All Reviews Of Think You Know Best

What happened after 5 seconds? You know best!
Ailwyn Rees

I used to love playing my 33rpm LP's. The problem was that I never used to look after them properly and you ended up with jumps, scratches, crackles etc., and sadly a great production has been spoilt here by some rather poor mixing. The first whoops is after about 5 seconds, almost like the stylus jumped. With all this modern digital productions, should that be happening?

Now that the moaning is out of the way, let's crack on with the aspects...

Bass? It's not there! If it were, you would have scored well, as it kinda underpinned the whole track very well.

Vocals... they were tight and spot on.

Originality... It's very listenable to, bar the issues above.

Mix... see above!

Oh well, I hope you enjoyed reading this review, as it could be the last one this song gets on this site, unless other site users pull their fingers out of their backsides and start reviewing!

Great singer with wrong background

The singer has a voice and intonations that I would rather hear in a R&B production.
This is perhaps a little too straight for him. Much too straight actually.
I'm sensing a real mismatch between the background and that guy.

The bass and drums are simplistic and midi sounding, this kind of mess up with the vibe, making it cold and mechanic when the vocal is relaxed and sounds great.

The acoustic guitar is a mixed bag, at times simplistic, at others syncopated and off. The guitar solo is not the best thing and is a bit too long. I don't know why the harp is used only very briefly, there could have been a harp solo instead of the longish guitar part.
Maybe it's a sample and you didn't have enough of it?

Keep the singing, but work on some better production, work with others if you don't have the musician chops to do it.
Your voice and vocal style could do much better than this song I'm sure... find a way!

Atraditonal Traditional Blues Rock

My mind keeps trying to rewarp the path this song is taking, I think because it has such a down home bluesy beat and swing, complete with the tone of the instruments, the bass and guitar especially, just perfect for toe tapping. But then it sort of drifts a little bit into uncharted territory, mostly thanks to the original vocal line that is delivering some catchy words, almost jazzy in structure.

At 2:40 the guitar solo is oh so clean and sweetly picked, just right in a fresh arrangement of a traditional approach, maybe like outlaw country rock at the very least.

The bass and brushes on the drums come off so fun, and not entirely predictable even though quite consistent, which is sort of like the singer. He has a good voice, not operatic or anything, but has a tight grip on the idea, the little bends that create enough difference from the crowd to stand out, and in a positive way.

The harmonica seems like an afterthought, but it doesn't hurt anything. I enjoy the idea of this song, maybe more than the song itself, as if maybe it is playing too hard to live up to its own rules. Nonetheless, it is a good listen.

Folky and smooth

This a folky smooth sounding song. I like the harmonica, but it is hidden a bit in the mix. Vocals are good, but they are covered up in the mix as well. The drums really dominate and the other parts are hard to detect. Overall a decent tune.

In 'n Out

Alright, here we go, fading into some interesting parts. There's a semi-obvious FX in the vocals that I could do without, but otherwise I actually dig the vocals, there's a good sound coming out of that person and it's not uninteresting. The chord progression is thought out and mixed up a little bit, I can appreciate that. Other than that, not much I can pick up on. I wish this song was two minutes, in and out. And the drums could use some nature, they sound kind of thin. Appreciate the warm tones, I'm leaving behind the lyrics and the vocal mix.

Ten gallons of disapproval

A light-touch toe-tapper with some loosely pleasant harmonies, cool and full acoustic guitar sound blending smoothly with the bass. I can’t help but think of cowboy riding music. By which I mean music for cowboys to ride along to. You know, clippety clop.
Lyrically it’s not on the range though; it’s a song of chastisement and knowing. A laid back kind of rebuke, not so much ‘I’m gonna get you” as “get what’s coming to ya”.
Good to hear a fade in/fade out song again, that makes it seem more like passing observation, continuing that theme of non-aggression.
Don’t love it, don’t hate it, unable to relate to the sentiments unearthed at this point. But the vocals are well executed and well-voiced, the production generally all present and correct. Just nice.

band - great, song - not so great

interesting .... with a vintage paul simon like melody, this standard sounding bluesy thing is pleasant enough.

nothing at all wrong with the mix and production, unless we're looking at the drum track which simply seems a bit too rigid and digitally formed. completely unhuman feeling and in this otherwise organic feeling song, it's out of place. which isn't to say the track can't be done programmed but go for a bit more variation in the attack so it doesn't sound so fruity loopish.

but the rest, the vox, the gits, the bass ... all pretty damn good. right levels, good eq, wide frequency - even the bass cuts through decently but that might be cus of all the air given the whole arrangement and less because of the bass eq/compression/level.

either way, it's all well rep'd on the output side of the mixing board. no complaints beyond previously mentioned.

the performances are all just very very well done. the harp is cool in it's bits and pieces, the lead guitar spills out the style well, the walking bass and 2nd guitar lets the style be well known to all ears capable of identifying genre and song form. and those that don't know how will recognize it all anyway ....

oh wait, not so sure about that vocal echo happening - not sure that's right. who uses echo fx anymore? oh well, musta thought it was a feature .... I don't but let's chalk that up to creative differences and move on ....

the problem is the song is simply just a bit too much "been there, done that" to garner much real interest. granted the chorus is an unexpected chord change city area but then again - what it does do is continue to make me hear paul simon. no one song, just a point in time in his writing history where he went this way chordally and melodically. I think it's pretty noticeable. but that doesn't detract from the quality of it - in fact, it gives it a very intelligent aspect but cus you ain't paul, it's not quite enough to compensate for the fact that the whole song ends up being just a smidge boring from the gitgo. and it doesn't move far enough from the beaten path to make it special.

so it ends up being old and tired despite it's fresh and pretty energetic delivery. the song end goal couldn't have been real lofty anyway cus I'm guessing the musicians knew they were just doing it all again with a slight touch of their own personality anyway.

a pretty weak filler song done very very well. only use this on the album if you have nothing else around to flush out the record.

it's probably got great potential live tho. save it for that venue and maybe make sure it's on your comp cd of your greatest hits (and use a live version)

cus the band is good enough to have a greatest hits album.