Now Tracking : Two Demos For A Client In England

Two songs in today from “across the pond.”

Both are by a working musician from England named Charlie Kelland. “Santa Fe” is an uptempo country tune that’s getting the full band demo treatment. The original rough sounds like a song playing in a 1960’s western movie so it needs updated. “Forever”is a piano/vocal/hand drum demo featuring a lot of soulful background vocals.

We just logged them in this morning so it will be a little while but I’ll post a finished demo of SF if Charlie allows.

Update 12-12-13 Here’s Santa Fe produced in a modern country style with both fiddle and lead vocal by Jenee Fleenor who plays for country recording artist Blake Shelton:

Santa Fe © 2013 Charles Kelland is posted by permission. All rights Reserved. Unauthorized use is a violation of U.S. and International copyright law.

Pro demos make everyone- friends, family, artists, record company A & R and music publishers- take notice. Have 3 or 4 pro demos to peddle and they’ll brand you as a pro-level songwriter every time you pitch them.

We would be thrilled to do that for you, simply drop an e-mail with your rough mp3 or mp4 attached to: with the details of what you want and request a quote.

Pre-Production : What Is It?

acoustic-guitar-pic I’ve set aside 1.5 hours this morning for pre-production on an original song titled “Into The Light” by songwriter Timothy Demming.

Tim ordered “The Works” level demo ($1,250.00) which is a full band demo including lead, harmony and background vocals, a 6 piece band including doubling of tracks where warranted, mastering, and radio ready mix. It comes with a limited release license for up to 10,000 copies to be sold, either via download, CD or other means.

I loved Timothy’s rough and I’m excited to get started!

What happens in pre-production? This is the time production notes are made, the songwriter’s notes are reviewed, the arrangement is created and Nashville Number Charts are written. It’s also when the singer and musicians who will be on the session are chosen.

If I hear flaws in the song’s construction, be it in the lyric or in the music, I’ll shoot out e-mail(s) to the client noting the perceived problems and possible fixes. I realize that what I see as a problem may be something the writer did intentionally and wants to keep, which is perfectly okay.

Common problems resolved at this stage are:

  • Extra bars that aren’t needed
  • An odd number of bars that need to be evened out so that portion of the song doesn’t feel “left footed.”
  • A line that is so wordy the singer won’t be able to squeeze it all in without sounding unnatural.
  • A chord choice that doesn’t fit the progression or the melody.
  • A melody that isn’t supported by the chords.
  • Tempo slightly faster or slower than ideal.
  • Weirdness. I can’t explain this exactly other than to say songwriters, left to their own devices without input or guidance, often do strange things, especially in the lyric. For example, they may write a complete song built on a concept that, unbeknownst to them, could also be taken another way they never thought of. Can you spell “sexual innuendo” and place it in parallel to a normal lyric in a sweet old ladies’ gospel song? Not the best idea to let that out in public, she needs some gentle guidance.

    Or sometimes a song is just plain weird beginning to end: “What Does Santa Give Huskies for Christmas?” comes to mind. Perhaps there are some questions we just don’t need an answer to. Gentle. Guidance.

    I don’t address things like pitch issues, tone or musical ability of the singer and players on the rough. If the songwriter making the rough version had perfect pitch, great tone, could play at session quality and do great arrangements what would they need us for? I expect those elements to be pretty raw, just send in the best rough you can muster. I’ll review your song, not how well you perform it.

    Jesus will judge you someday, it’s not my gig : )- b.e.