Let's collect hit songs to learn from!

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RobC
Posts: 1832
Joined: 10 Mar 2018

21 Oct 2018

Ma Baker

Hmm... How about ~ pretty much everything is worth analyzing about that song.

Thriller

Honestly, the only thing that I would rather... how should I say ~ not exactly focus on, is the vocal. That's because Billie Jean feels more authentic for me. No wonder, cause those lyrics were never written down, just taped by Michael, so it was all about memorizing, hearing, and performing, plus based on a true story. (Huh, so was Ma Baker!)

Those are 70s 80s.

What about the 90s 00s 10s? Stuff that match these? I don't want to say anything stupid. xD

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Loque
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Posts: 11173
Joined: 28 Dec 2015

21 Oct 2018

Hmm...while i know and like the titles you noted, i really want to learn and better understand a few special things i noticed in some songs:
* Catch someone with a background sound/rythem and hypnotize him. While the brain refocuses on the barly audible background song, the brain "flips" somehow. Nice effect
* Get from a washy overfilled song part directly to a clean, room orientated and reduced song part with mainly clear drums and percussions, a simple bass and a "riding" fx. Perfect way for another "brain flip"
* catching someones attention with quite simple stuff, that repeats for a quite long time without anyoing someone or make him bored

I am more into find those things, hard to describe...

But to get catchy rhythms and loops, that you can hear 1000 times and still like it is beeing on the next level. Thriller is a good example. Quite simple bass, drums and i am sure i heard it 1000 times and still think its good. What does such a rythm has, that catches my attention? As far as i can: Feeling or wibe.
Reason12, Win10

RobC
Posts: 1832
Joined: 10 Mar 2018

21 Oct 2018

Loque wrote:
21 Oct 2018
Hmm...while i know and like the titles you noted, i really want to learn and better understand a few special things i noticed in some songs:
* Catch someone with a background sound/rythem and hypnotize him. While the brain refocuses on the barly audible background song, the brain "flips" somehow. Nice effect
* Get from a washy overfilled song part directly to a clean, room orientated and reduced song part with mainly clear drums and percussions, a simple bass and a "riding" fx. Perfect way for another "brain flip"
* catching someones attention with quite simple stuff, that repeats for a quite long time without anyoing someone or make him bored

I am more into find those things, hard to describe...

But to get catchy rhythms and loops, that you can hear 1000 times and still like it is beeing on the next level. Thriller is a good example. Quite simple bass, drums and i am sure i heard it 1000 times and still think its good. What does such a rythm has, that catches my attention? As far as i can: Feeling or wibe.
I'm curious about songs like in your first point. Got any titles?

Sadly, the second one is not very often practiced, yet has a quite refreshing effect to it. I feel many songs are constantly way too busy throughout the whole track.

The third point is interesting, cause I wanted to add Around The World by Daftpunk, but I felt that compared to previous two songs, it's just not enough. Though it does get boring, too, so not the best example.

I think, if the kick, snare and bass sit together perfectly, it's mostly an instant win. (Of course the melodies and other parts of the song need to be hit quality, too, just meaning that those three are such core elements, that secretly sort of carry the listener.)

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Loque
Moderator
Posts: 11173
Joined: 28 Dec 2015

22 Oct 2018

RobC wrote:
21 Oct 2018
...
Here is a good example for 1 (check out that "whoomp" bass-kick that f*cks your brain through the whole song, while the "yeehahha" moves around your head. It also has some frequency switches=brain switch):



Here is a good example for 2:

exact Spots for point 2 (but better check the whole song:




And last but not least, and i am really surprised that i could find it due the original album was a freebie on a party and was never pressed on cd, only a different mix album, that sucked imo (a long time massage with a freaking kickdrum that works):
Reason12, Win10

RobC
Posts: 1832
Joined: 10 Mar 2018

23 Oct 2018

Loque wrote:
22 Oct 2018
RobC wrote:
21 Oct 2018
...
Here is a good example for 1 (check out that "whoomp" bass-kick that f*cks your brain through the whole song, while the "yeehahha" moves around your head. It also has some frequency switches=brain switch):


Here is a good example for 2:

exact Spots for point 2 (but better check the whole song:


And last but not least, and i am really surprised that i could find it due the original album was a freebie on a party and was never pressed on cd, only a different mix album, that sucked imo (a long time massage with a freaking kickdrum that works):
Okay, I guess the secret of looping something endlessly is giving variety with other elements. I know that first one by the way. It does make me think. Definitely something that not annoyingly gets stuck in your head. Rather in a comfortable way.
Personally, I used to build things slowly, progressively, creating as much variety as possible - even if some stages got rather ~ cold, so to say. Maybe the best solution is to just do that mix-match with our instruments, whatever sounds best together, and then start arranging, using only those various pairings/team-ups, so we only hear what's most enjoyable.
Hmm, I may have thought on different things, regarding the others. Quite unusual/experimental, but I'm always up for something different.
Though personally, I'm more for hard, dynamic drums. Like in Ma Baker or Thriller.

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teddymcw
Posts: 432
Joined: 13 May 2016

23 Oct 2018

So this is an awesome idea and start to a thread.

Loque, I think I have one that satisfies a few of your points of interests. A great piece that I have enjoyed thoroughly awhile back but can taking a step back and learning from analysis of these works as a creator is such a great practice!


avasopht
Competition Winner
Posts: 3931
Joined: 16 Jan 2015

24 Oct 2018

When you play a loop in a band you are much more likely to each play.

A solo artist arranging in the sequencer has the responsibility to coordinate all parts. I've never been able to replicate what I do live with a choir or other musicians when I am alone, because I'm only bouncing riffs and phrases off of myself, or trying to retain a jam in my head, which I personally do not have the capacity to hold too well.

The solo arrangers who can bring a timeless impact are often the ones who can see their arrangement ahead of time in their head like a photograph.

I've made a few tracks where I've sort of tried to jam with myself and it can sound like it's a full band, but there's always something that gives it away.

I gave Thriller a listen and all I can say is that the people involved sculpted perfectly rounded loops with occasional digressive sounds played at just the right time to keep it moving. The vocal arrangement on the feature music video is out of the world, skipping the first two (I believe) choruses and bridge to build up anticipation.

I think one of the big differences between now and music 50 years ago is that the barrier of entry is much lower, so it weeded out the average.

RobC
Posts: 1832
Joined: 10 Mar 2018

26 Oct 2018

avasopht wrote:
24 Oct 2018
When you play a loop in a band you are much more likely to each play.

A solo artist arranging in the sequencer has the responsibility to coordinate all parts. I've never been able to replicate what I do live with a choir or other musicians when I am alone, because I'm only bouncing riffs and phrases off of myself, or trying to retain a jam in my head, which I personally do not have the capacity to hold too well.

The solo arrangers who can bring a timeless impact are often the ones who can see their arrangement ahead of time in their head like a photograph.

I've made a few tracks where I've sort of tried to jam with myself and it can sound like it's a full band, but there's always something that gives it away.

I gave Thriller a listen and all I can say is that the people involved sculpted perfectly rounded loops with occasional digressive sounds played at just the right time to keep it moving. The vocal arrangement on the feature music video is out of the world, skipping the first two (I believe) choruses and bridge to build up anticipation.

I think one of the big differences between now and music 50 years ago is that the barrier of entry is much lower, so it weeded out the average.
I didn't really consider this. Though I never played live either, just as a solo with multiple keyboards and stuff. Still, an interesting point.
On our own, it can be really uninspiring to start off with a melody while nothing is playing in the background. However, I noticed, no matter what trash we can put out off the bat, it's worth putting into the sequencer, loop it, and then play a proper melody with another instrument. Now that there's a good melody, you can go back, or remove the old one, and get to business. The rest is easy.

I'm more about Jean Michel Jarre's way. I always was interested what can be brought out from that fictional, artificial realm of synthesized music. That's why I also dig a lot into non-live processing methods, too.

And my other point is, make use of whatever you can, as long as you see it fitting and have access to. No need to be strictly live/band, or full "electronic", if you can also do both at the same time.

I felt that Thriller is a bit more cinematic for my tastes. I preferred the movement and simplicity of Ma Baker. It had just the right amount of repetition and variety. Though I would cut the announcement part/bridge in it, and I think the ending isn't necessary either, cause to me, they sound not as fun as the main parts of the song.

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