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A song I wrote with Danny Mayo and Bucky Jones

Once it was demoed, Bucky took it to Reba - they were friends - (we all thought she would "tear it up") - but she passed on it.

I decided to do a BIAB version since I had not recorded it (other than the work tape the day it was written).

I will post a link to the Nashville demo - and talk a bit about how it was done - in the post right below this.

If you choose to comment, you might want to do that BEFORE you listen to the Nashville demo.
It (the Nashville demo) is done by the best in the business (players and singer) so comparing mine might not be fair...


WHEREVER YOU GO

the day you came into this world
was the proudest of my life
i prayed to god to help me
teach you wrong from right
i've seen you through bumps and bruises
doctored your skinned knees
i've held you close on stormy nights
whenever you needed me
but i know with each passing day
we're closer to the time
you'll walk away into your own world
and slowly slip from mine
   
   i can't always keep you safe or hold your hand
   or mend your broken hearts
   but i'll put you on the right road
   and give you a loving start
   when you're out there on your own
   may it comfort you to know
   a part of me
   will always be
   with you wherever you go

i love you with all my heart
that's the best that i can do
i've tried to give you what you need
the rest is up to you
   
   i can't always keep you safe or hold your hand
   or mend your broken hearts
   but i'll put you on the right road
   and give you a loving start
   when you're out there on your own
   may it comfort you to know
   a part of me
   will always be
   with you wherever you go
   
   i'll be with you
   wherever you go




The BAND:

RealTracks in style: ~~700:Bass, Electric, PopHalfNotesPush Ev 085
RealTracks in style: 518:Bass, Electric, Pop HalfNotes Ev 085
RealTracks in song: ~~2051:Guitar, Acoustic, Fingerpicking CountryBrent Ev 085
RealTracks in song: 3079:Mandolin, Soloist BluesyPopAndy Ev 100
RealTracks in song: 3075:Fiddle, Background BluesyPopAndy Ev 100
RealTracks in song: 2542:Pedal Steel, Background ModernBalladAtmosphere Ev16 065
MIDI SuperTracks in song: 2087:Piano, Rhythm PopBalladJohn Ev 085 (rendered using TruePianos)
Drums are pieced together using Loops from Drums On Demand and chunks from that as single samples.

Harmony: Janice Merritt


Thanks for listening.

fj

Here is the Nashville demo of "Wherever You Go"...


If you thought you wanted to compete in the Nashville songwriting market through the 1990's and into the 2000's (the Golden Era of Nashville Songwriting, I'd say), then know that these are the type demos you were competing against.
By the hundreds - for every pitch opportunity (if you managed to get access).
They (the screeners) were popping demo after demo in the player that had been recorded by the best session players (the same guys who played on the records) and the best demo singers (many of whom were being considered for record deals). The demos generally sounded like they should be on the radio - as is.

They were not cheap. They averaged $300-$500 per song.
And the better players expected to do sessions that recorded several songs in a block. They didn't do "single songs" - not worth their time. So a full session would run $2000 (or more) - including musicians, demo singer, engineer and studio time. That might end up being 5 or 6 songs.
Often that was a publisher demoing songs from several different writers.
Needless to say, they (publishers) were VERY picky about what songs got selected to be recorded. They had to believe they were HITS. No question.
Publishers generally foot the bill for demo sessions. Most staff contracts specify that the publisher recoups those cost from royalties before the writer is paid - if you ever get a song recorded (that makes some money).
The "big name" writers often paid their own studio sessions - just their songs, of course - because if they had radio hits, they had the money. And the more songs you have with quality (radio ready) demos, the more likely you get more cuts.
And these are people who know how to write. That goes without saying. Otherwise you are wasting that $400. Really.

So...
You have a writing session that ends with a completed song. This might be a couple of hours.
At the end of the session, you record a "work tape". A guitar/vocal on a portable cassette player, typically.
Decide on a demo singer and send them a copy of the work tape - so they get familar with the song and can determine the key it needs to be in for them.
Decide what players/instruments are needed - what their availablity is.
Book studio time.
During the session... when it is time for your song, they will play the work tape as the studio musicians listen. As they listen, they will write out charts (the Nashville Numbers system). They will discuss that amongst themselves and may listen again (whole or parts). Tweak the chart if needed.
(For the songs I was involved with, I generally brought along a numbers chart that I had done - I knew the system well - which made it easier and fastest to get started - they could modify it as needed).
They then run through the song. There may or may not be someone in the vocal booth to provide a scratch/reference vocal (In the case of "Wherever You Go", I was doing my best falsetto, because it was being done as a female demo. Not sure how useful THAT was?!?!).
The players might discuss a few parts.
The engineer hits Record, someone (drummer) counts it off and they go.
Typically, it is one take. There might be a quick overdub of leads or fills (though they are often played real-time) or the bass player punching in a missed note, etc.
Tracks are done. Maybe a half hour per song start to finish.
The demo singer(s) might be scheduled for the session after the tracks session or another day.
When they do the vocals, it is a similar situation. They get some levels, hit record and go. One or two takes and they are done. If harmonies are needed, it is often the same singer. (the good ones are booked constantly and are on a tight schedule to get to their next studio session).

I was never present during the mixing, so I cannot offer what time that took or how that was accomplished.
A week or so later, you pick up a finished product and look for opportunities to get it pitched...

Recorded at County Q Studio. Unfortunately, I do not recall the names of the session players on this. Danny set up the session and arranged for the musicians and the demo singer ("Tammy", maybe??. She was an incredible singer and a very attractive girl-next-door type. Why she did not become a star has always been a mystery to me)

Your first demo using Band-In-A-Box will cost you about the same as a single Nashville demo (one song).
BUT every one after that.... costs $0. ZERO!
(And you are using those same studio musicians!)
Now, if you can just get Trisha Yearwood to drop by the house to do that vocal...


WHEREVER YOU GO - Nashville Demo


...

Ok, so I listened to the BIAB version of the song. Before I listen to the Nashville demo, I'd like to give my impressions on the BIAB version.

In short: you made me stop and listen, then you made me cry. Your voice is stunning and carries the song beautifully - and the lyrics are the bread and butter of this song. This really deserves to be a hit - and the last verse, with Janice Merritt singing the harmonies with you, just takes it someplace else. You hit the ceiling, so to speak, and then - with that last verse - went through it and beyond it.

Genuinely and really beautiful - well done. I will now read the Nashville demo post, listen to it and see what I think of the demo part of things afterwards! But a good song shines no matter what, I think - and this really IS good (to understate things as those of us that live in England are sometimes prone to do, haha!).

D'you know, I much prefer the BIAB version - because it's SO much more sincere. Yes, the voice on the demo is probably run through auto-tune and everything ... it sounds more technically polished, etc., but that comes at the expense of sincerity and musicality a little bit. Your more gravelly voice MEANS every line - and, like I said, when the harmonies kick in, wow.

Then again, I've always been one for "slightly more 'unpolished' " recordings, for want of a much better phrase - more human, for me, so that's my two cents' worth. But - I stand by every word.

I just had to listen to your BIAB version again, after the Nashville demo. This is NOT to belittle in any way the demo itself ... it's just my personal view and preference, for reasons stated.

P.S. the demo process sounds scary, haha!!! Much better BIAB, for me ... much more cost-efficient and, as you say, the standard of BIAB is through the roof, I also find, so ...

Floyd,

A great backstory on this song. What an interesting history it has had.

I listened to both versions and can honestly say that I prefer your rendition. The demo is excellent, but does not have the warmth and feeling that you and Janice put into this version.

The song itself is really outstanding. Listening to you perform it it, I could hear this on an Alan Jackson record.

I'm surprised it was never picked up - it is so good.

Loved it!

Bob

Amazing story Floyd. I've been enjoying your work for a while now. Loved the "little bit of me" video showing the whole process of how it gets done.
Thanks for all the info about how the demo process works. Really makes you appreciate what BIAB can do.

I listened to both songs and frankly did not really like the Nashville version. The drums have too much reverb or stadium sound.

Really liked your vocal a lot better.
From the video I notice that you turn your head to the side of the mic. Does that help you get your mellow tones?
Really enjoy your music.

Just a couple of thoughts. Before the demo: You killed it. You gave Dad a place in the music he rarely receives in this present climate. The sincerity of the delivery and the lyrics were out of this world.
After the demo. Reba? Thoughtful of you, but no, the female listeners want to be told they can pilot jet fighters, not have kids. When the subject of children comes up, they'd rather talk about pain of childbirth or how little junior is going to be the next great voice. Very risky for a female to take the chance riling up the (you know what) base. In this day and age, it is the men who press for children and family; unless of course you are talking about the social butterflies, always up for another kid. This would be a great song for, say, someone in the George Strait organization. I know Bubba writes, but don't know that he performs. But that is the idea. That is the zip code. Dallas based might be more fruitful than Nashville based. New York or Los Angeles, forget it. That would not be a good career move for any talent based out of there. By the same token, your own demo was way better. Incidentally, God is still capitalized in Tennesee.
That song bleeds traditional values and exceptional masculinity, which could be the key to who you present it to and how you present it. Vince Gill? He would know. Buddy Green, rocker turned Christian artist? On that note, maybe you have a crossover on your hands -- Amy Grant, or, like I say, Buddy Green. Check out his songs on You Tube.
https://www.youtube.com/watch?v=73-6P09xaAE
Following my reasoning? If you are interested in discussing that aspect, please call.

Hi floyd,

This is a wonderful write and listening to you and Janice singing it gave me goosebumps and a tonne of images of my own children when they were young flooded through my mind.

I really liked the song format that you used... verse, chorus, bridge, chorus. It's not usual but it can be very effective as you've shown us all in this creation.

Some of the words and phrases that came to mind as I listened were: poignant, bittersweet, so glad you came along, I'm proud of you, life is worth the journey, heartfelt, touching. I really like where your singing and your songwriting took me

Now I'm off to listen to the demo.

All the best,
Noel

P.S. OK... now I've listened to the Nashville demo. I much prefer your version and listening to you and Janice. There is a noticeable amount of 'brilliance' created by high frequencies in the Nashville version that wasn't friendly to my ears because it's not what I'm used to hearing. Your version had a richness and warmth to the overall tone that the Nashville version did not. I suspect that if Nashville re-did this demo today, it would sound more aligned to your presentation.

Cool bit of history - the process as was & often still is.
The Nashville demo sounds like it was intended for the charts - big, brash & bright but the vocal lacks warmth - it was only a demo after all.
The BIAB version is more engaging, there's warmth and emotion. The harmonies are natural and sweet.
the only thing I'd take from the demo would be a touch more brightness as the BIAB seems a little sepia compared to the other's neon.
LOVELY stuff.

I'm not gonna lie - I liked the "sheen" and production of the Nashville version. There were bits that seemed a better match in the Nashville version, like the climb into the first chorus.

Plus, louder is always better, right?

But... your vocals sold the song to me in a way the demo didn't, pulling harder on the heartstrings. And that's the most important part, because (to me) the really good songs evoke a strong emotional response.

There may be any number of reasons Reba passed on the song, but listening to both versions, I think lyrically the song tips a bit more to the male perspective. From the start:

the day you came into this world
was the proudest of my life

seems a bit more like something a guy would say. "Proud" isn't a word I've heard a mom use to describe childbirth.

Similarly,

i prayed to god to help me
teach you wrong from right

sounds (to me) like a dad sort of thing.

The POV just seemed a better fit with a male singer.

Then again, I'm from California, so what do I know about traditional values?

Love the story, excellent song. Thanks for posting this!

I really enjoyed both versions but I like the Nashville version better.
Great story to accompany two great recordings.
Well done Floyd. Rob4580

Ok, I've listened to your BIAB version.

Just a wonderful song! One of your best vocals, sincere and emotive and great tone.

Band sounds great, drums are loud and proud.

And your mixes always make me strive to do better with my mixes.

Tip of the hat to Janice of course, always enjoy hearing her!

Now on to the studio demo ....

Wow! Tough call. That studio demo is very good indeed! Man, she can sing!

Overall I like the Nashville version better to be honest. They are both very good, just different.

Sounds like a hit to me.

Beautiful Floyd. Thank you for the story on recording the demo. Such an interesting process. It is such a wonder what makes a song a hit and how a person can become a star. The young lady that sang the song had a beautiful voice. This song lyric and with your other songs was just excellent. I liked both versions of the song. Well done..

Thanks so much for the back-story. I wouldn't have stood a chance...even with a really fine song.

I had some trouble streaming the demo version, but what I heard, I didn't think the "band" was better. Perhaps the only place it was was in the fiddle opening quoting the vocal melody--something not so straight-forward easy to accomplish with RT's. Besides, once the durn thing is written, every version is a cover. Peter Jackson (film director) said his films were not finished until he sent them to the studio for distribution. There's a message in that for songs, I think.

I hope if the lady is not a star that she is still making a good living without the hazards of fame and the road. But truth be told, I thought your voice carried the song "better".

If you'll forgive me, I do have a couple of crits. First--I am not taken with the line "teach you wrong from right". Besides it being in reverse order to the way I've always heard the phrase, there is some loss of meaning in subtext, as well as hearing "teach you wrong" before the phrase is completed. Second, I think it was unnecessary to embellish the melody in the chorus with those added "up" notes at the end of certain phrases: "heart", "start", "know". Maybe you were aiming to not "resolve too often".

Of course, both of those 'crits' may be assuming you didn't carefully construct things that way. And if you did, you're right and I'm wrong.

Anyway, a fine way to spend some time this evening listening to FJ and Janice. Thanks.

James - thanks for those very nice comments. It is quite nice to find that folks are finding my vocal (with the addition of Janice) has more "warmth" than the demo...
I can assure you the young lady who sang the demo needed no AutoTune of any kind - she could sing like an angel (and that was in the days before AutoTune was used much at all, especially in Nashville...). But the vocal is processed differently - having the "sheen" that many have alluded to...

Haha, sorry - I should have used my brains before making that silly AutoTune comment! The lady in the demo sounded wonderful - I hope I may be forgiven the comment given that she was so incredibly in tune! But, that said, I still prefer your version ... more real, to my ears at least, if that makes sense.

Ditto that...Beautiful: the inspiration behind the song, the way love is expressed in the lyric and above all the warmth in your vocals.
Can`t imagine the demo will match how personal and sincere this sounds, but I`ll give it a play.

Robert

Floyd,
Your Nashville demo story is interesting and a little daunting.
Listening to your song done up this way completely changes it for me; the singer is obviously very good; I just didn`t feel anything when she sings the "I love you with all my heart" core bridge lines. The processing takes something away I guess, but there`s no substitute for the goosebumps you get when the singer digs deep to deliver, as you do.

Robert

Thanks for mentioning my harmony. I knew this song was very special the first time I heard it!

Janice

Hey Floyd, Bud and Janice

Firstly, thank you so much for that write up on the process and for posting the Nashville demo. I am going to comment first and then go back and read all the other comments on this thread so I don't get influenced by what other people think.

This is so interesting and may I say, slightly depressing.

The song itself is a fantastic write and both your demo and the Nashville one are outstanding. Now for me, the thing is that if that what was happening in the 1990's can you just imagine what is happening now that everyone has access to a home studio? A single studio/musician with BIAB and access to a really great vocalist can churn out literally hundreds of high-quality tracks per day at ZERO cost. I suspect that these are the tracks that are being submitted to licensing opps on platforms such as Songtradr. I heard somewhere that people submit something like 200 tracks to a single licensing opp on songtradr!

Ironically, the tool (Band-in-a-Box) that has given us, on this forum, so much pleasure has also given self-motivated entrepreneurs the opportunity to do this (along with other tools such as Abbleton live).

Thanks again for posting this Floyd.

floyd

Like the others I listened to both versions. Yours I found far more engaging than the Nashville demo.
Enjoyed the emotion in our voice and then Janice comes in! - great stuff.

The Nashville demo sounded big and bold but sort of washed over me.

Loved the story behind the song and the insights into the recording business back then.

Excellent song by the way - brought a lump to the throat.

Peter

Bob - really appreciate that fine review! Thanks...

Man, that's a great song. Excellent job on the co-write. And to be able to write with guys who have written other hits. That right there is a level of success many will never know.

Yes, absolutely spot on with the backstory on the skill level in Nashville. So much talent in one place, and only a few will ever be successful. Those studio cats are totally amazing and so skilled at their craft. Been there..... seen and heard amazing voices and instrumental talent singing in hole in the wall places on a "stage" that's hardly big enough to hold a chair and a music stand.

you are absolutely correct about the demo quality required. The demo has to be as good as (or better than) the final version the artist is going to record. I heard the "demo" version of another very popular group's #1 country hit at a LA songwriter symposium. Aside from the different vocalist, the rest would have fooled anyone. The licks and tone, tempo, instrumentation, was dead on. The artist copied the demo music exactly. Only the vocals and harmony let on that it was the artist version vs the demo.

OK, so I listened to your version first, as requested. Good job and yep, everything in it's right place. Next... the Nashville "demo".

The Nashville demo has my vote. A few reasons. First the sound quality of the mix is so open and crystal. Your version has more midrange and the instruments were not as distinct in the mix. Likely due to the mids. Next, the singer simply drew me in to the song. Yeah, I heard you singing and the words you were saying but.... I really "heard" the song when she sang it.

None of that is a slight to you or your skills. It simply shows that the mix quality and the singer one selects for a song is a major factor in how the song is heard by the audience. For the same reason 5 singers can cover the same great song and one of them you love and the others it's kind of meh.

We set here in our home studio, bedroom, attic, garage, basement, and try to write and record. Yes we have good tools. But truth is, we have a hard time at best trying to compete with the talent in the music capitals with experience and skills. One could try for a few lifetimes to write a hit song and never even get a "hold" in Nashville. It's a combination of having the skill, being in the right place at the right time, and having someone in the business to help you, and being there every day and night. For most of us, me included, I write for my own pleasure and my only competition is the last song I wrote. My goal is to write the next one better.

That said, there is still plenty of room in the business for less than superbly written songs and mixes that are not Nashville/LA raise the bar kinds of mixes. Film, TV, and other commercial uses are in need of music of all kinds and some actually specifically ask for lo-fi mixes.

In closing.... yes, I could hear Reba singing that song. The reasons songs get passed on vary and if you were in the final 100 or so songs in competition for Reba's newest CD project at the time...... that's a huge accomplishment. There's only room for 10 or so songs. Depending on Reba's clout at the time, she might not have had the lion's share of that decision. It still doesn't detract for the fact that you have a really well written song there that you can be proud to say... "I had a part in writing that".

FJ,
This is one of your best songs hands down. Lyrically, musically it just stands out!

Thank you for posting a story. That was a very interesting, enjoyable read! You managed to fit so much history behind the production neatly on one page

I listened to both versions. I can not compare them. They have very different vibe and sound. Both are very strong in their own unique way.

P.S. Excellent vocals from Janice!

Thank you for sharing!

Misha.

Wow - I think you did a great job on this! It s incredibly tender you are Janice knocked it out of the park with the harmonies. It is really powerful, and you can feel it in your bones. You can't get quite the same quality as the best in the biz, as you said, but I think you did a fantastic rendition here.

Great work and thanks for sharing

Dear Floyd,

you've heard a number of my songs over the past months, and having heard them I'm sure you would not claim that sentimentality must be one of my main character traits. And it's true: emotions - yes, a lot. But sentimentality - well, so so... And being like that there is a thin line between what I (I!!!) consider schmalzy (the dictionary explains this as "dishonestly emotional) and honestly emotional songs.

The topic you chose with this song could be easily have slipped over that line, but this really never happens to you: Whatever emotional subject you write about. it's always touching in the purest sense - be it autobiographical or not: It makes me feel that it is.

Another great FJ song, as to lyrics and composition - no doubt about that.

And if a live and a BIAB version of the same song must get compared, it depends which one will be the better one: My songs will sound much better being 'built' in BIAB, others (like this one) may have been recorded by such excellent musicians that BIAB will always be second.

But even then: I listened to your BIAB version first and thought it was great in all aspects. Then I listemed to the 'real' one and, yes, one can feel that there are real people singing and playing their hearts out and that surely makes a difference..

I only can say that I liked both versions a lot.

Take care,

Stefan

Marty - thanks for taking the time to listen to both versions. It is nice to have you prefer my vocal...

Glad you enjoyed the video, too... Regarding the mic: Turning at an angle to the mic helps to keep from having "plosives" as I sing (not using a pop screen) and also keeps from getting the vocal too hot when I sing high (and loud) - I will turn away a bit more.... So it is for "control", not "tone". The mic I use - an AT4033a - has a deep warm tone - it's quite a "mellow" mic... Had it for about 25 years now...

Enjoyed both versions, Floyd, as well as the background story. Personally, I think the song is well suited to a female singer (and the woman on the Nashville demo is very good indeed). A shame that Reba passed on it.
Regards,
Leon

Hi, Floyd !

This is simply your best !
Love everything about it !


Cheers
Dani

Thank you Dave. It was a small part on a big song!

Janice

Wow! I did listen to both versions. Both were excellent. I can see why some will like your new version, and some will prefer the "Nashville" version. Both very well crafted. You have really learned how to milk it all out of BB. Well done! (By the way, once again, you and Janice shine on this one!)

I really appreciate your backstory. Exciting times, being around such a wealth of talent, and business savvy. Also shows how competitive and challenging that scene is/was. You really have to keep your center. I salute you for following your dreams, and for the success you have had.

And I really appreciate us having you on this forum. So many talented people on the forum,it is challenging (and probably dangerous) to acknowledge one over another, but you are among the ones who constantly raise the bar for all of us. And that makes all of us better for it.

Really love this song!

Steve

Wow, what a story, especially for those of us sitting at our little desktop studios. I often think about Emily Dickinson and how she wasn't published in her lifetime and could easily have gotten missed in the dustpiles of history. How many songwriters have experienced the same thing? Hopefully not many. Maybe this song would've been a hit if RM had heard it on a good day. I wonder.

Thanks for your thoughts, ed...

I like the simplicity of the arrangement in the BIAB version, it feels more sincere. In the demo I like the stronger contrast between the verse and chorus, giving true wings for the story. Nice lyrics and good vocals on both versions.

Janne

Thanks for mentioning the harmony!

Janice

Floyd/ Janice

I enjoyed my listen , brilliant vocals guys and mix and arrangement.

As Expected.

I never listened to the Nashville one why ?.

Their is no way on gods earth we will get a full studio sound in home recordings , Damn near ..or in my opinion closer to the way I want to hear music now.. as we do hear Talent on the scale of producing, performing, arranging, production, writing, Mixing, mastering, creativity.


Now Why Would I want To Compare Eh !!!

I'm listening, Waiting for your reply congrats !.

Thanks

Floyd,

Listened to the BIAB version first—real pretty tune and stellar BIAB production . . . you couldn’t ask more of a pro demo. And a terrific vocal, btw. If I had on comment on the suggestion is that the kick on the drum seems a bit too strong . . . for me, at least . . . perhaps a slight bit of compression on it? Just a thought (use or lose), as you know my talents on mix are woefully lacking.

Then I listened to the Nashville Demo . . . well, it’s really, really clean and accentuated by just a killer vocal . . . and perfectly flawless. Real, real pretty . . . and deserving of radio play, no doubt.

And, yeah, it’s clearly a step above the BIAB version . . . BUT . . . for ordinary folks, you make a great point about the value of BIAB: “Your first demo using Band-In-A-Box will cost you about the same as a single Nashville demo (one song). BUT every one after that.... costs $0. ZERO!”

Ain’t that the truth . . . I’m just a newbie to the software, but the more I hear and the little more I learn, it makes me appreciate just how incredible this software is. Thanks BIAB for making it, and thank you Floyd for showing us all song after song just how good it can make us all sound.

My best to you,

Deej

WOW!!! This one brought a tear to my eye.....which is the greatest compliment I can give!! So sweet!! As a father of two teens who are approaching the age when they will set out on their own, this song means a lot to me. The vocal is just gorgeous......maybe your best Floyd, which is no small accomplishment! And Janice is as good of a harmony singer as I have ever heard (lead singer too!). ABSOLUTELY BEAUTIFUL!!!! BIAB Hall of famer for sure!! Take care my friend. Greg

Noel - I am glad that this resonated with you. I have been surprised that so few people even mentioned the subject matter of the song. I figured you would pick up on the unusual structure of the write...



I think you hit this one "on the head". I know that some people prefer the "sheen" of the Nashville demo, but I agree, it has far too much "brilliance" to the sound, and repeated listens really fatigues the ears. It's "just too much". It does make it "stand out" when compared against a "warmer mix" - and that was likely intentional at the time. These demos were heard by those searching for songs to record for their next record - against several others - all vying for attention - in that one listen that it would get looking to get place on the pile of "second listens". That over-done sheen was a necessity. But that is not how current music is presented "to the public" in current recordings - streaming, CDs, whatever recording might be listen to... I think you described all of that perfectly. Thanks!

Yes, a hit song under the right circumstances. I think Janice did some of her best work on the harmony vocal. The drums have just the right amount of pop to them.

Maybe music has come a long way since those demos days, or maybe Floyd is just a better producer, but the BIAB version is light years better--richer, deeper, more vibrant, more tonal, better produced.

I am not going to slam the other but it sounds kinda thin by comparison.

The 2019 version could be on the radio. I think it is awesome.

Yeah, Band in a Box with some mad skills plus some pipes can do the trick now.

Mr. Jane...

Only a Dad could've produced such a poignant pearl of a portrait of the vast and fathomless loving thoughts and feelings that parents have for their children. Wherever You Go sounds like a lullaby, really, with lyrics that are observant and nostalgic.

And, oh, those Real Tracks !!! Like a musical bed of flowers with the lyrics painted on each one of their colorful petals. Your singing voice has always been expressive, and full-hearted, Mr. Jane, but here, in this song, you sounded as though you were holding back emotions that threatened to overwhelm you. 'Moving' is the word, right ???

Ms. Janice, it was nice to listen to you harmonizing each tender word until it flickered and glowed like a little birthday candle.

Whoever is the subject of the song would be rendered speechless upon listening to it, as their gratitude ran silently down their cheeks.

Truly,

- bluage -

Ray - thanks for taking time to listen to both version (as so many did) and for the nice comments.

I agree that the Nashville demo is "big, brash & bright". It was designed to get the attention that it needed to get (quickly) to get interest for getting it recorded. (It is very well conceived, played, sung, produced). As I told Noel, I do feel that it a bit over-the-top bright and can be wearing on the ears (as several folks have noted).

I think "a little sepia" is a good description of my BIAB demo. Part of that is my choice of how to produce a "listenable" recording, but some of the less-than-bright comes from the "squash" that Soundcloud does. There is actually a 320 mp3 of it on the page with the Nashville demo (at the bottom) which if A/B'd with the Soundcloud version shows clearly that Soundcloud adds a "bit of dullness" to what we put there. (though I thought it was a bit much to ask folks to listen to yet another version....)

Thanks, again...

David - thanks for such a thoughtful review (as per your usual - I love reading your reviews).

It is understandable that some would go for the "sheen" of the Nashville version. I always liked it. But as I mentioned to Noel (who did not like that aspect) and Ray (who noted its intent), after many listen that over-the-top brightness wears on the ears - particularly if one is listening on good, "detailed" speakers...also provided one still has a good range to their hearing (when I hear mixes that include "brittle" cymbals I always wonder about the amount of hearing loss involved). You also pointed out the fact that it is LOUD. Those 2 qualities - loud and bright - were often the case with demos of that time - vying for attention with the ONE listen they would get... Uploading to Soundcloud dulled my version a bit (removing some high end) which can easily be heard by comparing the 320 mp3 of the song at the bottom of the Nashville demo page - though I did not expect people to do that, so did not mention it previously...I do produce a sound that is "rounder" and "smoother" and "not so bright" intentionally... And to further note, since the Nashville version IS louder, there is some automatic sense that that equates to "better" because one can hear the details more readily (not saying that it doesn't have more clarity, just noting the loud perception thing).

It has been interesting to me how large a percentage of people "preferred" my vocal for its "feeling". That is, of course, satisfying. Thanks.

Your "Dad POV" note was an awakening, I have to say. I have never thought about that. Definitely right. So obvious now that you have pointed that out. I wrote those lines from a Dad-point-of-view... so...duh...

Once again, thanks for your delightful, insightful review...

Thank you Peter. This was a very special project for me.

Janice

Rob - thanks for stopping by for the listen(s)...

Dave - thanks for taking the time to listen to both version (as most everyone did, which is nice).... And for giving reviews for both as you did. I'm pleased that it is a "tough call" - which seems the case across the board - which is a great endorsement of what is possible using BIAB to produce our songs (as you well know).

Scott - thanks for taking the time to listen and for the nice comments...

Tangmo - thanks for this interesting review. Like the fact that I hadn't considered the point that David made about "proud", it had never occurred to me that there was anything wrong with "teach you wrong from right" - even as I wrote it. Nor did Danny or Bucky bring it up as needing "fixed". I can see your point, but not enough to feel that it might need to be changed...that might change from singer to singer, though. Your point about the melody choices for those words - well, that is just the way I write melody - it was not some trying-to-get-cute intention...seems pretty natural to me. We all hear things differently, of course. Thanks for the thinking points...

No problem, James... Again, I appreciate your kind words...

Where have I been to miss this?!
This is an amazing song. For those who have kids who now live away from home it is SO poignant.
Your original is filled with sincerity and made me fill up.
The Demo, although beautiful and perfect in every Studio way possible was just that - a Demo. Give me "feelings" every time.
Best regards
Ian

Robert - thanks for taking the time to listen to both versions - and to comment on both. It has surprised me that so many "preferred" my own vocal - I did not expect that... that certainly is "heartwarming". I do appreciate it...

Thanks for stopping by for a listen, Joanne. Glad you liked the song.

There was potential to make "real money" from cuts - and HUGE money if one were to get radio play. (WAS being the operative word).
I haven't seen ANY reports of anyone making more than a few dollars (literally) from licensing opportunities. Seems like a lot more trouble than it is worth...

Floyd, another masterpiece from you and Janice.

Masterfully crafted, perfectly delivered.

Thanks for the background to the song also.

Peter - don't think I could ask for a better review. Thanks!

Herb - thanks for having a listen. Glad you like it.

Let's clear up a few inaccuracies or misconceptions...
This caliber of player and singer won't be found playing in "hole in the wall" bars in Nashville. The fact is, there are almost no places with Country bands playing in or around Nashville. That is certainly the case for the last 30 years. There are a couple of small bars on Broadway for the tourists with bands crammed on small stages (Tootsie's being one of them). Those bands are typically fairly run-of-the-mill bands playing covers. If you are in town for a day or two, that is likely what you end up seeing...Quality bands don't come to Nashville to "make it". There is no place to do that. You do that in Texas or Oklahoma. There is one big bar in Printer's Alley that has a good band. And there are a couple of showcase clubs where there is an occasional one-off showcase for the record labels...a singer looking for a deal will gather some great musician (this caliber) for that, but it is not open to the public - invitation only, one show. (One of the better ones for that closed a few years ago - so those are drying up, too) There just simply are not places to hear Country music in Nashville. The Wildhorse, of course...those are touring stars... The local bar scene is mostly alternative rock bands...a bunch of good ones. The Rock scene in Nashville is good. The good news is you can find Songwriters Nights in a number of places.
Your point about the singer is arguable to the other side. Often, to "sell" a song (and get it cut) it is more important that the recording have the proper emotional impact - and not just be "slick". In this case at least half of the responders found the Nashville demo lacking the emotion that the song needs - and preferred my own reading of it. That emotion is crucial. My friend Tony Lane got a number of (big) cuts with simple demos - often little more than his vocal and guitar - because he is SO good at putting his songs across - soul-crushing emotion.
Reba (along with her husband) built a musical empire. She was one of the most powerful women in Nashville. No on ever told her what she could or couldn't do. She has been calling ALL the shots for most of her career.
Keep in mind you are comparing the sound of a Soundcloud processed 128 mp3 to a 320 mp3 (on my site). It ir really more about the high end being stripped that makes the the mid-range more predominant. The 320 version on my site (at the bottom) will show that if you are listening on good speakers. Though, no question the Nashville version is crystal clear.
Not sure what your point is about "room in the business for less than superbly written songs". That's not a place I would go or something I would encourage people to strive to.

Floyd....

Yep, country music doesn't really live in Nashville anymore but they sure like to claim it does. I'm not going to argue the aspects of "making it" in Nashville or your friend Tony's success. I have heard several of his songs and they are great songs. Any decent demo would sell those songs. It's all about the song.



Read the entire paragraph with that statement in it, again. I did in fact explain my comment.

In the end, you did, as I pointed out, write a really great song. Good job on that.

Misha - Thanks for the listens and the nice comments....




Thanks, Deryk...

Stefan - thanks for the thoughtful review...

What an amazing post!!!

First off, the writers you worked with! What?!?! I know you provided their names; and links but for those who may be wondering...

Danny "Bear" Mayo was an American songwriter, primarily known for writing country hits for artists such as Alabama, Tracy Byrd, Pirates of the Mississippi and Confederate Railroad. Byrd's "The Keeper of the Stars", which he wrote with Dickey Lee and Karen Staley, was named Song of the Year by the Country Music Association in 1995.

Bucky Jones-writer of 9 number 1 songs, with 25 top tens and over 270 songs recorded in career.

Um...like the pirates say, "Holy Ship!" That's some pretty rare air!

Now to the tale of two versions.

The studio demo, to me, sounds like a hit. It sounds like a song that if someone told me that it was a hit from that time; I would not question it for a second. The singer doesn't sound exactly like Reba, but the elements are there so you don't have to reach far to imagine she would have done this song. She even has the "ts" sound for her "s" sound. Great song; and a great version of it.

The second version, to me, sounds amazing in a different way. As people have mentioned it does feel a bit more emotional. I don't think it's any one factor though. I think it's a combination of you putting your influence on every aspect of the song. I'm not sure if it's re-imagined or finally imagined, but it's really great to hear. Your singing delivers the song extremely well. Add in Janice, and honestly, that home run ball took out the lights! You two sound absolutely incredible on this. If I had to use a term to describe the overall feel, I would say it sounds "intimate" in the instrument choice and production. This adds to the delivery of the vocals you are using. Each element coming together to masterfully deliver a beautiful song.

It's strange, because it's not like I dislike the Nashville version. I like it an awful lot! It's almost as though it's two different songs to me. Both feel right in different ways. The biggest "feeling" difference comes down to a singer/backup singer feel countered by a duet. Because of that, it's a very different comparison for me. Both have their strengths. I'm not really seeing a downside in either. Personal preference has me lean towards your version. I wouldn't say the other comes in second though. I'm not sure if that makes any sense? I differentiate quality and personal preference.

Either way, I loved both versions of the song. It's emotional. I love to FEEL when I hear music. You did that for me! Thank you!

***sorry. didn't have time to proof read it. It's speech to text, so there may be some interesting sentence and word choices.

I really enjoyed both songs and the back story of the song itself. It all comes together as a strong testament for the song itself. It works for a superstar to record, for a newcomer to record, as a demo; whether recorded in a major company studio or a home studio, and as a single. It works with a female vocalist, a male vocalist, with female or male and BGV's and as a duet.

Wonderfully written, arranged, produced and performed both times. Enjoyed the many journey's the song took me on.

Hi Floyd ...

I listened to both songs day before yesterday. I wrote a long, detailed comment. I clicked onto the "Submit" button, and like two other comments I wrote ... it disappeared into the dark regions of cyberspace. I'd bet there's a lot of cyber junk out there!

Anyway, I sat and thought about each recording for quite sometime ... perhaps an hour total, before writing that comment. I'll try to recapture what I wrote that vanished as best as I can remember.

The demo version: Loved it! That lady can sing ... should be a star. It had all the elements looked for in a demo ... a demo of that time and era. In my opinion, it's about as good a demo as could have been recorded anywhere by anyone. I thoroughly enjoyed it.

Your version: Super! It's my opinion that few singers, demo or otherwise, can fully infuse the emotion of the writer. The emotion may be as strong but not necessarily express the exact mental/emotional state of the writer. You know what you wanted and man ... did you ever deliver! Your vocal and all the backing tracks were simply super. There's a certain "begging for gut emotion" in your version that does not exist in the demo.

In summation, it's very difficult to compare the two because they were recorded many years apart and the wants and taste of Nashville and the listening public changed noticeably during that time frame. I think the demo was perfect for the era (early 90s?) of country music in which it was recorded. There's little doubt in my mind it would have been a monster hit had Reba put on her CD. In today's country music world, I don't think the demo would get a lot of second listens. Not because it's an inferior song (it's a GREAT song), but because it doesn't fit the image of today's country music. And producers, A and R folks, etc., listen through today's ears.

So, for me, it's not a matter of which do I think is the better delivery of the song. It's a matter of which version fits the mold of country music at the time of recording. I think your version would have a much better chance in today's marketplace, but the demo would have been a better fit for the era in which it was recorded. They're both fabulous. It just depends upon which hole you're trying to plug into.

I hope that made sense. if not, let me know and I'll try to better explain.

Regardless, it's a super fantastic song, regardless of when it was recorded. Best to you,

Alan

Thanks, Leon! Appreciate that...




Dani - your reviews always bring a smile...

Steve - thanks for the very kind review and thoughts. I'm glad we've got you, as well... !!!




TM - thanks for stopping in for a listen...

Thanks, Janne...




beatmaster - glad you enjoyed this. I disagree with the idea that we cannot get a full studio sound using the tools that we have available. I think there are a number of people on these forums who are doing just that....




Deej - thanks for the thoughtful review...




Greg - thanks for all the nice comments. I especially appreciate that you brought up (first) the emotions evoked by listening to the song... That means a lot to me...

…….beatmaster - glad you enjoyed this. I disagree with the idea that we cannot get a full studio sound using the tools that we have available. I think there are a number of people on these forums who are doing just that....


Your welcome for the comments, what I meant was it is damn close to what we achieve in the home studio and I was no way intending to put anything down but I meant comparing to the eagles, pink Floyd etc in multi equipped studios.. well I try and thrive to get close that's what keeps me going but...do I get the same as ?.

Anyway what we do get on here is brilliant quality to me for home studio sound so big round of applause.

Misha & Steve

I appreciate the harmony mention. floyd and I have sung together a lot but the emotion of his lyric and vocal on this song was so touching that I will forever treasure being a part of it.

Janice




Greg, comments like yours coming from somebody Bud and I consider a great singer is overwhelming. I am deeply appreciative.

Janice

Both arrangements sound great to me. Speaking to the vocals, I prefer the Floyd/Janice version - more warmth and emotion comes through, nicely matching the message of the song.

I'm late to the party but glad that I came. I listened to both versions and Dave said exactly what I was thinking.

This should be on the radio.

Thanks for stopping in, Mark. No question...I could not ask for a better singing partner than Janice...




Mr Snyder - don't think I could ask for more support than that!! Thanks for the cool review... (about time we heard whatever you've been keeping under wraps...)





bluage - thanks for capturing the true essence of the song... really appreciate that...