Free download
singer/songwriter, sax player and sound engineer, I have created multiple CD's in my home studio using pro-tools and plug ins.
Song Info
Genre
Charts
Peak #89
Peak in subgenre #8
Author
paul sandberg
Rights
tatSU TUNES 2014
Uploaded
October 03, 2015
Track Files
MP3
MP3 3.8 MB • 160 kbps • 3:17
Story behind the song
I was listening to some new Strike drums patches when I came across this big arena sounding kick. I messed some with the patterns that were available until finding the one that begins this song (which somehow reminded me of John Bonham's riff at the beginning of When The Levee Breaks). In Strike you can go in and alter the room reverb to a degree, but in this instance I wanted the drums to sound even larger than what was recorded, so I double tracked it, put on a delay and then panned the delay with a stereo widener so that, when soloed, it sounded like the drums were echoing and coming from everywhere.
Ok, cool, but now I needed a song. Building from the bottom up, I fooled around with bass patterns before I ended up with this one, then it was on to the rhythm guitar, which I wanted big, fat, and juicy. I messed around with amp settings on the Amplitude plug-in, and then added a bit of delay and a touch of phase to get to where I wanted.
I now had the basis to a song - guitar, bass and drums playing a solid rhythm. I then added the breakdown bridge, which borrowed again from Led Zeppelin - sounding ever so slightly like the B section from The Ocean.
During the chorus I had went back and tried the same drum kit but a different patch - finding this 16th note kick thing which sounded similar to an idling Harley…. which of course became the jumping off point for the song's theme and lyrics. Watching a lot of Sons of Anarchy, the brilliant TV series about a biker club, I was trying to reach back into that hard living, hard drinking, hard loving ethos - where you took your woman and a bottle of Jack Daniels and spent the night listening to heavy southern rock and roll. I added an acoustic guitar part to kind of "country" it up just a hint, and then, as a kind of Allman Bros. tribute, added an organ part to fatten things up even more.
So I had my song - but I didn't have that wailing guitar solo (Dicky Betts, where are you?) - I knew exactly what I wanted for the intro solo, but don't have the equipment or the artistry to perform it - and then, as fate would have it, my good buddy Rick Millward had just built himself a hot rod Telecaster. I sent him the song (with me skatting the intro solo) and he came back with said solo embellished beautifully, plus another rhythm guitar part that again took the song more towards that southern rock vibe (while also adding the middle solo and out solo).
With this "different" feel - a hybrid between Zep, Allman Bros, Steppenwolf, and Blue Oyster Cult, I changed the vocal harmony and then re sang the lead vocals; looking for something freer and more organic. As I have mentioned with other songs of late 2014, I have been listening to a lot of INXS - so somehow the vocal shadings of their lead singer made there way here - it's all a jumble… a mix of flavors, but I think that it all really works. As the liner notes for the James Gang album Rides Again states; "made loud to be played loud" - crank her up baby!
Lyrics
ooh baby, come and get your love
ooh baby you're all I'm dreaming of
I want to hold you in my arms
hold you oh so tight
want to touch your very soul
all through the night
come on baby, take a ride with me
come on baby let's be all that we can be
come on, come on get your love
I'll give you what you're dreaming of
I've got the fever for you girl
you've got me in a sweat
you know it's true, I'll be giving you
the best love you'll ever get
