When I did the two US sessions last year, I was mindful how the songs were were written in the first place in London, and then how some ended up on my YouTube account as demos. There, they acquired some good and bad comments, but in essence, two of the Detroit tracks were cut soley because of demo airplay on Harry Grundys programme and YouTube responses. I would guess that feedback was critical to my decission making about which songs could be worthy of doing for real and I felt it was worth the risk. The Philly scenario was slightly different, as I took ideas and some incomplete demos Stateside, but nevertheless, they were the ideas that got things moving.
The feedback from anybody on YouTube or indeed a forum is important and if the song is enjoyed, commented on and 'hit' many times by potential listeners, I ultimately value the process and its worth. On saying that, one of my recent compositions is now at demo version 30 and on YouTube. It is something I would very much like to record with vocals, but by all account could stand up as an instrumental, according to one comment. I set the scene at somewhere in the region of 1977 where there is a cross between MFSB & Salsoul. Horn stabs and counter melodies throughout with strings, electric piano and a sweeping harp every so often. I am not proficient with the wah wah, but that is me playing it in the background. I would like to do a Vince Montana style vibe solo but have not quite got around to doing it yet. Please take a listen and comment if appropriate. I am looking to see if the track is enjoyed, and would be a possible contender to cut somewhere! I have my eye on a studio in London this time, but recording here is 3 times more expensive than the States, and why would I really want to cut Philly based music here! The simple answer is I want to control the song and see if I have gleaned any production skills from the sessions I have been involved with. Here is the link:
Hi everybody -
When I did the two US sessions last year, I was mindful how the songs were were written in the first place in London, and then how some ended up on my YouTube account as demos. There, they acquired some good and bad comments, but in essence, two of the Detroit tracks were cut soley because of demo airplay on Harry Grundys programme and YouTube responses. I would guess that feedback was critical to my decission making about which songs could be worthy of doing for real and I felt it was worth the risk. The Philly scenario was slightly different, as I took ideas and some incomplete demos Stateside, but nevertheless, they were the ideas that got things moving.
The feedback from anybody on YouTube or indeed a forum is important and if the song is enjoyed, commented on and 'hit' many times by potential listeners, I ultimately value the process and its worth. On saying that, one of my recent compositions is now at demo version 30 and on YouTube. It is something I would very much like to record with vocals, but by all account could stand up as an instrumental, according to one comment. I set the scene at somewhere in the region of 1977 where there is a cross between MFSB & Salsoul. Horn stabs and counter melodies throughout with strings, electric piano and a sweeping harp every so often. I am not proficient with the wah wah, but that is me playing it in the background. I would like to do a Vince Montana style vibe solo but have not quite got around to doing it yet. Please take a listen and comment if appropriate. I am looking to see if the track is enjoyed, and would be a possible contender to cut somewhere! I have my eye on a studio in London this time, but recording here is 3 times more expensive than the States, and why would I really want to cut Philly based music here! The simple answer is I want to control the song and see if I have gleaned any production skills from the sessions I have been involved with. Here is the link:
https://www.youtube.c...h?v=_N-5jWFC1Z8
Cheers
Carl
Edited by Carl Dixon