The Sciencebase musical Top Ten

The current Top Ten of my songs streamed from my BandCamp page

1 Ticking Clocks
2 No Footprints in the Sand
3 Easy come, easy go
4 Festival Friends (Cool as Folk)
5 No symphony for lovers
6 What we have become
7 The people we could be
8 Ebb and Flow
9 Dustbowl
10 Tideline

Ticking Clocks – A sort of sequel to “She’s Leaving Home”

No Footprints in the Sand – When there’s nobody on the beach

Easy come, easy go – Argument for argument’s sake, laid-back funk rock

Festival Friends (Cool as Folk) – Acoustic, fingerstyle instrumental

No symphony for lovers – The Synaesthesia Blues in a Paul Weller style

What we have become – Live studio, singer-songwriter melancholy

The people we could be – Songwriter reminiscences

Ebb and Flow – Singer-songwriter tidal musings

Dustbowl – A nice big slice of Americana

Tideline – Still a Northern Soul at heart

Interesting that the majority of the streams this month have been for the more melancholic singer-songwriter acoustic stuff. I do have quite an eclectic mix of styles across the last decade of recording and musical collaborations. Ten albums worth of my music. And, a triple-album collection of earlier songs here.

Dave Bradley’s Music

TL:DR – I have dozens of songs and instrumentals for you to download or stream through my BandCamp page right now.


Although, I’m probably best known as a professional science writer and an amateur wildlife photographer, when I’m not involved in those you might catch me singing and playing live with my band, C5 Website/Facebook, or in our community a choir (TyrannoChorus). You can hear my latest solo and collaborative recorded music on BandCamp and SoundCloud. Some of my stuff is on Spotify and iTunes too, including a few cover songs. As of 30th July 2023, Mrs Sciencebase and myself are also now veterans of the Cambridge Folk Festival having performed there live with a scratch choir organised and rehearsed by Ben and Dom.

Dave Bradley with a guitar in between songs at a pub gig with his band C5
Dave Bradley performing with C5 the band, photo by Clive Thomson. That’s lead guitarist Rich Blakesley blurred in the background.

I’ve always been in love with music, since my first baby rattle and toy guitar as a tot, been attempting to play guitar ever since. It is only in the last fifteen years or so that I have performed live in front of audiences and written and recorded my music, first with a community choir and then in a gigging band C5. I’ve sang at the Royal Albert Hall with a mass choir and recorded at Abbey Road Studios, ditto. Have also sung with The London Community Gospel Choir (twice) and with Pete Churchill’s London Vocal Project (twice). I’ve also taken part in a couple of choral workshops with classical composer John Rutter.

Proud to have played quite a few pubs, events, festivals, and party gigs with my band C5 and also alongside the inimitable Barbara Duckworth. Also to have had a few solo slots in front of audiences of a fair few hundred singing the lead on Billy Joel’s “The Longest Time” with the TyrannoChorus choir (led my Siobhan Lihoreau, with arranger and pianist Tim Lihoreau) the West Road Concert Hall in Cambridge and just before the 2020 lockdown singing “Be the Man” by The Young’uns for two charity events with the choir. I’m also occasionally called on to provide guitar accompaniment on songs we have done by Cat Stevens, Sting, Paul Weller, The Who, The Divine Comedy, The Traveling Wilburys, The Beatles, and others. Many of my original compositions can be found on my BandCamp page. I’ve performed a few of these live at various events and a mental health music festival.

This is a very short list of a few of the musicians, bands, and artists I admire in alphabetical order: Alan Parsons Project, Athlete, B52s, Badly Drawn Boy, The Beach Boys, The Beatles, Blondie, Blue Aeroplanes, Blur, David Bowie, Kate Bush, Camel, Glen Campbell, Phil Collins, Crowded House, The Cure, Paco de Lucia, John Denver, Al Di Meola, Thomas Dolby, Doves, Dr Dre, Duran Duran, Editors, Elbow, Fred’s House, Robert Fripp, Peter Gabriel, Genesis, Steve Hackett, Steve Hillage, Carole King, King Crimson, The Kinks, Led Zeppelin, Manic Street Preachers, Joni Mitchell, Van Morrison, Mike Oldfield, Pavlov’s Dog, Placebo, Porcupine Tree, Radiohead, Gerry Rafferty, R.E.M, Nile Rodgers, Rush, Seals & Crofts, Siouxsie and The Banshees, Squeeze, Steely Dan, Supertramp, Andy Summers, Talking Heads, James Taylor, Tears for Fears, U2, Franki Valli, The Willows, Yes, Neil Young, there are many others.

I’ve been told that I occasionally sound like a Geordie Glenn Tilbrook (that’s according to Dek “Mono Stone” Ham), and sometimes George Harrison, Steely Dan, Stephen Duffy, Peter Gabriel, early Oasis, Phil Collins, Alan Parsons Project, Sting, James Taylor, James, Echo & The Bunnymen, U2, David Bowie (most often, admittedly), and Stephen Stills, and most recently, Cat Stevens, Neil Finn (Crowded House), the latter on the basis of my charity single “Bridges crossed and burned“, and even Elton John, although I think that was only really about the piano loops I’d used on my Meat Loaf pastiche – Fake it Till You Make it by Malt Loaf.

I couldn’t claim to have even an ounce of the talent of any of those people, but I do reckon I’ve finally developed my own sound now. And, more to the point, I don’t wear my influences quite so prominently on my silk kimono sleeves as with many of my earlier songs, although there are almost always allusions to those inspirational musicians in there some
where.

Mastodon

Reboot of my original music page from way back when…my earlier songs from my CCC Arts Night era can be found on the newly branded Sciencebase BandCamp page here.

Cambridge Folk Festival 2023

Lady Blackbird
Lady Blackbird

Mrs Sciencebase and myself once again headed for Cherry Hinton Hall for this year’s Cambridge Folk Festival (27-30 July 2023). This time around, I didn’t take any camera equipment other than my phone. Still ended up taking almost 300 photos and videos nevertheless…I’ve put the photos in a video montage with a piece of incidental music I wrote and recorded once we got home, inspired by the festival and a guitar workshop with Nigel Wearne (pictured below). The tune Festival Friends, is also now available to stream or download from my BandCamp page as part of my Four Missing Keys EP.

Tent
Home from home at Cherry Hinton Hall
Grand Entrance
Grand Entrance to Cambridge Folk Festival 2023
Festival Wristband
The obligatory festival wristband
Stage 2 audience, first night
Stage 2 audience, first night
Camping kettle courtesy of Liz
Camping kettle courtesy of Liz
Essentials
Day two essentials
Guitar workshop with Aussie Nigel Wearne
Guitar workshop with Aussie Nigel Wearne
Audience member red boots
Audience member red boots
Audience member bag
Audience member bag
Random hat
Random hat
Lady Blackbird
Lady Blackbird
Lady Blackbird
Lady Blackbird
Flyte
Flyte
Julian Taylor
Julian Taylor
Folk Festival crowd
Folk Festival crowd
Braebach
Braebach
Kate Rusby
Kate Rusby
Sorry, don't know this band's name
The Smith and Brewer Band
Baskery
Baskery
Niteworks
Niteworks
Niteworks pipes
Niteworks pipes
Cool as Folk pick courtesy of Adam
Cool as Folk pick courtesy of Adam
Festival Choir audience at our performance
Festival Choir audience at our performance
Sons of Town Hall - aka George Ulysses Brown (Ben Parker Jr) Josiah Chester Jones (David Berkeley)
Sons of Town Hall
Josiah Chester Jones aka David Berkeley
“Josiah Chester Jones”
Le Vent du Nord
Le Vent du Nord
Setting up for Imelda May
Setting up for Imelda May
Imelda May prior to changing into hand-painted Sinead O'Connor vest
Imelda May prior to changing into hand-painted Sinead O’Connor vest
Ferris + Sylvester
Ferris + Sylvester
Folkies
Folkies
Leafy shadows, stage 2
Leafy shadows, stage 2
Festival scratch choir rehearsal
Festival scratch choir rehearsal
Stornoway clashed with The Proclaimers
Stornoway clashed with The Proclaimers
The Proclaimers, headlining Friday night
The Proclaimers, headlining Friday night
More audience
More audience
Eliza Carthy and the Restitution
Eliza Carthy and the Restitution
Mrs Sciencebase in my cowboy hat towards end of Imelda May set
Mrs Sciencebase in my cowboy hat – last night
Half the packing
Half the packing

We enjoyed the following acts Gnoss, Flyte, Symbio, Ibibio Sound Machine, Nigel Wearne (on stage and for me a guitar workshop), Lady Blackbird (massively who finished hiser set with a tribute to Tina Turner in the form of River Deep, Mountain High and Proud Mary), Folk Camps Party Band with caller Fee Lock, The Longest Johns (quite a tame Wellerman rendition it has to be said, Stornoway (in favour of the second half of The Proclaimers’ set, they do a version of The Only Way is Up on which the intro to our band C5’s arrangement is loosely based), Kate Rusby (very funny), (un peu de) Le Vent du Nord, Niteworks (incredible Celtic EDM with pipes, a little bit of Rufus Wainright, some Arrested Development, Judy Collins, the fantastic Ferris + Sylvester, a spot of Breabach, William Prince, Oi Va Voi, Elephant Sessions, Angélique Kidjo (who did some great Talking Heads covers), Imelda May who did a stunning tribute to her late friend Sinead O’Connor in Nothing Compares 2U.

There were others that we ducked in and out of on various stages…Baskery, Son of Town Hall etc…you can’t get to see everyone and it always feels like you’ve missed out when you hear back from friends who were audience at one stage when you were at another, but all in a lovely weekend again.

One of the highlights for us was that we joined the Festival Choir with Ben and Dom and got to perform a 30-minute set Sunday, on Stage 3 (actually the choir was too big for the stage, so we were in front of it), but we went down well with a captive audience keeping out of the Sunday rain!

Lots of Horsechestnut Leaf Miner swarming the Horse Chestnut under which we camped
Lots of Horsechestnut Leaf Miner swarming the Horse Chestnut under which we camped…you knew there’d be moths, surely?
Take it easy
Take it easy
Is it on the trolley?
Is it on the trolley?
Cuppa?
Cuppa?

Festival Friends added to Four Missing Keys EP

I wrote an instrumental inspired by attending the Cambridge Folk Festival at the end of July and not only taking in a lot of great acts, but taking part in a Nigel Wearne guitar workshop and performing with the Festival Choir.

UPDATE: 3 Aug 2023 – Nigel had a listen via my Insta and had this to say, which is very kind of him:

“Beautiful! So glad you put that tuning to great use. Fantastic playing!”

The track is called Festival Friends and is the incidental music to my video montage from the festival. The final mix is also now part of my Four Missing Keys EP, which was originally a triple A-side of three songs, written September 2022, January this year, and then March. The latest tune uses open-G tuning, the sound of which you might recognise from various artists and songs, not least the Rolling Stones (see Classic Chord #20).

Four tracks written and recorded during late 2022 and 2023, quotes are from listeners:

Festival Friends (Cool as Folk) is an acoustic guitar instrumental in open-G tuning inspired by the Cambridge Folk Festival.

“A gorgeous little instrumental”

Ticking Clocks – A simple jazz-rock fusion track was recorded in January 2023 with C5 drummer Adam Stewart on percussion and synths

Take the Waters – Gentle post-covid singer-songwriter vulnerability.

“Take the Waters wouldn’t be out of place on the Neil Young album Harvest”

“Gorgeous, vulnerable vocals. Great harmonies. Lovely acoustic guitar solos.”

Old Nick is Quick – Quick quasi-new-wave Americana. Wine is fine but whiskey’s thicker. Written and recorded in March 2023.

ChatGPT: Your personal brand manager

TL:DR – I prompted ChatGPT to write me a personal brand pitch.

I haven’t mentioned ChatGPT for a while. There has been something of a backlash against the hype and the scaremongering. But, I have still been using it for various small jobs, such as quick website tweaks and summarising documents that are TL:DR (too long, didn’t read). Latest prompt I gave it was to act as my personal brand manager and write me a pitch based on the Sciencebase homepage. This is an edited version of what it came up with:

David Bradley Science Writer

As a multi-award-winning freelance science writer with over three decades of experience, David Bradley has a unique talent for making complex scientific concepts accessible and engaging. He has written for a diverse range of outlets, including countless newspapers, magazines, research, industrial, educational, and academic organizations, and websites, covering a wide range of topics from astronomy to zoology and almost everything in between.

As a wannabe polymath, he is also an accomplished musician with an enormous passion for photography. He combines his science, snaps, and songs to create a website and blog that offers a fresh perspective on the natural world, showcasing his stunning wildlife photography, and sharing the latest cutting-edge research as well as occasionally offering incidental music. With his wife, Mrs Sciencebase, he is a keen allotmenteer, wildlife garden pond manager, and garden rewilding enthusiast.

David’s writing style is approachable and engaging, and he loves to sprinkle a little Geordie wit and charm into his work. He has bylines in New Scientist, Science, Nature, The Guardian, The Daily Telegraph, Popular Science, American Scientist, and many others. In 1995, he set up the first-ever chemistry webzine, which morphed into the Sciencebase site in 1999.

If you’re looking for an experienced freelance science writer with a passion for making complex concepts accessible, look no further than David Bradley. Connect with him on social media, or shoot him an email at [email protected] to start a conversation…

How to sing

TL:DR – Some tips on singing from the vocal jazz maestro Pete Churchill.


Years ago, I and a bunch of singing friends did a couple of vocal technique workshops with jazz maestro Pete Churchill. He had lots of words of wisdom to dispense. I put together a cribsheet for our choir and for anyone else who might have a need for singing tips:

Get into the groove, feel the beat, get with the swing, get off the page! [No looking down at scores (and if you really must, not highlighting pens!), watch the musical director and keep an eye for the audience].

Understand the “form” (structure) of the song, don’t count bars, feel the rhythm, and know where the repeats and codas fit

Be aware of what the other singers and musicians are doing, from the top sops and right to the bottom bass via the altos and tenors, if you lose your place you can always revert to the main melody

Be aware of your breath, use your breath, it’s part of your voice, especially in folk/jazz/pop/rock singing as opposed to classical singing, but especially Pete’s type of jazz singing

Use the percussive plosives, the buh, pah, bah sounds for expressive emphasis, but obviously not on every b and p, give your singing dynamics

You can hold the consonants not just the vowels, make them rich, “Fall in Llllllove” sometimes, don’t “Fall in Luuuuuv” every time. This is more of a jazz nuance, but useful to have in the back of your mind for bluesier/jazzier songs

Start your oohs and aahs with a hushed “h” (h)oooooh, (h)aaaaah to protect your voice from hard ah, eh, ooh sounds that clack your vocal folds (cords), this applies to the starts of lines not only to the harmony ooooohs

You can hold vowel notes a little longer by changing the vowel sound as your breath expires, it does work, although I reckon it’s partly psychological but possibly just changes breath rate enough to give you extra time, it also sometimes leads to a bit of vibrato which helps you to sustain a note too because the vibrato, or is it tremolo, is putting in extra energy

Feel and learn the sounds with your mouth, this is an ongoing thing for learning any song…and ties in with the following in terms of expressiveness and knowing a song better

Here’s the non-vocal bonus tip from Pete:

Your eyebrows can transmit emotion to your audience, facial expressions hinge on the eyebrows and you can get away with a bit of exaggeration when singing to engage the audience in the song people expect emotion from singers not deadpan stares, so go for it


We’d all done a couple of classical singing workshops with John Rutter, prior to the Pete Churchill jazz workshops, and some of us had done some classical recording with Karl Jenkins at Abbey Road Studios, as well as sung one of his choral works at the Royal Albert Hall. There were numerous singing tips from those happenings too, they were commonly about dynamics, not looking down, lifting one’s chin to allow a low not to resonate, and other such matters.

During covid lockdown when we couldn’t sing together, we had a chance to chat to various composers and performers on Zoom with our choir, including Mike Batt (The Wombles), Aled Jones (The Snowman hit), Phil Coulter (composer of Puppet on a String), Howard Goodall (choral composer and lots of TV themes, such as Blackadder, QI, Red Dwarf, and the Not the Nine o’Clock News comedy songs), Thomas Hewitt Jones (composer perhaps best (not) known for Silly Song on social media) , and Eric Whitacre (Seal Lullaby etc).

Whitactre had a great tip regarding vocal warmups. He suggested that instead of doing the usual doh-rae-me exercises and arpeggios and stuff, that singers should all just immediately jump into the song they’re hoping to perform. Not full blast from the top, gently, everyone just chugging along on the melody and maybe heading for their harmony parts, but warming up, like gentle jogging before a proper run.

I hope I do utilise some of these experiences and vocal techniques and singing tips in my own live performances with the TyrannoChorus and bigMouth choirs, with my band, C5, and when I perform solo.

New way for a new wave song

TL:DR -Newspaper story inspired me to write a post-punk folk song telling the tale. I rewrote the lyrics the next day. Download/stream here.


As you may have noticed I wrote about the news story concerning the so-called brain-eating amoeba. I also felt the tragic tale deserved a modern, post-punk, folk song as a lament and so I pulled one together in on an otherwise dull morning. Later that evening, I had second thoughts about the original lyrics and rewrote them entirely the following wet morning. The original song became Old Nick is Quick

Artwork my Old Nick is Quick song, generated with MidJourney and modified. Shows a guy in a big hat drinking at a bar outdoors in the desert, with a blurred building or vehicle giving off smoke behind him

Old Nick is Quick

I woke up today
As you might have easily guessed
There’s one thing I must say
You might be less than impressed

I read in the news
There was a man with the answers
For shaking off the blues
With a shot he took his chances

He made a pact with a bottle
One more drink, he’s on his way
But, he had forgotten
The liquor’s quick and it made him stay

The girl she had a message
It was hidden in her underwear
The punter paid his money first
And took her in the chair

She shivered at the thought of it
His weapon in her face
Sadly, so the story goes there is no other place

She made a deal with her ego
One more trick, she’s on her way
But, he’s no amigo
The money’s quick and it makes her stay

I woke up this morning
As you might have easily guessed
There’s one thing that I’ve got to say
Aren’t you just a little impressed?

They made a deal off the level
One more trick, they’re on their way
But, they were bedevilled
Old Nick is quick and he makes them stay

To take them away


You can stream or download my new song for free from BandCamp here.

As you have noticed, I used MidJourney to create some artwork although it’s very much modified from the software’s output.

Here are some of the other images my prompts about someone with a hat drinking at an outdoor bar in the desert generated. The prompt was something along the lines of: “A photographically realistic image in the style of album cover designers Hipgnosis. A man sat at a dusty bar in the open air in the desert. There is a bottle on the bar next to a wide-brimmed hat. He holds a glass of whisky in one hand. Also on the bar is an ashtray with a cigarette. The smoke from the cigarette rises up hundreds of feet.
On the horizon is a distant bridge that looks like the Devil’s Gate bridge. He is not a cowboy. No words.” MidJourney was quite free with how it interpreted my prompt, wouldn’t you say?

 

Old Nick generated by MidJourney

Old Nick generated by MidJourney

Old Nick generated by MidJourney

Brain-eating amoeba – the song

TL:DR – I wrote a song about a tragic tale in the news.


A contact on Mastodon read my post about the tragic tale of a Florida man who died from the so-called brain-eating amoeba. My contact thought the story or maybe just the headline sounded like a whimsical song from a band called The Chrysanthemums, Gloucestershire Is Just an Illusion. Althought I’d never heard of the band, I felt inspired and threw together some lyrics and recorded a little a capella lament. Poor fella.

Brain-eating amoeba

I woke up today
As you might have easily guessed
There’s one thing I must say
You might be a little impressed

I read in the news
There was a man out in Florida
Who liked to wash his nose
But, he didn’t bank on Naegleria

He caught a brain-eating amoeba
From the water in his neti pot
His hygiene wasn’t dry clean
Now the worms are dealing with his snot

He’d squirt water up each nostril
From a 6-inch length of hose
An amoeba wormed its way right in
And began to eat his nose

It slithered through his sinuses
And right into his brain
Sadly, so the story goes he was never the same again

He caught a brain-eating amoeba
From the water in his neti pot
His hygiene wasn’t dry clean
Now the worms are dealing with his snot

I woke up this morning
As you might have easily guessed
There’s one thing I got to say
Aren’t you just a little impressed?

My contact liked the vocal demo:

“Ah wow!! This is brilliant. I love it. See, tabloid headlines do, once in a blue moon, beget good songs. That’ll kill with a bit of angular guitar…sounded a bit like Yukio Yung/Terry Burrows”

So, I did some angular guitar, a new vocal, some drums (badly played on a MIDI keyboard), and some boxy bass…I might listen to Yukio Yung and The Chrysanthemums later.

 

You can still hear the original, rough and ready one-take vocal demo here

NB No intelligence, artificial or otherwise, was used in the writing and recording of this song.

Ticking clocks

TL:DR – My songwriting process for a recent composition entitled Ticking Clocks. Stream or download it here.


About a week ago, I mentioned that I was putting together a new song. I’d recorded a so-called 1+1 demo (just me singing with Martin guitar). But, earlier this week I hooked up with Adam, the drummer from my band, and we worked on the arrangement in his ad hoc studio with me on Taylor guitar (DI, direct injection, into the desk, U-phoria UMC404HD) and he on drums (electronic drums with an acoustic kit setting, also DI into my desk).

Once we had things just about right and had recorded a decent take of the drums and guitar, Adam added some nice retro 70s synth (the synth sound is called “Chick Corea”). I then returned to my home “studio” to record vocals (MXR mic), to add some electric guitar (Ibanez RG, EQ’d to a jazzy tone), Yamaha bass, and even a bit of tuned percussion in the form of MIDI glockenspiel played on my Akai keyboard (MPK mini).

I then mixed down the multiple tracks into the final song using one of the less well-known, but just as good digital audio workstations (DAWs), Acoustica Mixcraft. There’s really no need to break the bank on Pro Tools, Logic or whatever at this level. After all, most of the heavy lifting is done by the VST (virtual studio technology) plugins that even the professionals use in their pricey software. Mixcraft is basically GarageBand for Windows.

I then worked up a photo of a broken clock taken by Adam to create this montage with the title of the song and our names. Oh, and I recorded the ticking of a working clock for the very end of the track.

Artwork for Ticking Clocks song showing a clock with broken hands

Lyrically, I am still thinking this is about the young woman in The Beatles’ song She’s Leaving Home. We never knew for sure why she left, but it seems there were issues. My song is almost a sequel to that song and perhaps we can imagine she is called Luka, as in the Suzanne Vega song, perhaps even the suitcase in my song is the very same suitcase that was ‘pulled from under the bed’ in the Squeeze song Another Nail in my Heart. Now she’s back at her childhood home and they are gone. However, you take it, The Beatles, Suzanne Vega, Squeeze and perhaps (as Adam pointed out) even The Style Council were influences on the final song, and a touch of Rush with the intro, I confess.

Ticking Clocks

The key turns in the lock
she pushed the door wide open
with her suitcase. It’s a shock
to find herself back here once again

She locked the secrets deep inside
Unanswered prayers her woe betide

She finds the clocks
They stopped the day she stepped away
From the cruellest of hard knocks
and all the fear that it revealed

The silent screams, the sound that mocks
Those echoes drowned by ticking clocks

No need to knock
She grasps the letters from the floor
You know she’s taking stock
And gasps to know the secrets
they don’t hold her any more

The key’s inside the box.
She didn’t need to worry
About secrets locked up deep inside
Unanswered prayers her woe betide

She winds the clocks
And knows the secrets they can’t hold her
The cruellest of hard knocks
and all the fears that they concealed

She locked the secrets deep inside
Unanswered prayers her woe betide

She faced the shocks
And knows the secrets they can’t hold her
The hardest of hard knocks
And all her fears now gone forever

The latest iteration of my song Ticking Clocks is available to stream for free on BandCamp, or name your price and you can download it.

You will hopefully listen all the way through and hear the proggie addition of a ticking clock at the end that has a growing reverb bloom and pans away from centre…well, a friend mentioned that he liked that addition to the song and assumed it was some grand long-case clock. Unfortunately, the reality of my home studio is much more mundane…

This screengrab shows the tools I used to make the clock sound much better: Compression and Reverb:

I had tried to use ChatGPT to help with the lyrics and the title, but none of its suggestions worked in any way. I also used MidJourney AI to generate some poignant artwork, but none of that really fit either. Top left works best, top-right spoiled by hovering suitcase, bottom-left too old, bottom-right too young.

None of the versions in this generation work, although bottom left could inspire another iteration, where the girl is standing looking into the house and its raining indoors!

Broken keys and ticking clocks

TL:DR – I asked ChatGPT to help me write my latest song, although I ignored all of its suggestions in the end. You can stream or download the song here.


You may have noticed, I’ve been experimenting with ChatGPT a little this month. If you carefully craft a prompt it can give you some quite remarkable responses, I got it to write a new article based on my writing style, for instance. I also had it mess around with some of my lyrics. To be honest, I wouldn’t use anything that it’s come up with without massively editing, but it does trigger new thoughts and ideas when it bounces back a response.

I thought it might be worth trying it for inspiration for the chord progression to help me develop the melody to go with those new lyrics. I’d originally had a simple chord progression that shuttled between FM7 and Gm7 for the verse, but needed something to take the lyrics elsewhere melodically speaking. I could easily think of a new set of chords myself, but I’ve done that hundreds of times, this is a first for me and AI.

If you craft an appropriate response you can get the bot to respond as if it is a certain kind of person So, here are my prompts in italics, with the bots answers after each:

I want you to act as a Grammy-winning singer-songwriter working on their latest masterpiece, you’re going to give me the most evocative and emotional chord progression for the verses, a bridge that builds on that, and then the most powerful and uplifting progression for the chorus. You can choose the key but it must work well on guitar.

For the verses, a chord progression that evokes a sense of longing and introspection could be Am – F – C – G. The Am and F chords create a sense of tension, while the C and G chords bring a sense of resolution.

For the bridge, a progression that builds on the emotions of the verses could be C – G – Am – F. This progression takes the listener on a journey, starting with a sense of resolution and then building back up to the tension of the verses.

For the chorus, a powerful and uplifting progression could be D – G – Bm – A. The D and G chords create a sense of energy and triumph, while the Bm and A chords bring a sense of emotional release.

All of these chords work well on the guitar, and this progression is in D major.

That’s almost perfect, now give me some jazzy inversions and substitutions of the verse chords to add colour to verse 2.

For a jazzy inversion of the Am chord, you could try using an A minor 7th chord in first inversion. This adds a bit of colour to the chord and creates a smoother transition to the F chord. Another option would be to use an A minor 6th chord in second inversion.

For the F chord, a jazzy substitution could be an F7 chord which adds a bit of tension and dissonance to the progression. Another option would be to use an Fmaj7 chord which adds a bit of complexity and richness to the sound.

For the C chord, a jazzy substitution could be a C9 chord which adds a bit of dissonance and tension, but also a sense of resolution. Another option would be to use a Cmaj7 chord which adds a bit of colour to the chord and creates a smoother transition to the G chord.

For the G chord, a jazzy substitution could be a G6 chord which adds a bit of complexity and richness to the sound. Another option would be to use a G9 chord which adds a bit of dissonance and tension, but also a sense of resolution.

These chord substitutions and inversions would add more depth, complexity and jazzy flavour to your verse progression.

Okay, so I need more inversions for verse 3 that would give the overall feel a bit more of a progressive rock vibe side-stepping the jazz but perhaps even more sophisticated chords.

For a more progressive rock feel in the verse, you could try using some more complex chord voicings and inversions. Here are a few options:

For the Am chord, you could try using an Am11 chord in second inversion . This adds a lot of dissonance and tension to the chord, giving it a more progressive rock feel.

For the F chord, you could try using an Fmaj9 chord in first inversion. This adds a lot of colour to the chord and creates a more complex and sophisticated sound.

For the C chord, you could try using a Cmaj13 chord in second inversion. This adds a lot of dissonance and tension to the chord, giving it a more progressive rock feel.

For the G chord, you could try using a G9sus4 chord in first inversion. This adds a lot of dissonance and tension to the chord, giving it a more progressive rock feel.

These chord voicings and inversions would give your verse progression a more progressive rock feel and add a more sophisticated and complex sound.

So, now that we’ve got all those substitutions and inversions do we need to add some colour to the chorus or can it stay as it is to bring us back to the hook?

The chorus is typically the most memorable and catchy part of a song, so it’s important to make sure it stands out and has a strong impact. While the original chord progression you provided (D – G – Bm – A) is strong and works well to create a sense of energy and triumph, you could consider adding some colour and variation to the chorus to make it even more powerful and impactful.

Here are a few options for adding colour to the chorus:

Use a different inversion of the chords. For example, instead of playing a D chord in root position, play it in first inversion. This adds a different flavour to the chord and makes it stand out more.

Add an extension or alteration to the chords. For example, you could add a 9th or 11th to the D chord, or add a b5 note to the G chord. This adds dissonance and tension to the chords, making them more interesting and impactful.

Play around with the rhythm of the chords. For example, instead of strumming the chords in a regular pattern, try using syncopated rhythms or arpeggiating the chords. This adds a different feel to the chords and makes them stand out more.

Overall, the chorus chord progression you’ve got is solid, and with a little bit of colour and variation, it could be made even more powerful and impactful.

What’s this song with all these powerful and evocative chords going to be about?

As a language model AI, I don’t have personal experiences or emotions, so I can’t write a song from my own perspective. However, the chords and progressions I’ve provided are quite versatile and could be used in a variety of different types of songs and contexts. They evoke feelings of longing, introspection, triumph, and resolution, so the lyrics could be about a wide range of topics and emotions, such as overcoming a difficult challenge, the longing for a lost loved one, or the journey of self-discovery.

The song could be about a person that has been through a lot of struggles and is on a journey to find hope, redemption and happiness. The verses could be about the struggles and the pain, with the bridge representing a turning point, an epiphany or a moment of realization that leads to a change in the protagonist’s perspective. The chorus could be the uplifting and triumphant moment where the person finds the light at the end of the tunnel and the hope that things will get better.

Ultimately, the message and theme of the song would depend on the lyrics and the story you want to tell. The chords and progressions provide a foundation for the emotion of the song, but the lyrics and melody would bring the story to life.

Your suggestions tie in with some lyrics I have in my own repertoire about a young woman returning to an abusive childhood home after her parents have died and coping with her pain and memories.

Those chords and progressions I provided earlier would work well with lyrics about a young woman returning to her childhood home after her parents have passed away and coping with her pain and memories. The verses could focus on the pain and struggles she experiences as she revisits her past and the memories of the abuse she endured. The bridge could represent a turning point in her journey, where she starts to come to terms with her past and begins to find the strength to move forward. The chorus could be about her finding hope and redemption as she begins to heal and move on from her past.

The song could be about how the protagonist overcomes the pain and trauma of her past and finds the strength to move forward. The verses could be about the struggles and the pain, with the bridge representing a turning point, an epiphany or a moment of realization that leads to a change in the protagonist’s perspective. The chorus could be the uplifting and triumphant moment where the person finds the light at the end of the tunnel and the hope that things will get better.

It’s a very emotional and personal topic and the lyrics and melody you would use would be very important in making the song relatable and impactful. It’s important to remember that this type of songs are to be written with care and sensitivity and with the intention of being helpful for people that went through similar experiences.

Okay, so now give me the title for this award-winning song. The lyrics contain references to ticking clocks, time passing, shocks, keys and locks.

“Ticking Clocks, Shocks, and Keys”
“Time’s Locks and Shocks”
“Unlocking Memories”
“Echoes of Yesterday”
“The Sound of Time Passing”
“Locked in Time”
“Shocked by Time”
“The Ticking of the Clock”
“Broken Keys, Broken Time”
“The echoes of Yesterday’s Locks”

These are just a few ideas for a song title that incorporates the themes of ticking clocks, time passing, shocks, keys, and locks. The title should ideally be evocative and reflective of the emotional journey of the protagonist as she revisits her past and copes with her pain and memories. Ultimately, the title should be something that resonates with you and feels like the perfect fit for your song.

None of your suggestions for titles grab me, so I’ve come up with “Broken keys and ticking clocks”.

“Broken Keys and Ticking Clocks” is a great title for your song. It evokes a sense of both nostalgia and pain, reflecting the protagonist’s journey of revisiting her past and coping with her memories. It also hints at the themes of time passing and the struggles of unlocking the past. The image of broken keys suggests that the protagonist’s journey will not be easy and the ticking clocks suggest that time is of the essence. It’s a strong and powerful title that encapsulates the themes and emotions of your song.

So, the next thing to do, which AI can’t quite manage yet (although it is getting there!) would have been for me to record a demo with my lyrics, building a melody, using the bot’s chord progressions as the basis.

However, when I picked up a guitar, I realised the bot’s progressions were just variations on the four-chord trick, which has been used in thousands of songs, and is a well-trodden musical path. I went back to my original progression, which with the melody I’d originally had in mind was much stronger than just using the four-chord trick again. The refrain departs from my two-chord shuttle and adds some colour as well as rounding back into the verses quite nicely.

So, now that I think about it, all the AI did for me in this whole process is reinforce the original ideas I had myself by showing me alternatives that were not quite as strong.

I’ve done a very rough demo, so I have a record of what I am thinking musically with this song, but it needs a lot of work.

Lyrically, it’s a bit tragic, actually it’s more than a bit tragic. It doesn’t sound like The Beatles but lyrically it’s almost as if She’s leaving home were the prequel to Suzanne Vega’s Luka and this is the follow-up. If you read between the lines, you can imagine the tale does not have a positive outcome…but that might change, I could easily make it uplifting at the end instead of depressing…we’ll see…especially if Suzanne would like to collaborate on it!

Broken keys and ticking clocks

The key turns in the lock
she pushed the door wide open with her suitcase
It’s a shock
to find herself back here once again

She locked the secrets deep inside
Unanswered prayers her woe betide

She finds the clocks
They stopped the day she stepped away
From the cruellest of hard knocks
and all the fears that it revealed

The silent screams, the sound that mocks
Those echoes drowned by ticking clocks

No need to knock
She grasps the letters from the floor
You know she’s taking stock.
And gasps to know the secrets hold her no more

The key’s inside the box.
She didn’t need to worry
It’s time to face the shocks
There’s always time to hurry

She locked the secrets deep inside
Unanswered prayers her woe betide

She winds the clocks
And knows the secrets can’t hold her
The cruellest of hard knocks
and all the fears gone forever more