You Got To Feel It Tonight

Song History

Below are the notes, lyric ideas, audio and video on the progression of the song as it was being written.

100310 Practice Notes


Tom Ray

Mark Whitcomb

Cliff Hammer

Eric Brusewitz

Scott Beardsley

This song was originally written during a 100310 song idea practice.

A fast 1234 rythmn.

On the chorus Scott said we should hold out chords then do a spike where the vocals are on the "and" beat.

Tom sang this as a mwah kissing motion with his hand to accent the part. Didn't quite match it but the idea was there.

Second time around for that part on the recording Scott changed his beat accidentily and it changed the way Tom came in on his rythmn for the verse and we liked it so we made a note to incorpoate that into the song. Thought it made it sound more intense.


Original audio - Titled: 100310 franz gomez test on the audio session album.


Just the beginning idea for the song that turned into "You got to feel it tonight".

100326 Practice Notes




Worked more on the franz gomez test song

Mark doubled guitar

tried to get it as tight as the original

mark had recorded a solo line but we thought we should have more of a vocal line figured out before we could add to it.

We kicked around ideas for the vocals and we discussed Workin' for a livin', the deer hunter and New yorks alright

mark had a melody idea and Tom told him to record it before he forgot.

wrote out lyric ideas.

Recorded lyrics

Tryed to add some variation to the vocal rythmn like Lightnin' Hopkins


it's opening up

dark forward get cold

Let go and come down

Tonight it's your favorite shirt

The Wind ain't hard but its calm

Let go and come down


Its possible I might miss you

if not when will it again

Even so, or beggar all /*it could be worse*/ removed

i burned, you turned, I learned,

why,(pause) why, why not, why

you got to feel it to-nite.

short solo

blow hot and blow cold

play fast and loose

Take it to head


fits- and starts

at YOUR sweet will

not counting the cost

let go and come down

Chorus 2

I can tell you, this is everything

I'm thrown and sleeveless, in and did somethings.

*Random leftover lyric ideas we typed while writing.*

/*you got that wind in your hair

you got that sand in your glass

you got that look in your eye*/




full of sound & fury


lorded over



beggar all

out of the common run


Its just him on a bench


Original audio - 100326 - You got to feel it tonight

100401 - Demo Version

On April 1st, 2010 we released this demo version of the song on the website

100526 Recording Notes




Guitar hits need to be added to second verse.

Horn line needs to be added to solo part.

100621 Recording Notes

doing a live re-recording of the song. scott set up mic sounds with mark all day and Tom and Cliff came in for the live recording session.


Tom Ray

Cliff Hammer

Mark Whitcomb

Scott Beardsley

3 takes and we got what we like.

100626 Recording Notes


Tom Ray

Mark Whitcomb

Mark laid down some more main guitar tracks also using the $250 Les Paul knock off that he bought with a sparkle body paint :)

Recorded the lead guitar line using the SG this time it had a better growl on some of the notes.


It had too much gain so we pulled it out and removed the dampeners from the room.

100630 Recording Notes


Tom Ray

Mark Whitcomb

Eric Brusewitz

Scott Beardsley

Cliff Hammer

Eric recorded his keyboard tracks

Scott laid down his tamborine part and we had him play it like a stick on the snare to emulate the way he did it on the scratch demo.

There was debate over where he did the hits during the chorus. He thought they were opposite the beat and the rest of us said they were on the beat and he was just hearing the upstroke come though from the scratch demo. We had him do it straight. :)

100707 Recording Notes


Tom Ray

Mark Whitcomb

Recording vocals. As we listened we wanted the tamborine to sound like the scratch track we worked from originally. The part was imported in to the mix and turns out that we didn't record the scratch version to a click so we went through the whole song and moved it to match when it started to slip.

Tom recorded his vocals.

Mark went into the room when he was done and sang a ooo, ooo part between verse lines that was stuck in his head. They liked it.

100714 Recording Notes


Tom Ray

Mark Whitcomb

Bryan Elliott

Recording the horn line for the song Mark found a way to make the horn sound more full. Laying a low horn part with the baritone sax and when doubling it, instead of playing the same note double the part an octave higher.

During the solo part with the horn and guitar Tom suggested during the hold notes at the end of each riff the berri does a 4 hit off beat spike to keep it moving.

100810 Recording Notes


Tom Ray

Mark Whitcomb

Listening to the mixes Mark and Tom Decided to go back to the original version of the song using the old tracks and just pulling in some of the new guitars and the horn line.

Started mixing it from there.

went section by section looking for the groove of each part.

Compressed the keys to keep them strong and match more with the guitar.

did the same with the horns with the guitar on the solo parts.

mid-leveled the main 1234 guitar, after all of the parts we played together it seemed buried so we went with an eq instead of messing with the volume.

Added a scratch track "ooh" we found we had turned on by accident that was in-between verse parts and put it in through the whole song.


You gotta feel it tonight unmastered

100811 Recording Notes

email from mark

So yesterday I took the mix to almost near readiness, and here it is, along with you got to feel it tonight, unmastered version.  If u have any ideas on Fall Down, let me know.  
Also, I talked to Trevor at Mastermind. I am afraid that I must insist ( 8--0 ), so we should figure out what needs be to do that.  I think it it will be invaluable.

audio also included in the email for "get up stay down"


Lorenzo you gotta feel it 100811

100831 Recording Notes


Tom Ray

Mark Whitcomb

Working on final mix ideas to send the ep off for mastering

Re-did Marks Ooo's on the verses to make them stronger

Added some mid-range to make them stand out and give it a little kick instead of turning them up.

After adding the effect it actually did make it louder so we had to turn it down more to match the rhythm part

Mark added the solo over an empty part between verses and turned it up to match the vocal line so it doesn't sound like it drops out.

101004 Recording Notes


Tom Ray

Mark Whitcomb

Setting up the mix to master it for EP

Thought that the drums didn't cut through so we brightened them up in the eq

pre-chorus seemed weak so we overdubbed another guitar line but played it an octave higher

On the guitar solo the second time through we added another part. A free-style thought based on a thing mark hummed and altered it with a moogerfooger effect.

Mark tried to ad a echo "tonight" vocal line to the end of the song. Tom didn't like it so we took it out. Mark kept singing it after each listen and Tom would tell him "Nope. Not happening."

*note* - video was recorded

Mixed down for EP to check out

101116 - Machinima Video

While we were finishing the song, the Machinima YouTube Channel used the demo vesion of the song we released on the website on April 1, 2010 for the video "3 Last Ways To Annoy In By Injecti0n (MW2 Countdown)"