline, which was actually pretty good. But! Marty actually plays to the song of course. Thanks, Scott!

You got it, Herb. Black bear, deer, fox, et al play right off our back porch. You're invited anytime. Happy for ya, man. What a fine mix, and amazing you did it all --but the mando. You are singing the anthem, Herb. A song to be sung on the back porch AND when you're on your way home to it. Love it!

You make wonderful music, Chris. Always. Man, if i were younger you make me want to buy another upright bass. What a great feel in this mix.

Thanks, Brain. Yeah, i've been at Charley's side everyday since she was born. A good place to be for sure. Hehe. Thanks, Dave. At first my prompts were giving the usual 5-o'clock-shadow guy with creepy eyes lusting for the door to open. Life is sometimes better in cartoon form. You may remember the video version with an Ai me in it. Now, that was wonky alright. Thanks, Floyd. Yeah, that line is less ambiguous in legalese. Thanks, Chay. Yeah, Charley is a ton of fun. Much obliged! Another one to give Charley so she leaves mine alone.

Hi Stevie, Unfold your song then at the bar you want to change styles press F5 and pick a new style. Pick the measure to where you want to return to the original style pick it using F5. I find working in the unfolded method much easier than using the BiaB's jazz chorus method. YMMV

Scott, Thanks so much from both of us. Bob

I don't think I've ever written a song in my life where I started writing something down on a piece of paper first. I know everybody has their own way of doing things but for me the lyrics have to come out of the vibe of the song and the tempo and the groove and the chord progression or it doesn't work for me. So it usually happens if I'm sitting at the piano and I'm just playing along and then all of a sudden the words just start flowing into my head and I reach for a tape recorder and turn it on and just sing what I'm hearing then I turn it off and go back and transcribe what I sung. I do write on the guitar this way from time to time, but I find it easier to write on the piano and I don't know why. I have no idea. Sometimes I'll be listening to a particular band in a box style and checking it out and it'll trigger something in me and a song will start pouring out lyrics and I have to either tape record myself singing or right really really fast before the words go away. I know that's not how it works for all people but for me I definitely can't try to write a song or sit down and look a piece of paper and start string things together it never sounds right it has to come out of the music. But that's just me....

Pulsating and very swampy. I like where the melody turns at "I stare out in the distance." Good song and recording!