I’ve Lost Your Way AUDIO (original demo)


6 Responses to “I’ve Lost Your Way AUDIO (original demo)”

  1. Banners Says:

    Right, here’s my first proper go at this Gestation thing. I’m not sure if this is the kind of feedback you’re after, and I’m no musician. But this song is a mighty one and my mind has been filling in the blanks around the demo all day.

    I see a whole lot of awesome potential for powerpop heaven with this song. Not really sure how to articulate what I can hear in my mind’s eye (my mind’s ear?), and what I’m going to try and describe probably isn’t viable for the monthly gigs, as my thoughts seem more suited to a potential studio recording. But here goes…

    Overall, I hear this as a full-on rocker with lots of layers and tracks – two electric guitars on either side providing the rhythm, the acoustic chiming in the middle, a piano shining on top and a tight bass and drum unit underneath.

    The drummer is in for a tough workout on this one as the tempo is quite fast. Throughout, there are lots of fills and the hi-hat is getting a battering (the likes of which has not been heard since “King of Freedom”…!)

    1. Start off with the melody being picked on the acoustic as it is now. During the eighth bar, a thumping drum beat gradually gains in volume, finishing with a quick fill which heralds the arrival of the band who all join in at the start of the ninth bar [0:11].

    2. At this point, the picking of the acoustic is taken up by the electrics, and the acoustic goes to jingly-jangly strumming.

    3. At the first chorus [1:07], the electrics’ rhythm lines occasionally give way to crashing power chords that sear right through the song’s ongoing momentum.

    4. This first chorus should be halved. Just two “I’ve lost your way” lines first time around will help keep up the pace.

    5. At the end of the final line (ie. what should now be the second line), the band stops [1:45], leaving just the voice and the acoustic.

    6. At the end of the line “…you’re not turning back”, there are three bars then the drummer quickly counts the band back in. At this point [2:07], all the instruments are now off and running again – just in time for “re-writing your story”. This time through the verse, a slide electric lead joins in, flying and wrapping around the lead vocal and continuing through to the end of the second chorus.


    7a. The second chorus ends on the incomplete line “I’ve lost-” [3:18]. The last note of the slide guitar fades, and the rest of the band become very quiet – all apart from the piano which stays at regular volume so we can now hear it clearly for the first time. The volume and intensity of the remaining instruments slowly builds under the vocal until climaxing at the end of the bridge with. the line “You believed in me” when they’re back at normal volume.

    7b. During the bridge – and whilst 7a is happening – there are also some multi-track vocals going on…

    The first line “The way you have / The way you hold / The way you play / The way you fold” repeats after its first completion. So this is sung under the second line “The way you hurt / The way you heal / The way you reinvent your wheel”.

    Similarly, the second line repeats under the third line. The first line is still repeating, so there are two vocals under the third line “The way you underestimate / Then hesitate, then meet your fate”.

    Basically once each of these lines has been sung the first time, it repeats until the end of the bridge, when you you end up with four vocals. All four lines then come back together to culminate with the single word “me” [3:44].

    That doesn’t quite work as it is now because the very last line is extended. So, on the last time around for lines 1, 2 and 3, you need a few extra words to get everything back together. An example would be to extend the last part of the first line so that it goes “The way you fold your arms around me”, following the melody of the “Believed in me” line.

    You could probably have a nice four-part harmony here too.

    The “me” lasts for three bars where the whole band has gradually come back to full volume (as described in 7a). Then apart from any lingering reverb or sustain, everything stops for one bar, as happens on the demo now [3:48].

    8. After this break of one bar, the band returns, ready for a middle-8 which is ripe for a guitar solo, courtesy of the electric slide which returns to the middle. Rather than some virtuoso high-end histrionics, I only hear a simple 9 note melody here which is a basic version of the vocal line. Not sure how to properly describe the timings in writing but it goes…

    D x 12 beats
    A x 4 beats
    C x 12 beats
    A x 2 beats
    B x 2 beats
    C x 8 beats
    B x 4 beats
    G x 4 beats
    A x 16 beats

    This new melody would then repeat under the refrain [4:12], with the whole band going mad (apart from the slide, still doing the melody), culminating in a big stadium finish. The two electric guitars are probably soloing and improvising on each channel at this point, but their lines should be quite low in the mix.

    9. At the end of the lyrics [4:49], the band hits its climax, and their last notes fade away – leaving just the single acoustic to finish the song.

    10. The crowd goes wild.

    The way I hear it is like a relentless momentum, a bit similar to “Song for the Lovers” by Richard Ashcroft. What I’ve tried to describe is probably not in keeping with the other tracks here (nor is it much like other TFLS or solo songs!), and I apologise if the above demonstrates that I’ve got the wrong end of the stick about what you’re after with this blog!

    These ideas pale in comparison to those of a true artist, but it’s been fun to imagine the track ending up like this. Whatever happens to it, a truly great song is still great when stripped down to just a single instrument and vocal – and that’s certainly the case with “I’ve Lost Your Way”.

    Wonderful stuff – can’t wait to hear how this one ‘gestates’…


  2. gestationproject Says:

    Wow! Thank you so much for putting all that thought and creativity in, that’s WAY more feedback than I’ve been expecting, but I really do appreciate it. I think “relentless momentum” sort of sums up how I’d see this song evolving too, but I’ll probably try it a few different ways live and decide then on the best approach for studio.

  3. Eileen McMahon Says:

    When you hit it, you hit it. Great song.

  4. gestationproject Says:

    Thanks for that, pretty pleased with it.

  5. LifeIsNot4Sale Says:

    Still have to find some time to go through this site properly – I love your music and just want to enjoy the whole process and comment on everything!

    In scanning through this is the one thing that grabbed me. The lyrics are absolutely heartbreaking.

    I find the musical arrangement in the demo not quite matching what I perceive the sheer emotional weight of the song. In particular I find the “I lost your Way” slight upbeat change a little jarring. Looking forward to hearing some other versions.

    The first verse could be a little bit of confusing/distracting entry to the song as the imagry is so odd! Spade hands are really messing with my head!!! I get over it though!

    This is absolutely one I’ll be following with a passion to see how it develops.

  6. gestationproject Says:

    Thanks for that LIN4S. I certainly think that the live versions we’ve been doing do move the demo on quite a lot, I’ll hope to post one of those versions from the next show perhaps (Sean Millar, whom I’m working with in November, is a particular fan of this song, so I’m very eager to see what we come up with together). I try to not explain lyrics too much, as I find I get them wrong, but I guess “Two spades for my hands, two stones for your eyes” intends to suggests first person clumsiness in the face of second person coldness.

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