Below are the notes, lyric ideas, audio and video on the progression of the song as it was being written.
Involved
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".
involved
Tom
Mark
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
Chorus
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
a BIT IN THE TEEETH
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*/
license
unbuttoned
assumption
full of sound & fury
roistering
lorded over
sleeveless
caprice
beggar all
out of the common run
Pitch
Its just him on a bench
Original audio - 100326 - You got to feel it tonight
On April 1st, 2010 we released this demo version of the song on the website
http://www.lorenzosmusic.com/2010/04/lorenzos-music-netcast-april-1-2010.html
Involved
Tom
Mark
Guitar hits need to be added to second verse.
Horn line needs to be added to solo part.
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.
Involved
Tom Ray
Cliff Hammer
Mark Whitcomb
Scott Beardsley
3 takes and we got what we like.
Involved
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.
Involved
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. :)
Involved
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.
Involved
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.
Involved
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
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
Involved
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.
Involved
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
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)"