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I.S. Greetings to all of my fellow music nerds and all you Melomaniacs.

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My lovers of liner notes, shoe gazing, pedalboard, pundits, vocal bagabons, face-thumping

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bohemians, knuckle-dragging drummers.

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Love you guys.

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This is the Phantom Power Music Review.

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We geek out on songwriting, production, music theory, all those little details that

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make great songs what they are.

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We don't care about De genre, we just celebrate the art of making music.

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And we know, as musicians, we're really the glue of the world, right?

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We know that.

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So this is a listener's supported value cast.

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You guys know there's no ads, there's no commercials, there's no sponsors, it's all

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value for value.

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If you like it, if it brings value into your life, we'd love it if you could give some

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of that value in return, be it with your talent or your treasure.

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That's what value for value is all about.

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And of course, I'm splitting this with all of the artists that you're going to hear on

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this show.

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So we're going to dive into the theory and the composition and the recording of some

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of these songs, talk about them, love to get your feedback.

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You guys can always find me on Noster, Telegram, Instagram, Mastodon, yada yada yada, always

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open to your suggestions.

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Let's dive right in, shall we?

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Let us check out a song called "If I Could" by an artist from Ohio who goes by the name

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of Embelton.

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And then we'll break it down.

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Everybody groovy?

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Got your wallets ready?

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Let's go.

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♪

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Times have changed, I count my blessings

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At the end of every day

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I don't worry 'bout the future

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It just scares me playing too dead

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But I'm learning not to let it

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Get the best, and it's dead

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I'm getting quick to save for you

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For the things out of my head

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All I need is what I have now

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In the room for my head

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As long as I can pay the rent

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And tug of my children into bed

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I can control the future

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And I don't think that I would

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I couldn't make it any better if I could

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Times have changed, and I'm still kicking

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Same old dreams, all down the lane

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The only difference is the price I'll pay for over a year

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'Cause I'm not the only dreamer

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I'll teach them all I can

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How to be quick to save your brain

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For the things out of their hands

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All I need is what I have now

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In the room for my head

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As long as I can pay the rent

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And tug of my children into bed

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I can control the future

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And I don't think that I would

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I couldn't make it any better if I could

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Oh, I'll do the best that I can

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Oh, when I break things make amends

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Oh, you're scared of me making up out of you

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Oh, I'll do the best that I can

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Oh, I'll do the best that I can

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Oh, I need is what I have now

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In the room for my head

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As long as I can pay the rent

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And tug of my children into bed

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I can control the future

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And I don't think that I would

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I couldn't make it any better if I could

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That is Embleton

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with "If I Could" on the Phantom Power Music Review Episode 21

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I love this track

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I think it is such a wonderful example of Americana today

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I think that it's beautifully constructed

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It's beautifully layered instrumentation choice is fantastic

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We're in F-sharp about 126 BPM

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Versus 145-155

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Right? So you would call it in the Nashville numbers

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You'd probably say 145-15 because you just to indicate that you're sharing the last

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phrase of the one on the five there

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Corus is 41-51

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Solo section 14-15

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Beautiful chord change

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He switches over to a 64-15

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On the in that solo section kind of like a shout-course bridge

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After the line make amends

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And that's like a crowd-caller that whole section right there which I just think is fantastic

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The building of the second half of the first verse

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stands out to me

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The baritone guitar tones are fantastic

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I love the two acoustic parts that you hear in your cans

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Drum choice is spot on I mean it's this is all very mumphored in sons right

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But it and I love that band too

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It's just so well constructed it's just so well done

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The lyrics obviously for those of us who have kids

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And who go through this struggle they hit home

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I think he nailed it

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Such great storytelling

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Americana to me is really two things one it carries it's it's a modern take on country

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But it has a more modern organic modern acoustic sound

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If that makes any sense

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And of course the lyrics in the storytelling are just as important as they are in in country

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The top of this guy's range is just crystal clear

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Like when he's belting that line over the over the 64-15 on the make amends part

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It's fantastic

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And then I love the way he ends it too a beautiful soft landing drops that you know he does a cut time

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And ends it all on the two chord

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Just loved it really loved it

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Great example of Americana

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Great production I don't know where he tracked it

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He bounces but from what I can tell on his socials he bounces back and forth between Ohio and Nashville

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Sure as hell sounded like he tracked it here with the best of the best

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But you know these days he he probably could have done it in his basement and Akron and played all the instruments himself

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But I really hope you share that song with anybody that likes Americana music

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Because I think that that is just a fantastic example of how to do it right

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Great layering great structure wonderful chord choice exceptional melody

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And most importantly a message that will stick with you and resonate with you

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Like whenever you're going through those feelings of being a parent

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And the struggles of it you know you go back to a song like this because it just makes all the difference in the world

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And that is why we write music and share it

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So embellton man beautiful tracks or just absolutely lovely

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Lovely all right let's move on let's check out let's uh let's completely strip the gears on this car and do something completely different

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Let's check out a track called sweat by mr. Chris Nichols on the phantom power music review

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Hey mama I'm going to the bar

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What you going in the bar for boys I want to dance my

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You can dance where you want dance to the beat of your heart boy

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Oh I never thought about that my heart hey

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You can dance where you want to do the beat of heart with going back to the bar right apart of that

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Dance where you want to do the beat of heart with going back to the bar right apart of that

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You can dance when you want to do the beat of heart with going back to the bar right apart of that

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Dance where you want to do the beat of heart with going back to the bar right apart of that

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I'm at the lady down New Orleans she got a polka dot dress and she like to swing

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I'm at a sweetie in my tomorrow she gon' drop them night till she can't know her

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I saw you the end of the home her tangle was a dance man I thought I saw you

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So my next wife she was down on ten but she got me a pound eyes and she like the salsa

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I found a lady in Boston she loves them jazz black shoes and bow tie and dance

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Maybe I'm a lucky turner I've done you done a girl you've been tortured

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You're shaking up on a bow and I'll sweat for me

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I'm not sweat for me

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I'm not sweat for me

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I'm not sweat for me

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I'm not sweat for me

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You can dance when you want to do the beat of heart with going back to the bar right apart of that

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Dance where you want to do the beat of heart with going back to the bar right apart of that

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Now let me tell you all something

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I'm about these women that was only one girl I was gonna dance with

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Let me tell you something hey

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There's a gypsy girl down in Texas hell she could dance she could shake their knees

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She could die reached dance only took one grand ten of starting to squeeze

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Not sweat for me

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I'm not sweat for me

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I'm not sweat for me

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I'm not sweat for me

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Just sweat for me

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You can dance when you want to do the beat of heart with going back to the bar right apart of that

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Dance where you want to do the beat of heart with going back to the bar right apart of that

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There was Boston in Texas barbed in more of the homer

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Tampa in this course on the way the only damn girl down in Atlanta long

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There's a sweet gypsy girl got me wanting some more and I'm not sweat for me

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I'm not sweat for me

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I'm not sweat for me

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I'm not sweat for me

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I'm not sweat for me

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I'm not sweat for me

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Mama told me use the beat of my heart so I'll follow the beat of Texas if I'm your sword

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The beat of my heart team mama was a wrong cause of a star and she switched on me

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She switched on me

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She switched on me

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She switched on me

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Ah

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Ah

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So

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What do you think?

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What do you notice about that one

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What is that song having common with chain of fools by Ruth Franklin or Papa was Rolling Stone

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Or even who do you love by Bo didley or loser by back

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Get the party started by pink

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Did you figure it out?

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It's one chord all the way through

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All the way through right now you guys know I love to geek out over chords and melodies and harmonies and all that stuff

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This is a great example of keeping it simple I freaking love this it's funk it's all about the groove

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It's all about the groove it's the groove in the fun lyrics

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Sometimes you don't have to be Steve Lucathur or getty lead to pull off an amazing song

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You can just focus on the groove

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This is chain of fools

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Papa was a Rolling Stone

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Or even like look at some of the stuff the Beatles did

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Like within you without you one chord all the way through right

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The vibe

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Mona at midnight howl and wolf get the party started

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Loser a lot of Bob Dylan songs and gives one chord all the way through

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Because this is funk and it's all about the groove and it's all about shaking your rub

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Right and I just love it

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It's so simple but I love it

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And I absolutely love all the geographical references in the lyrics

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I mean like what a great way to endear this track to the entire country right

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That's a smart lyrical trick

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So Chris I love this track man great job

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And I don't know where you got that voiceover or whatever that was

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At the beginning of the track where you're quote unquote talking to your mama

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But it's perfect it fits so well

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So sometimes songs don't have to be

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You know Leviastron Giotto

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Stir with a heaven

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Sometimes they can just be one kickass groove all the way through it

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I really wanted to celebrate that with this particular song

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Just a great classic funk

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Like I can see Bootsie Collins playing this

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You can see George Clinton putting this in the set

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It's right there

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It's right there it's fantastic

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So Chris thank you for that

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Thank you for reminding us that

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Sometimes you just get you can you can keep it simple and still have a brilliant beautiful song

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That's a lot of fun right on

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All right next one

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Let's let's bring it back here to

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Nashville

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Let's look at red light

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From Tony Salimoni

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Ready?

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Here we go

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[Music]

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Sitting up on a fan side

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I'm home but my hands up to the sky

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A bell face first into the concrete

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Now I'm running with a black guy

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Sly of things on the stranger

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Had the bleak feet times to check my sides

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And do you like a little danger

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Ooh, 'cause I'm running through the red light

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Ooh, I don't know the reason

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And maybe it's a feeling now

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Yeah, ooh, the man in the pieces

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Baby look, we're feeding now

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Send me outside the night

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Ooh, somebody through the red light

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♪ I live through the red light and a blue moon. ♪

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♪ Walking into a lane called into my brain. ♪

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♪ I live in a cloud that's a prima, prima, prima, ♪

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♪ my brows. ♪

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♪ Ooh, but a fibrillated light. ♪

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♪ All my kindness changing you. ♪

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♪ Everything is taking a shape of you. ♪

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♪ I'm gonna get too high a night. ♪

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♪ Ooh, so running through the red light. ♪

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♪ Ooh, I don't need a reason. ♪

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♪ Baby, it's a feeling of love. ♪

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♪ Baby, ooh, moving in the places. ♪

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♪ Baby, I'm not feeling alone. ♪

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♪ Time we all find a light. ♪

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♪ Ooh, 'cause I'm running through the red light. ♪

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♪ Ooh, ooh, moving in the places. ♪

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♪ Ooh, ooh, moving in the places. ♪

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(upbeat rock music)

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♪ Ooh, ooh, moving in the places. ♪

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♪ 'Cause of a natural vision. ♪

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♪ They tell me right by way to the sun. ♪

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♪ I'm gonna be better than a fetter. ♪

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♪ Ooh, so running through the day's dream. ♪

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♪ Ooh, I don't need a reason. ♪

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♪ Baby, it's a feeling of love. ♪

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♪ Yeah, ooh, moving in the places. ♪

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♪ Baby, I'm not feeling alone. ♪

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♪ Ooh, I don't need a reason. ♪

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♪ Baby, it's a feeling of love. ♪

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♪ Ooh, ooh, moving in the places. ♪

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♪ Baby, love, moving in the places. ♪

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♪ They tell me I'm not feeling alone. ♪

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♪ 'Cause I'm running through the red light. ♪

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♪ Ooh, ooh, moving in the places. ♪

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♪ Ooh, ooh, moving in the places. ♪

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♪ They tell me I'm not feeling alone. ♪

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♪ They tell me I'm not feeling alone. ♪

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Tony Salimone with red light here on the Phantom Power music review, episode 21.

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Come on, Acha in G-Sharp Minor, not just any minor, but a harmonic minor.

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And we'll get into that here in a little bit.

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Uh, chord changes, 1734, pretty much all the way through, but he does,

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he turns on the, on the dominant, he turns on the five every now and then, right?

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This is a really great Nashville pop rock track.

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It's a good, it's a really perfect for the Nashville sound these days.

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And a lot of people don't realize that Nashville really has a budding rock and pop scene.

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Um, lots to, lots of things to love about this track.

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Um, let's go through some specifics here.

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Really good crunch on his voice, but then you've got a clear harmony in your other ear, right?

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Um, the entire track is exceptionally EQ'd, um, but I want to talk about the vocals first.

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And it's, and it's funny too, like when you, when you pull that trick, like where you have,

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have some crunch, some distortion on one and then the other, the other vocal track,

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the harmony track is clean, like your mind can kind of play a trick on you and make you think that,

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oh, that baseline must be dirty too.

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No, it's not.

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There's like, that's a clean, bass picking part, very well EQ'd.

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Great separation to, um, in the background vocals, not only in the EQ, but in, um,

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the mix placement and the note choice of the harmony parts.

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And he's really got a great harmony ability, you know, especially like when you hear that,

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woo, woo, woo, those, those are hard to pull off.

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Um, very well done.

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The, the other part that I, like, that the mix that I actually kind of want to focus on a little bit here is the,

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is the mix of the drum kit.

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Um, great focus on the kick and the snare, of course.

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Like I, I love the kick tone.

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I would love to know what beater they were using.

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I would love to know how big the kick drum is on this.

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But interestingly enough too, like I, the, the symbols and the tambourine are kind of,

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are, are back further in the mix and not as bright as you would typically expect them to be.

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And I think that that was absolutely intentional, um, to reflect kind of the darker edgy or

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energy of this track, right? Like a lot of high tempos stuff, uh, will tend to be very bright,

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uh, just because there's so much going on and it's, and it's happening so quickly that you want to

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try and really create a lot of separation in your mix.

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Um, but I love the fact that they did not do that on this and I believe it to be absolutely

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intentional because of the darker elements of this track, the darker energy of this track.

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I really enjoy the fact that the drums were not as bright as what a lot of people would think

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they would be and that stands out to me.

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And then there is also a nice little change in that down chorus if you guys caught it, uh,

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after the solo, um, you know, it's kind of like a low-fi drum kit sound, uh, before the whole band

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comes back in. Fantastic. Um, so the drum mix was really exceptional.

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Um, guitar tones, great too. I love the note choice in the guitar solo, the good, and I don't

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know who laid the track. Maybe Tony did it. Uh, he's, he's primarily a keyboard player. Um,

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but if you go back through and listen to that guitar solo, who never played it, they picked out a

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couple of the lead lines from the melody and, uh, of the melody and of the verses and the melody

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of the chorus, but they also added in just enough like it of, of, uh, improvisation.

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It was really smart, really smart, uh, tone choice in the solo. Um, did you pick up on the, the bass riff

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that happens in the first verse, right about 31 seconds where there's actually a dropout, but then in

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the second verse at, uh, minute 27, it's just to touch more detail than the first verse. And I really

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love attention to detail like that when, if you don't know how all of this works in the studio

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these days, but when, when you record digitally, you can quickly and easily cut and paste parts,

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right? Like literally just like you would on an Excel spreadsheet or Microsoft Word. Oh,

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that's a nice paragraph. I'm just going to use that again. So it, it can denote laziness, right?

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Because you can literally build a great verse and then just cut and paste and use the whole thing

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again. And, and they do that a lot in, in pop. But what I love what Tony did here is he really paid

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attention to some minute details to create some subtle differences to make each section a little

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different than the last and create some nice layers. That is the difference between someone who

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cares about the craft of songwriting and somebody who's just desperate to release a shit ton of music

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and try and make some money. I, I really love that attention to detail. You hear it also yet,

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you hear it in the guitar solo when the chord changes are slightly different, even though it's the

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same pattern, but the, when those changes happen, they're slightly different than the rest of the song.

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You also see it in the third verse when there's a couple of pauses in the track. Um,

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now let's talk about the, the, the really cool choice of the harmonic minor. Um,

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let me turn my piano on here. There we go. All right. So with the harmonic minor on this,

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that it, you know, you've got a regular like a natural minor like this,

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right? But the harmonic minor has a raised seventh, so it's going to sound just a little different.

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[piano]

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You're going to have a little bit of a pull in there. And I really love the, the five chord choice

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coming out of the chorus because it, that, that major three that comes off of that five chord,

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in this instance, it's a G natural. That is a wonderful tease. It's a wonderful pull.

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You don't hear a lot of the harmonic minor in today's pop and rock. And I always love it when

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somebody pulls that trick. So kudos to Tony for attention to detail on this high energy track in G sharp

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harmonic minor. He might disagree with me. He might say, well, it's actually a flat, whatever.

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G sharp a flat. Get the point, right? Um, so that is red light from Tony Solomone here in Nashville.

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So before I read off some boosts and zaps and thank you. So I wanted to remind you of two things

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coming up in Nashville, in July at, uh, that's happening during the Bitcoin conference. Number one,

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we are going to be hosting a stage at the embassy suites Thursday, Friday, Saturday, July 25th,

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26th and 27th in between like 11 and 4, 11 and 5. Um, so please go to our website, phantompowermusic.io

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and register. We've had a really good response so far. I know we're going to have some names up there

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that you are familiar with. And we hope to introduce you guys to some new folks as well. And we've also

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got some podcasters that are interested in doing a set while they're there. So we're going to announce

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the lineup for that in June and we're looking forward to that. Number two, uh, Joe Martin is going to

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be headlining a gig at the vinyl lounge on Thursday, the 25th. Uh, Anzli is going to go before him

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and opening up for Anzli is just loud and there is going to be a special guest as well. And then

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capping off the night, um, a rock and roll karaoke live band with Satoshi Rokamoto. So that is going to

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be a hell of a lot of fun. So make sure you are checking out our site and all the master channels

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for all of the information on those great events coming up during the Bitcoin conference. Um,

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wanted to give out a couple of quick shout outs here and thank yous for the following people

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who have sent in a lot of sat over the last couple of days, uh, from all of our shows.

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Rod Reach music, Just Listening, Sir Bill, Weirdo, Eric Pp, Adam Curry, John SB RT, Chad F,

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00:28:28,680 --> 00:28:36,440
Just Listening, Joel W. Borson Galover, Alan C. Paul, Dude with Ears, Nicholas B-58,

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Sandy Meyer, Billy Bond's, Three Cospeel and, yeah, thank donkey, her before band, love you guys,

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Tamarack, um, there's circus media, there's been a lot of sats and boost coming in and I thank you

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all for that. If this show brings value into your life, uh, would love to get some of that in return.

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I love doing these shows, but as I always love to say, daddy needs a new microphone, right?

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Um, thank you guys so much for listening. Please tell all of your Bitcoin friends about these apps

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that you are using to listen to the show. You could be listening on CurioCaster, on Fountain,

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00:29:16,840 --> 00:29:25,160
Podverse, True Fans, Podverse, Podcast Guru, we need more people in this space and we can,

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00:29:25,160 --> 00:29:29,240
we gotta build the audience, so please help us out and tell all your friends, wake the kids,

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phone the neighbors, that type of thing, right? Thanks for listening guys, we'll, uh, we'll see you soon,

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take care.

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[music]