Matt's Songwriting - Stripping it Down

What makes a good song?

Many things, and taking it back to basics and delivering it with one instrument and/or one voice is a good place to start. This isn’t my idea, and I can’t remember who said it, but for me, the acid test for any song is: If you strip it down and have one guitar or piano and one voice, do you still have a good song?

This came up when I was talking to Dave from No Questions Asked a few days ago. I’d posted on Facebook that I was practicing a Queen song for my solo slot; Dave asked what it was and if I would like some accompaniment. I told him privately that it is Who Wants To Live Forever, and I’d rather see how it sounded with one guitar and one voice.[1] That’s how I’ve been doing my acoustic show for years; only rarely do I have someone else playing on stage with me. I try to capture the essence of the song in this format; if it does, then I include it in my set. If not, I move it on.

I love the full-on rock production, but in most cases if you stripped rock songs down to they would still be good. Some of my favourite songs to cover are: Thick as Thieves by Kasabian, Closer To The Edge by 30 Seconds To Mars, A Little Respect by Erasure/Wheatus, and The Boys of Summer by Don Henley. They all sound great in a stripped-down format. And it comes across in my own songs. Bitterness would be a Crashpoint song if we hadn’t broken up soon after I wrote it; originally it was a punk-style rock song and I remember Cj doing a good job on the drums. Get Out Of My Head began in Perception, jamming a Led Zepplin-style riff on my guitar with John on the drums. It didn’t sound anything like how it eventually ended up – but I used the chord progressions from what we jammed out.

I see it in other people’s covers as well. Steve who comes to Sam Draisey’s open mic sometimes does a finger-picked acoustic rendition of Sweet Child ‘o Mine. I think that, in many respects, his version works better than the original. Granted, I will almost always say that about anyone who sounds different to Axl Rose; (I can’t stand his voice,) but the lighter finger-picking and the gently-delivered vocals capture the essence of that song more than the rock song that everybody recognises. I love Slash’s guitar playing, and the riff to Sweet Child ‘o Mine is fantastic. But Axl could have been singing toothpaste; his voice would have sounded just as bad, and the guitars just as good.

So what about bands where this doesn’t work? Two examples: Pendulum and The Prodigy. The latter, as far as I know, haven’t written anything resembling a ‘song’ in the usual sense. And Pendulum relies on the drum and bass sound with the keyboard riffs; without that, the band wouldn’t work. I’m not saying either of those bands bad. I enjoy listening to Pendulum, and I wish I’d seen The Prodigy at Download Festival in 2006. But I will say that those bands have a good sound – not necessarily good songs.

The problem, of course, is with those songs that are great but have extra parts to them that I can’t strip away. I’ve only played Motorcycle Emptiness by the Manic Street Preachers live once, and it functioned – but without the lead guitar, it’s nowhere near as good. I’d love to play Waterfall and This Is The One by the Stone Roses, and Marvellous by the Lightning Seeds, but I think those songs lose something without their backing vocals.

But I don’t think that with Who Wants To Live Forever, despite the arrangement of the original. Taking it down to one guitar and one voice – as long as both are properly managed – can make it as good as the huge amount of production that went into the record. I’m hoping that comes across if I play it at the gig.

What do you guys think? Is this a good benchmark for whether a song is any good or not? Or is the way the record sounds more important? The answer, I suspect, lies somewhere in between, depending on the context of the band. Just remember, the vast majority of songs that we listened to when they first came out and are still sounding good decades later could all be stripped back to their rawest form, and sound every bit as good.

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[1] At the time of writing I haven’t actually done the gig yet so I have no idea what’s going to happen when I do.

September: Social Media, and Depping in NQA

Back again! As blogging can be more work than fun if I try to do too much of it, I’m trying to limit my posts to 700 words or thereabouts. Thinking about it, I’m not convinced people would want to read much more than that in one sitting anyway…

 

September was a little quiet for me on the gigs front. I did a couple of Sam Draisey’s open mics, which went reasonably well and I’m becoming very fond of The Rainbow Inn as a place to play. I also did a short set at Codfest on their Open Mic stage; this didn’t go too well, largely due to me forgetting my capo and my hands being freezing cold. I’ve added Wetsuit by The Vaccines to my repertoire of acoustic songs; it’s a challenge for me to sing but I’m getting used to it.

However, two major things happened in September that I want to tell you about:

The first is that I’m now doing a run of dep gigs for the band No Questions Asked that’s going to take me up until the end of the year. Dave from the band asked me to come and play bass for an ‘audition’ for the singer they’re currently using, Mike. I knew Dave at school and we’ve kept in semi-regular contact since, mainly at jam nights he helps to run, some of which I’ve played bass at. Though it rarely takes me long to learn simple songs for my acoustic set, I’ve got an affinity with bass that I just don’t have with guitar; I can watch what Luke on guitar is doing to know what notes to play, and sometimes even the keyboards as well. I can lock in to Fred’s drums and keep the rhythm going, and provided I’m not concentrating too hard, I can put on a show with it as well.

The upshot is that Dave seemed really pleased with what I was bringing to the band, as I played all the songs he’d asked me to do and many more besides, and Mike was pro-active in establishing his involvement with them. Dave asked me to play the gigs they’ve got booked up to the end of the year, and as I can play all but three of them, that is what I’m going to be doing for most of the weekends between now and then! I’m not a permanent member of the band yet; I’m going to see how it pans out over the next few months and how much investment I have in the band before I commit to it entirely.

At the time of writing I’ve done my first gig with them and it went quite well. Watch this space for more!

The second thing is that because of some of the training I’m getting working for DY3 Solutions, I’m now making a much more structured use of social media. I now have a dedicated Facebook page for my music: https://www.facebook.com/mattdoonermusic and I’ve been making much more use of my Twitter page as well. I’m advertising the gigs on there, trying to pace out my content and keep people engaged with what I’m doing musically. This is where all my regular updates will be posted. I know it is a folly for musicians to rely on social media entirely – but when it can be done from the comfort of my bedroom, it shouldn’t be ignored.

The Rainbow Inn, Coven: 24/9/2014. There's Sam and Kayla.

As a part of this, I’ve also started making use of the hash tag function on both, uploading pictures I’ve taken from the stage. I’m hoping people will find these photos, tag themselves in them if they were there, comment on them if they weren’t, and generally increase the level of engagement when I’m not actually doing gigs – which as this is at the very most a few hours a week, is actually not that much. So, watch out for the #viewfromthestage tag – if you were at one of my gigs, chances are you were in one of the photos too!

Some big news coming up for next month, but I’d like to see how that pans out before I announce it. I’ll try and get these blogs out on the first weekend of the month after the one I’m taking about, if that makes any sense.

See you at the next gig!

Matt