Month: October 2016

Broadjam Artist: Oskar Christian
Song: SABOR A MI & KUESSE IM PARK – 2013 – OSKAR CHRISTIAN

Reviewer: Saul Anthony

Positive Comments: I like this song except for the comments in the section below.

Constructive Comments: Its a great song but sounds a little busy. Being that busy it’s hard to find the groove.

Broadjam Artist: One More River Music
Song: Snowflakes in the Sun

Reviewer: Jeff Roberts

Positive Comments: Really compelling vocal performance with a strong, pure tenor that has a very emotional vibrato. There’s some really excellent piano work that’s really classic in the Carol King, Melissa Manchester, and Barry Manilow (hey that’s OK) vein. There’s a very delicate touch with arrangement, and this even has a bit of church hymn solemnity.

Constructive Comments: Your vocal is being overpowered by the piano. I think you should back the piano level down and also roll off the low EQ <200K on it too. I'd skip the Journey/Toto guitar solo--I really don't think it fits your song. I'd look to CSNY as the production/arrangement reference. At 3:30 I think you've gone too show tunes with extended sections and getting off the main track. I'm not sure the "snowflake" trope is really working or justified the way you've worked out the tune. If you're going for that you really have to build lyrical references to that metaphor to substantiate it (but I'd go for something that's less of a stretch).

Broadjam Artist: Tristyn Leach
Song: House of Hell

Reviewer: Jeff Roberts

Positive Comments: What a weird tune, and I mean that as high compliment. Now I know it’s Tristyn when the vocals kick in but had no clue before. Really cool vibe here with elements of Cabaret, Psycho-Western, Americana, and Polka. Really strong vocal hook and a great dance to your doom vibe. There’s tremendous invention and originality in the way this is put together. Cool lead guitar bits with a great tone, and the wah wah parts on the side are slick. Nice one Tristyn!

Constructive Comments: The acoustic tone is a bit “piezo” –is it mic’d or direct? I think you’ve over tracked the acoustic guitar parts–it takes too much of the mix I think. I’d argue for backing off the duplicate tracks (they are right?) and back the level down and add another acoustic that’s somewhat different to break up the “throb” a bit and add a more thickly textured sound. If you could get an upright bass sound in or bring up the existing bass part a bit that would be good–I hear no bassline in this. In the verses I think your vocal should really be way above the instruments and maybe throw in a bit of lofi/transistor radio effect on the vocals for a phrase or two.

Broadjam Artist: He-Nis-Ra
Song: Tanked

Reviewer: Jeff Roberts

Positive Comments: Freakin awesome guitar intro!! I love that sound and the parts. It gets a bit Nickelback when the vocals come in, so you know that could be really great or not depending on your perspective. This is really well produced/engineered–there’s an excellent balance and clarity of parts that work together like clock parts. The chorus has a strong hook, both melody and words. The rap bridge is effective without falling into the 311/Limp Bizkit zone.

Constructive Comments: This is personal taste: I don’t like the really hard-click kick drum beater and the super busy heart attack double pedal stuff. I’d argue for a smoother groove that’s really almost danceable with a kick that’s just quarter notes on 1 & 3 with small bits of extra ghost notes. I’m not into the RAAAH shout vocals but that’s the style. Have you heard Big Wreck? I’d love to hear this done more like their work without the chest beating Chad vocals, but it’s your song, and you’ve created a radio worthy song that’s perfectly done in the style you’ve picked.

Broadjam Artist: Scott Tingley
Song: Beauty Parlor Magazines

Reviewer: Jeff Roberts

Positive Comments: This is Scott Tingely–no mistaking that easy Jimmy Buffet kinda groove and distinctive vocal (I haven’t heard this one yet though so it’s truly a blind recognition). Really smooth sound, and tasty arrangement with tight playing on all parts–the drums and bass are interesting but also deep in the pocket, the key pad parts are lush, and the guitar work is really good. I love what you’re doing with changes here all through the song, with first really fantastic lift coming at :57. It lifts the tune out of the predictable, which is huge and makes the song really fresh and rewarding to listen to. This is superb work!

Constructive Comments: I think the lead vocal’s too far back and your timbre is a bit brassy–that might be from the high doubling. I’d argue for not doubling so much in the verses–maybe not at all, and have a close mic approach and get a really relaxed intimate vocal take all by itself except for the choruses and on them *add* more harmony parts.