Something I have been meaning to do for a while is to do a cover song, Stoneygate style. (I play various Suzanne Vega covers on the guitar, but not as ‘Stoneygate’.) So when a musicians’ Facebook group I’m following asked who would be up for doing some cover song swaps, I decided to give it a go.
The pairings were random, and the group is based in America, so I thought I’d probably be working with somebody State-side. In the event, the random pairing put me with (cue drumroll) Lynz Crichton, a fantastic singer-songwriter based less than an hour away from me! It was a lovely surprise to be paired with someone so close by, with the added bonus of a future meet-up for a coffee. (A Midlands-based Brit also organised the cover song swaps… watch out world, we Midlander musicians are taking over!).
I thought it would be cool to share a little of the process with you. The first thing I did was to listen to Lynz’s EP on bandcamp, check out the lyrics, and sleep on it. I still had an earworm the next day with the song that had stood out, One Fine Day. Having another listen to the EP and reviewing all the lyrics helped confirm my choice.
Once I’d decided on the song, I could map out the structure and chords of Lynz’s original song in my digital audio workstation. I wasn’t sure about a couple of chords, and Lynz also very kindly let me have a chordsheet to check my work against. The key was not very keyboard friendly, as the song was originally written for guitar. That was going to slow me down for writing parts, so I transposed it up a semi-tone, at a very early stage, and checked it was still going to be within my vocal range. I also messed around with the tempo a bit, slowing it down to bring out the song’s full drama.
After that, I could set to work constructing an arrangement around the original song and record a guide vocal as a place-holder. My intention was to make it into a trip-hop version, but my first attempt with the arrangement felt somewhat disco-ey. It wasn’t that I disliked it, it was just that it wasn’t the vision that I’d got for it… I mentioned this to the swap organiser in our Facebook group, and he happened to mention Portishead. That got me back having a quick listen to Glory Box to check up on and confirm my suspicion that my bassline was the main culprit for the song having the wrong feel to it. It was just too bouncy.
I wrote a new bassline, stripping it right back so that it wouldn’t attract so much attention to itself. It was better, but the song now felt like it was missing something to really give it atmosphere. I tried adding some strings at key points in the song where there was space for them, messing up the chords so they felt more jazzy and retro. (This is what has given the song its James Bond overtones.) Now the song was really coming together. Time for proper vocal takes, some more tweaks and mixing.
You can hear a draft mix of my version on Soundcloud:
Lynz is covering Silver Bird, by the way, and I’ve heard a draft already, with some awesome vocals. Watch this space!