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Offline C4AJoh  
#1 Posted : 27 May 2019 22:48:58(UTC)
C4AJoh
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Title: “Young Love”
Artist: Savannah Haim
Release Date: July 20, 2019
Recorded: Blackbird Studios, Nashville, TN
Genre(s): Country, Americana, Pop
Length: 59:30 (Standard Edition) 76:24 (Deluxe Edition)
Label: Southbound Records
Producer(s): Brandon Caulfield, Erich Hess, Karoliena Verlinden, Savannah Haim

“Young Love” is the debut album by American singer-songwriter 'Savannah Haim', set for release on July 20, 2019 through 'Southbound Records'. The record was produced by Savannah Haim alongside experienced musicians Brandon Caulfield, Erich Hess and Karoliena Verlinden. The album was recorded in a six month period at 'Blackbird Studios' in Nashville, Tennessee between September 2018 and March 2019, although the album was recorded in a stop-start fashion due to the fact that the majority of songs from the album were written and composed by Savannah in the studio during this time with fellow musicians and collaborators.

The album has so far spawned three hit singles in “Young Love” [#2], “Talk is Cheap” [#2] and “Smoke” [#1] with the first two launching the artist as a bona fide country star before the latter was rejected by CMA and it's country music outlets before becoming a mainstream number one single on the Weekly Airplay charts. Savannah didn't comment at the time other than tweeting, “Listen to Florida Georgia Line instead then.”. CMA received some backlash from this situation but refused to back down in their stance, although they did state that they were blacklisting the track not the artist.

The post-production on the album was completed in mid-April 2019 and the tracks have all since been performed live during the North American leg of the tour prior to the albums release. The track is set for release on July 20, 2019 through Southbound Records.



Background & Recording

A relatively unknown musician and songwriter to casual listeners, Savannah had a strong close group of musician friends that she had worked with over the years in the industry that helped out on the record and provided the majority of the instrumentation to the album as well as working on fleshing out the lyrics to her songs that have been described as often ”a little too wordy.” which helped Savannah discover how to say more with less.
She remained under the radar until October 2018 when she released her debut single “Young Love”, the first glimpse of what to expect from her music. The track blew-up on country radio and eventually found it's way to a mainstream audience, peaking at number two on the Weekly Airplay charts. Praised for it's dreamy nostalgic theme and seductive melody, it set Savannah on a path where everything she did was going to be scrutinised from her follow-up singles and future album to the blossoming public relationship with Brandon Caulfield which garnered some mainstream attention, not always positive as to be expected. But it was the charm and openness of Savannah's personality that helped put a quick dampener on the potential media fire that could have been following news of the relationship with a popular musician who lost his wife a little over a year earlier.

After navigating the potentially choppy waters of the media's attention, she followed up 'Young Love' in December with “Talk Is Cheap” which was an inspired choice given the timing of the release. The sudden attention on her relationship with Brandon was always going to be a tricky aspect to deal with for someone so new to the industry but she made a bold and defiant choice with the release of a song so clearly about their relationship and the potential outside interference it was always likely to receive, “Talk is cheap when you've got nothing good to say/I never thought it would ever turn out this way/Can't you be happy when you see things work out/Maybe if you ain't got nothing good to say/Then you should shut your mouth.” it was another pace-setter for Savannah and another commercial and critical success. The track showed another dimension to Savannah that she wasn't all about heartfelt nostalgia but that she had a bit of an edge too her whenever the situation calls for it.

In January it was time for Savannah to step up her efforts in the studio and start to really make some progress on finishing the record, she decided to call upon 'Karoliena Verlinden' and 'Erich Hess' to help out with the latter stages of the album, with a handful of songs still needing to be written and recorded. She's described the recording sessions with Erich and Karoliena as the most freeing moments of the album and says that the songs they worked on together are the ones that bring the most fire, “The stuff Brandon and the other guys worked on with me is where the heart is. But the stuff that I worked on with Kari and Erich brought the realness and the passion.”.

In February we saw the release of “Smoke”, the song that truly cemented Savannah's place in the music industry right now and sent anticipation for the studio album to the very next level. A song about passion and human instinct, the song that showcased Savannah's personality and built on the fire and the boldness of the previous single “Talk is Cheap.” It was sultry and straight to the point and showcased another side to the artist. Peaking at number one on the Airplay Charts, the track was rejected by all major country outlets despite a large portion of the music press praising it for it's outlaw country vibes and female empowerment. In the face of the track being rejected by the CMA the track gained more attention and instead became a major cross-over hit, pushing Savannah into the mainstream pop realm as well as the Country and Americana scene.

The recording of the album was finished at the end of March and post-production wrapped up in mid-April just in time for Savannah to head out on her first North American run of shows from May to June where she's played almost the entirety of the album each evening.



Tracklisting;

01. “Plaid Shirt Days” (3:47)
02. “Smoke” (3:56)
03. “Long Gone In Our Hearts” (Feat. Brandon Caulfield) (4:03)
04. “Young Love” (4:36)
05. “Behind Closed Doors” (2:45)
06. “Skin Deep” (3:16)
07. “I'm Just Tryin' To Understand” (3:49)
08. “Roman Candle” (3:14)
09. “I Could Hold You Real Close” (feat. Dylan O'Connor) (2:57)
10. “Hummingbird” (4:06)
11. “A Place In This World” (4:38)
12. “Talk Is Cheap” (4:18)
13. “Brave Little Soldier” (4:27)
14. “American Masquerade” (Feat. Erich Hess) (4:35)
15. “Like You Do” (3:26)
16. “Cigarettes And Kerouac” (4:57)

Deluxe Edition;

17. “Lord Above” (4:38)
18. “Love Hurts Like A Motherfucker” (3:39)
19. “You Don't Own Me” (Lesley Gore Cover) (2:47)
20. “How Does That Grab You, Darlin'?” (Nancy Sinatra Cover) (2:28)
21. “Downtown Train” (Tom Waits Cover) (4:02)



Singles;

“Young Love” (October 14, 2018) #02
“Talk Is Cheap” (December 30, 2018) #02
“Smoke” (February 16, 2019) #01
"Cigarettes And Kerouac" (July 24, 2019) #01



Credits & Personnel;

CREDITS

Produced by Savannah Haim, Brandon Caulfield, Erich Hess & Karoliena Verlinden
Engineered by Frankie Dallas
Recorded at Blackbird Studios, Nashville, Tennessee

Production Manager: Adeline Mulligan
Guitar Tech: Morgan Williamson
Instrumental Assistant: Lindsay Browning
Executive Producer: Brandon Caulfield & Adeline Mulligan

PERSONNEL

Savannah Haim: Vocals, Lyrics, Composition, Production
Avery Wyatt: Acoustic Guitar, Pedal Steel Guitar, Composition, Backing Vocals
Flynn McCarthy: Acoustic Guitar
Brandon Caulfield: Vocals, Lyrics, Composition, Production
Erich Hess: Guitar, Vocals, Production, Composition, Mixing
Dylan O'Connor: Vocals, Guitar
Karoliena Verlinden: Production, Mixing

Edited by user 17 December 2019 05:29:56(UTC)  | Reason: Not specified

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Offline C4AJoh  
#2 Posted : 05 July 2019 04:44:09(UTC)
C4AJoh
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This is a record that tells the story of how I got here, I'd like to think that this album is the opening of a window that has always been pad-locked. I'm not a naïve person, I've felt that I do self-awareness as good as anybody and that's always been a stumbling block for me because I see what everybody else sees. The only difference between me and them, is that I know what's going on inside too. I'm not the sort of person that is going to plaster on a smile because the situation demands it. I'm not the type of person to remain quiet when I feel passionately about something. I'm not the type of person that will lock myself away when the world suddenly starts talking. I've always been ready. Ready for the good times. Ready for the heartbreak. Ready for the confusion. Ready for the judgement and ridicule. Ready for the peace and tranquil. Just ready for everything that the world can throw at me.

I'm not stupid. I'm unashamedly myself and I'd like to think that the following eighteen original songs will go some way to explaining who I was, who I am and who I'd like to be. This is a collection of songs that come from a very real place, whether they're true stories from my own life (“Young Love”, “I'm Just Tryin' to Understand”, “Hummingbird” and “Brave Little Soldier”), the inner thoughts that play through my mind, (“Behind Closed Doors”, “Skin Deep” and “Lord Above”), the passionate moments that live with me, (“Smoke” and “Roman Candle”) and the matters of my heart, (“Plaid Shirt Days”, “Long Gone In Our Hearts”, “I Could Hold You Real Close” and “A Place In This World”) among others. I've always believed the best music comes from a very real place and isn't something that can be easily crafted in a songwriting workshop and that's why I've always been more drawn to roots-based music like Country and Folk along with the pop music of the 50's and 60's and the Rock music of the 60's and 70's.

It's a scary thought to be at this moment, about to release my debut album for the world to feast upon, judge and no-doubt return with their views and opinions. I'm proud of what I've created here and I feel like this is the foundation that I'd like to build my career on. This is a record that is unashamedly me, it tells you more about me than any standard interview or cover story possibly could. So I ask that you listen with an open mind and open heart and leave your pre-conceived notions at the door. Whatever opinion you have of the music when you get to the end of the record is fine by me, so long as it was given a fair chance. I know that this may not be for everybody, but the truth is that I wrote these songs for myself, some of them at a time when I thought nobody was every going to hear them anyway.

As I leave you with this record, I'd quickly like to say thank you to the people that have been a part of this in some way. I think the realness of all of the people that I've worked with have been my biggest takeaway from this period of my life. You've managed to re-iterate and instil in me the strength of truth, the idea of having a vision and following that vision to the very end, even despite the various elements of doubt and voices of persuasion that have tried to send me into a different direction. I've followed the path that I had set out for myself and during those moments where the other voices were becoming louder than my own and trying to send me into a different direction, all of you people have supported my vision for this album. I appreciate your comradeship, Adeline, Brandon, Avery, Flynn and Erich. You've made the process a thousand more times enjoyable than it could have been.

I hope you're proud of the final product. This is for the fans sure, but it's for us too.
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Offline C4AJoh  
#3 Posted : 13 July 2019 23:51:45(UTC)
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SAVANNAH HAIM - “YOUNG LOVE”: THE INTERVIEW


In early July 2019 Savannah Haim sat down with Julian Morello at the Bluebird Cafe in Nashville, Tennessee for an intimate interview for Culture Uncut in front of just under 100 people, where she discussed her debut album and it's influences, her journey up to the this point and her personal life with no topics off the table.

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Thank you to everybody for joining us here tonight and thank you to Savannah for giving her time to discuss and dissect some of her album for us this evening as well as her journey up to this point.

Savannah: It's my pleasure. I really can't lie, it was the pull of the Bluebird Cafe that brought me here. I appreciate everybody for coming out here on Saturday night for this, it's really quite cosy isn't it?

It absolutely is, it's part of the charm of this place. I know that you included this place as the penultimate venue before the end of your recent North American tour, so I'm assuming you have a soft spot for this place?

Savannah: Of course, I had to have it included in the tour. We were talking about doing it unannounced but in the end we wanted to make people aware of it and give my fans the chance to experience the show in a more intimate setting rather than the amphitheatres and music halls that I'd been performing in throughout the tour. It holds a special place in my heart, the warmth and familiarity of it. The fact that I've played here for quite a few years now performing other peoples songs and now I get to come back with my own songs, it's kind of gone full circle and I find something quite beautiful about that.

So, let's start with your journey up to this point. You touched on the fact that you've performed here for quite a few years before your breakthrough last year. Take us back to the start of your journey as a singer-songwriter and performer?

Savannah: How long have we got this place open for? [laughs] This could take a while, I hope ya'll have got a book to read or something. So I started writing at the age of seven or eight, it started out as a passion for poetry, to begin with it was the flow of the words that drew me in. I was a sucker for a rhyme, some people will say I still am. But then as I got a little older and began to dissect the words and the meanings of what I was reading, it became a passion for the story. I'd say my musical love began a little later, around eleven which is when I got my first acoustic guitar from a flea market, it had four strings and cost like three dollars. But I just constantly messed around with it, never learnt the chords because it had four strings but just figured out how to make half-decent sounds from it.
Eventually I took lessons and threw myself into my musical education, it was the women I was drawn to first. Joan Baez, Carole King, Joni Mitchell, Emmylou Harris, Dolly Parton and my favourite at that time was Linda Ronstadt. I just dove head first into music from then on. Constantly searching through my mothers record collection and my favourite store was a little record store Jacksonville that was empty pretty much all of the time. It used to anger me so much that I'd seemingly be the only person visiting that store.

So when did you first have the thought that you could do this as a career?

Savannah: I don't know if I ever thought that I'd be able to do this as a career. But I was writing a lot of my own songs from around the age of thirteen and performing at local fairs but that was about as ambitious as it got for a while. It wasn't until after I finished high school that I decided that I wanted to go somewhere that would give me the best chance of being seen or heard and I decided that Orlando would be the logical option because it wasn't too far away from family but it was a bigger platform than Jacksonville. Then it was years of performing in Cafes and on the street and just working all kinds of jobs so that I could just keep on living.
I got lucky a few times when I was offered the chance to work in record studios as a session musician or backing singer and that helped me make connections with people that were on the up. They'd often get in touch when they were coming back to town and invite me to sit in on performances. So it was all a good education for me. But it's not where I wanted to be. I then moved out to California for a boy, that was a poor choice in hindsight but it felt like the revolution was about to take place [laughs].

You'd think California would be the platform for things to start taking off, no?

Savannah: I think if you go there at the right time, but for me it was at the wrong time and with the wrong person. He was in a band, they never really took off but there was a little buzz for them. But the typical stuff happened and killed their momentum, alcohol, drugs and the music became less important than the image. Me being nineteen years old and easily influenced, I became a part of that environment quickly and the same thing happened to me, there was a period of time when I was more interested in having a good time than a productive time. It was a little excessive and I was becoming known in certain circles as the bands “girl”. It was kinda like Kate Hudson in Almost Famous but not nearly as beautiful and romantic. Kinda toxic. But I met some good people.

Would that include Brandon?

Savannah: Brandon was a little later on. But friends of his, Avery and Dylan and a few other guys that worked on the record with me. It was after I broke up with the band. At that point, I wasn't exclusive to just one of them. But I knew I needed to get out of that toxic environment and find my own path in California. I became close friends with Avery and eventually met Brandon. They helped me find myself again, they often spoke about how you can get dragged into a world that isn't yours especially in California and how it was important to surround yourself with the right people.
They helped me out a lot and I became close friends with them and their own group of musician friends that were all from the south and had similar views on music and how things should be done. It was a nice community feeling between us in a City where I didn't feel at home, they helped to make me feel at home.

And I imagine this is where things started to change for you?

Savannah: Yeah, I think for me it was the collaborative environment between all of us. At that time, Brandon was the only one that had weight in that collective and he always had the mentality that we'll write a whole bunch of stuff and we'll record it and nobody but us will ever hear it. For him, it's all about creating the music and it's not that important if other people get to hear it. But the group as a whole were doing something incredible, you'd have Brandon who is a chameleon when it comes to music, he style changes from day to day depending on what he's delving into at that time. He started out doing that quiet singer songwriter stuff like a Tom Waits or a Leonard Cohen, then he went full Americana Heartland Rock and now he's exploring that sort of vintage country thing. Avery is straight up 70's California Rock with a little Southern charm, Hannah would deliver a pop sensibility and melodic vibe that I adored, sort of Linda Ronstadt-eque.
We were creating so much together and not giving a fuck about putting it out there, literally just creating music because we loved doing it and were feeling particularly inspired. We talked about the four of us touring together and making a go of it. It never came to pass, unfortunately.

That would have been something to experience.

Savannah: I think because I was the newest to the whole group thing, I held the biggest burning desire for it to happen and I was pushing hard for us to release stuff and tour. Brandon was against the idea the most for a number of reasons, he had his anxieties about touring and was still struggling with his illness (Meniere's) and was hesitant to take those risks. Hannah was more open to the idea but it would involve taking a family on the road which was never going to be ideal. Avery was up for it because he lives for that lifestyle, but unless all four people are 100% committed it was never going to happen. Those songs still exist somewhere, I think there's about forty of them.

We'd certainly like to hear them released from the vaults someday. You mentioned Hannah, that loss must have came not very long after. How did you come to terms with that as a close friend?

Savannah: It hit us all very hard as you can imagine. I think it was around six months after the four of us had our first group writing session. I had known her for a little over a year and we became close friends which I feel so blessed to be one of the few that she truly brought into her life after becoming a mother. That was her life, that was the thing that made her the happiest, she wasn't motivated by creating music or touring or continuing to be one of the worlds biggest pop stars and to see how she dropped that fame side of her life so quickly and easily when she had those two beautiful children was something almost magical. To see that level of love for family was amazing, the most selfless person I ever met and she helped me so many times whenever I needed it.

It must make your relationship with Brandon difficult, at least early on in that relationship?

Savannah: It's a tough subject to talk about, because I love them both dearly. I understand that it will seem weird to so many people from the outside looking in. It started out as companionship and friends helping each other to come to terms with such a tough time. If I thought for one second that Hannah would see it as anything other than genuine love then it would never have gone anywhere. It happened naturally over time, it wasn't an immediate thing, it was a slow realisation. In an ideal world, given the situation it would never have occurred. But it did and it was tough to get to grips with and even accept, it's still tough.

Let's move on to the record, you're signed to Southbound Records and you've worked with your closest comrades on the recording and production. How would you describe the album to people that are unaware of what to expect from yourself?

Savannah: It's a bit of a mix if I'm being totally honest. I'd like to think that the album has a very traditional roots based influence with a sort of old school singer-songwriter vibe. But I feel like it's a modern album at the same time. It's confessional, it's primarily my own story up to this point. I know things tend to get given a definitive label these days, Country seems to be the one that I've heard the most in anticipation for the album. It has definite elements of country music within it, I'd like to think. But I think it's a little broader than that. You can call it a pop record, you can call it a singer-songwriter record or adult contemporary. I don't think it needs to be labelled as one or the other.

There's a broad mix of themes on the album, are they all true to your life up to this point?

Savannah: I think the best songs written are ones that are true to those that have written it. What you hear in the album, I have lived it in some way. There's a song about my father in there who died when I was young. There's a few songs about past relationships in there, some were good some were bad, there's songs about growing up in there and my own questions about religion. I'm a person that wears my heart on my sleeve and I think the album is my feelings on just about all the big issues in my life, past and present.

It must have been an emotional experience in the studio while recording this then?

Savannah: It depends on what was being recorded at the time. Contrary to popular belief, I'm not all doom and gloom. I can have a good time as much as anybody. The studio was primarily a happy place, there was a couple of songs that tested my emotional resolve. But for the most part, it was a fun time working with great people. Drinks flowed along with some other shenanigans, but we'll save those stories for another time. Maybe for the book when I'm a little more washed up. [laughs]

And of course some fans have already witnessed these songs live during your recent tour. Is that tour likely to continue following on from the release of the album?

Savannah: Of course, the tour is definitely not over yet. We did a small North American run around May in order to gauge the reaction for the majority of the songs which were very positive. I can see that a lot of fun is to be had from touring this record, so hopefully we'll go as far as we can with the rest of the tour. There's a couple of things we're waiting on, a few people I'd like to bring out with me as support and also as part of my band. But for sure, I have my eyes on Europe next up, so hopefully we can make announcements fairly soon.

I think that wraps it up then. Thank you for your time and good luck with the album.
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Offline C4AJoh  
#4 Posted : 18 July 2019 16:42:01(UTC)
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Track Number: #01
Title: “Plaid Shirt Days”
Artist: Savannah Haim
Album: Young Love (2019)
Length: 3:47
Recorded: Blackbird Studios, Nashville, Tennessee - October 2018
Genre: Country, Pop
Label: Southbound Records
Writer(s): Savannah Haim, Avery Wyatt
Producer(s): Savannah Haim, Brandon Caulfield

“Plaid Shirt Days” begins with two acoustic guitars and a slide-guitar playing in tandem in an energetic pattern to serve as the introduction. The opening chords continue through the first verse of the song only slightly slower as Savannah delivers the opening lyrics to the song with a strong and clear vocal delivery as she sings about moving to the countryside away from the craziness of the big city, “I've been living fast on that open road/But I think these days I'd quite like to take it slow/Wake up in the mornin' with nowhere to go/Breakfast on the front porch with that cold string in the countryside air/Livin' away from the big city/Away from all the drama that surrounds me there.” and it feels like an honest portrayal of a musician that has been travelling for many years.

The pace of the acoustic guitars increase as we arrive at the pre-chorus while the slide guitar fades out from the opening verse and is replaced by a soft drumming pattern as Savannah sings in her strong southern accent, “I've had nights that I can't remember/Some I wish I could forget/I've made my mistakes/But I can't call them regrets/Because I've had some growin' up to do/And it was a lot of fun/But now I'm done.” which leads the song into it's strong country-esque chorus, as she sings about a simple life that she wants to live, “I think I just want those plaid shirt days/Denim jeans and hiking boots/Shovels, rakes and growing fruit/I just want those plaid shirt days/Denim jeans and hiking boots/Shovels, rakes and growing fruit.”

As we arrive at the second verse of the song, the slide guitar makes another return which gives the acoustic guitars a wailing sound to bounce off of as Savannah delivers the verse, “Take me to the countryside away from all the noise/Brisk summer evenings with roaring fires, drinking with the good ol' boys/You can chop the wood and I'll sit by the river/Skipping' rocks sounds therapeutic/I could get so used to it.” which she sings out with a crystal clear vocal, highlighting the songs primary theme which is living a simple life as opposed to one surrounded by attention and fame and everything that comes with it. She delivers the songs chorus for one final time before the acoustic instruments fade out the opening song of her debut album.

“Plaid Shirt Days”

“I've been living fast on that open road
But I think these days I'd quite like to take it slow
Wake up in the mornin' with nowhere to go
Breakfast on the front porch with that cold sting in the countryside air
Livin' away from the big city
Away from all the drama that surrounds me there

I've had nights that I can't remember
Some I wish I could forget
I've made my mistakes
But I can't call them regrets
Because I've had some growin' up to do
And it was a lot of fun
But now I'm done

I think I just want those plaid shirt days
Denim jeans and hiking boots
Shovels, rakes and growing fruit
I just want those plaid shirt days
Denim jeans and hiking boots
Shovels, rakes and growing fruit

Take me to the countryside away from all the noise
Brisk summer evenings with roaring fires, drinking with the good ol' boys
You can chop the wood and I'll sit by the river
Skipping' rocks sounds therapeutic
I could get so used to it

I think I just want those plaid shirt days
Denim jeans and hiking boots
Shovels, rakes and growing fruit
I just want those plaid shirt days
Denim jeans and hiking boots
Shovels, rakes and growing fruit”



Sound Alike;

Holly Williams – Railroads




Personnel;

Savannah Haim – vocals, acoustic guitar, lyrics, composition, production
Avery Wyatt – acoustic guitar, lyrics, composition
Caleb Rhythm JR – slide guitar, composition
Jared Wyatt – drums
Brandon Caulfield – production, engineering, mixing
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#5 Posted : 20 July 2019 04:30:42(UTC)
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Track Number: #02
Title: “Smoke”
Artist: Savannah Haim
Album: Young Love (2019)
Length:
Recorded: Blackbird Studios, Nashville, Tennessee - October 2018
Genre: Country, Pop
Label: Southbound Records
Writer(s): Savannah Haim
Producer(s): Savannah Haim, Brandon Caulfield

“Smoke” begins with a distinctive electric guitar strumming pattern, giving the song an immediate outlaw country sort of feel to it, the pattern continues repetitively throughout the opening verse, we also occasionally hear a solitary drum beat occur every now and then in order to emphasize certain moments in the song, it's a rather slow and sultry song that wouldn't feel too out of place at a dive bar. Another strong vocal delivery from Savannah as she sings, “Leather jacket, blue jeans/One glance at me and I'm coming apart at the seams/You're like Jim Morrison, to me/Got that brooding silence, you're such a mystery/Watching your every move/Oh, I think I'm entranced by you.” which sets the scene for a song very much about infatuation.

The drum beat becomes more consistent towards the end of the first verse and into the chorus and it's refrain, the electric guitar pattern again continuing with that same straight to the point riff giving the song that lyrically reads like a pop song more of an edge with traditional rock n roll and outlaw country vibes, Savannah breathes heavily into the microphone prior to the songs chorus and asks, “Baby do you smoke?/Cause I smoke too/Maybe you could use a bad habit/And I could use you.” which indicates an undertone to her words that mean a little more than stepping outside for a cigarette, place those words with the song rocky nature of the guitar and drum tone and you can see this track being a jukebox favourite, she follows the chorus in a similar fashion, “Since that first touch/I just can't resist/I've got a taste for blood tonight/I know that this is it.”

Again with the same combination of lead guitar riff and drumming backbeat, the song continues to rise, this time picking up the pace as we arrive at the second verse, Savannah's vocals again accentuated in the studio to deliver the sultry vibe that the track calls for as she sings, “We could make these nights a little more special/You can have me on your lap and your feet to the pedal/We could have a fun old time/Baby I'm yours, you will always be mine/Warm drink on my breath/Just how you like me/We'll find a quiet place/With the top down/We'll be fucking in the backseat.” which in a way is the line that delivers the pay-off to the strong rock instrumentals of the song, finally giving the song a little bit of the edge that the lyrics needed to match with the guitar and drum combination. We're then given the songs chorus and refrain once more before the song comes to a halting end.

"Smoke"

“Leather jacket, blue jeans
One glance at me and I'm coming apart at the seams
You're like Jim Morrison, to me
Got that brooding silence, you're such a mystery
Watching your every move
Oh, I think I'm entranced by you

Baby do you smoke?
Cause I smoke too
Maybe you could use a bad habit
And I could use you

Since that first touch
I just can't resist
I've got a taste for blood tonight
I know that this is it

We could make these nights a little more special
You can have me on your lap and your feet to the pedal
We could have a fun old time
Baby I'm yours, you will always be mine
Warm drink on my breath
Just how you like me
We'll find a quiet place
With the top down
We'll be fucking in the backseat

Baby do you smoke?
Cause I smoke too
Maybe you could use a bad habit
And I could use you

Since that first touch
I just can't resist
I've got a taste for blood tonight
I know that this is it”

Sound Alike;

Miranda Lambert – Gunpowder and Lead


Personnel;

Savannah Haim – vocals, lyrics, composition, production
Caleb Rhythm JR – lead guitar, composition
Jared Wyatt – drums, composition
Brandon Caulfield – production, engineering, mixing
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#6 Posted : 20 July 2019 16:36:33(UTC)
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Track Number: #03
Title: “Long Gone In Our Hearts” (Feat. Brandon Caulfield)
Artist: Savannah Haim
Album: Young Love (2019)
Length: 4:03
Recorded: Blackbird Studios, Nashville, Tennessee - November 2018
Genre: Country, Americana
Label: Southbound Records
Writer(s): Savannah Haim, Brandon Caulfield
Producer(s): Savannah Haim, Brandon Caulfield

“Long Gone In Our Hearts” begins with the soft scene setting tones of the piano, as the keys are played repetitively to give the song an instant ballad sort of feel to it while Brandon sings in his gruff and weary southern rock drawl, “I'd tell you a pretty lie, If I thought it'd keep you here with me tonight/I'd say anything to make you stick around a little more/I know you like that jet-set life/That I just can't provide/I can't compete with the roar of the crowd, babe/All I've really got is these four walls/And a bunch of memories/Is that enough for you?/Because it's more than enough for me.” and it's clear that this is a song about a struggling relationship, one where the pair are trying to cling on to something because it used to be good, rather than accepting it for what it has become.

As we arrive at the second verse we're given the addition of a slide guitar which gives the song a slight country tinge to it but it's emphasis remains on the vocal delivery from Brandon and Savannah and the melodic piano keys as Savannah sings, “We all tell lies to maintain this ideal image of how we want our life to look/Let's pretend we still make love/When it's just a cold and passionless fuck/I remember feeling a rush/Just the idea of your hands on my hop/Was enough to make me blush/Those days are over/Those days are long fucking gone.” She sings with a little more power than we've perhaps ever heard previously but her tones are still melodic as she gives the indication that she sees the relationship for what it's become.
The pair share vocal harmonies in the breakdown as the music becomes a little more urgent and dramatic as they sing together, “Maybe we aren't the people that we were before/Maybe the years haven't been so kind to us/All of the issues we swept under the rug/Are coming back to haunt us now/They're coming back to haunt us now.” which lyrically sees them both accepting that they may have come to the end of the road for their relationship.

The music picks up the pace a little during Savannah's final verse of the song as we see the idea of the pair of them accepting their relationships doomed fate, “So dress me in black and I'll light a candle/We can have a wake for this love/That we weren't strong enough to handle/We'll sing a sad song as it's lowered into the ground/Who knew that this thing that we lost/Would never be found.” and one final moment of acceptance from Brandon as he sings, “I'll wear my best suit and go sit at the bar/I'll raise a toast to this love that never did get me so far/Maybe shed a few tears/Because these days are so hard/Reminisce of those days/That are long gone in our hearts.”

“Long Gone In Our Hearts”

(Brandon)
“I'd tell you a pretty lie, if I thought it'd keep you here with me tonight
I'd say anything to make you stick around a little more
I know you like that jet-set life
That I just can't provide
I can't compete with the roar of the crowd, babe
All I've really got is these fours walls
And a bunch of memories
Is that enough for you?
Because it's more than enough for me

(Savannah)
We all tell lies to maintain this ideal image of how we want our life to look
Let's pretend we still make love
When it's just a cold and passionless fuck
I remember feeling a rush
Just the idea of your hands on my hip
Was enough to make me blush
Those days are over
Those days are long fucking gone

Maybe we aren't the people that we were before
Maybe the years haven't been so kind to us
All of the issues we swept under the rug
Are coming back to haunt us now
They're coming back to haunt us now


(Savannah)
So dress me in black and I'll light a candle
We can have a wake for this love
That we weren't strong enough to handle
We'll sing a sad song as it's lowered into the ground
Who knew this thing that we lost
Would never be found

(Brandon)
I'll wear my best suit and go sit at the bar
I'll raise a toast to this love that never did get me so far
Maybe shed a few tears
Because these days are so hard
Reminisce of those days
That are long gone in our hearts”

Sound Alike;

Holly Williams - “Without You” (feat. Jakob Dylan)


Personnel;

Savannah Haim – vocals, piano, lyrics, composition, production
Brandon Caulfield – vocals, lyrics, composition, production
Caleb Rhythm JR – slide-guitar, composition
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#7 Posted : 22 July 2019 19:10:22(UTC)
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Track Number: #04
Title: “Young Love”
Artist: Savannah Haim
Album: Young Love (2019)
Length: 4:36
Recorded: Blackbird Studios, Nashville, Tennessee - September 2018
Genre: Country
Label: Southbound Records
Writer(s): Savannah Haim
Producer(s): Savannah Haim, Brandon Caulfield

“Young Love” begins with a pedal steel guitar opening, it immediately gives the song a traditional feel which gives off a sense of emotion to the song from the opening notes. It feels a little eerie and nostalgic as Savannah begins singing with a strong southern accent, “Running through the backstreets/Climbing all the best trees, we'd sit and talk for hours/Hiding in the cornfields/Grazes on our young knees/Pickin' all the flowers.” She sings with a warmth and it immediately feels comfortable, almost like a parent telling their children about their first love. It brings to mind some of the storytelling tropes of classic country music of days gone by and as we reach the second verse we're introduced to the addition of an acoustic guitar which takes over from the pedal steel from the opening verse, Savannah goes once again, “Kisses underneath the bridge/That's where all those young lovers hid/Rush of blood to the head/Pleasures of the fleshes/We were just so reckless/Didn't care if we were caught.” and it becomes such a clear picture that Savannah has painted of a carefree youth that she perhaps misses dearly.

As we arrive to the chorus, the acoustic guitar becomes more prominent and the chord changes beautiful and tinged with emotion as she sings of a nostalgia and possibly a longing for a better time, “This young love was ours/It was just you and me, it was yours and mine/Everything we did/I'd still do it a thousand more times/For that rush of young love.” is delivered with a tenderness and that strong southern vocal that began the song has become a little softer and even more captivating, it's an emotional story being told, one perhaps without a happy ending. She continues, “They said we had a sickness/Always in each others arms and minds/But they never felt a love like this/If only they could feel the way that we did all of the time.” offers the possibility that not everybody agreed with the relationship and that it was very much the pair of them against the world, adding another layer to the song.

It then becomes clear that the pair were even forced to hide their affections for one another, “Sneaking out the backdoor/Late night drives to the old moor/Nobody knew a thing/Laying on the rooftop, you could hear a pin drop/More than just a summer fling/We had fallen in love/Watching all the stars above/Soft touches and cool summer air.” We're then given the chorus twice more before the song comes to it's end. As a debut it showcases the vocal ability of Savannah Haim and shows us the sort of music we can expect from her, as a singer and as a songwriter. From this first introduction it appears that this could be an artist with longevity if she has plenty more stories to tell. My prediction is that she'll find a loyal fanbase and continue to do well throughout the years, I don't know if we can see her being a huge mainstream success for a long period of time, but I could certainly see her having her occasional dalliances with the top of the charts. She'll find her place in the heart of a strong fanbase I'm sure however.



“Young Love”

“Running through the backstreets
Climbing all the best trees, we'd sit and talk for hours
Hiding in the cornfields
Grazes on our young knees
Pickin' all the flowers

Kisses underneath the bridge
That's where all those young lovers hid
Rush of blood to the head
Pleasures of the fleshes
We were just so reckless
Didn't care if we were caught

This young love was ours
It was just you and me, it was yours and mine
Everything we did
I'd still do it a thousand more times
For that rush of young love

They said we had a sickness
Always in each others arms and minds
But they never felt a love like this
If only they could feel the way that we did all of the time

Sneaking out the backdoor
Late night drives to the old moor
Nobody knew a thing
Laying on the rooftop, you could hear a pin drop
More than just a summer fling
We had fallen in love
Watching all the stars above
Soft touches and the cool summer air

This young love was ours
It was just you and me, it was yours and mine
Everything we did
I'd still do it a thousand more times
For that rush of young love

This young love was ours
It was just you and me, it was yours and mine
Everything we did
I'd still do it a thousand more times
For that rush of young love”



Personnel;

Savannah Haim – vocals, lyrics, composition, production
Avery Wyatt – pedal steel guitar, backing vocals
Flynn McCarthy – acoustic guitar
Brandon Caulfield – production



Sounds Like;

“We Were Cool” by Lori McKenna
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#8 Posted : 24 July 2019 18:04:29(UTC)
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Track Number: #05
Title: “Behind Closed Doors”
Artist: Savannah Haim
Album: Young Love (2019)
Length: 2:45
Recorded: Blackbird Studios, Nashville, Tennessee – December 2018
Genre: Country, Pop
Label: Southbound Records
Writer(s): Savannah Haim
Producer(s): Savannah Haim, Brandon Caulfield

“Behind Closed Doors” stars off with duel electric guitars and a drumming backbeat, it's more of a soft and melodic tone that is being delivered by the two guitars as Savannah begins singing almost immediately with a stronger and more assertive vocal, “Trouble seems to follow me, everywhere I go/But that doesn't seem to stop me/It never did before/I've spent most of my life outside a bar/Cigarette in between my lips/Bum a light and hold me tight/Baby you've read this script.” and it's clear that this song has a little more of a southern rock edge to add to it's clear country influences. A slide guitar then comes in at the beginning of the second verse with the guitars and drums continuing in a the same pattern while Savannah delivers her vocal again, “I've picked up some real bad habits/From travelin' on the road/Some nights I get a little lonely/Other nights I guess I just get bored.” making it clear that this is a song from her own personal experiences and struggles of the travelling musician's lifestyle and it's the issues that this vagabond life can bring.

The pace of the music picks up again as we reach the chorus, it's quicker pace adding to the southern rock vibe that the instrumentation brings mind to as Savannah delivers the confessional lyrics with a strong southern tone, “Sometimes it's tough to come down/When you step off of that stage/So light one up, we'll drink and fuck/I've heard it's all the rage.” she pauses briefly to let the previous lyrics sink in before going again, “We'll go from hearing people screaming my name/To me screaming out yours/Let them think I'm still innocent/They don't need to know/What goes on behind closed doors.” which sounds like it could be taking from the diaries of Savannah Haim prior to her signing her record deal and things taking off from her, it feels like it could be a confessional about her time as a touring session musician.

The music then has a brief chance to breathe as a melodic guitar tone plays following the chorus before we're taken straight back into the pre-chorus, that we heard previously, “I've picked up some real bad habits/From travelin' on the road/Some nights I get a little lonely/Other nights I guess I just get bored.” and then she takes us back into the chorus once more as we fade out to the tones of the slide guitar and drums.



“Behind Closed Doors”

“Trouble seems to follow me, everywhere I go
But that doesn't seem to stop me
It never did before
I've spent most of my life outside a bar
Cigarette in between my lips
Bum a light and hold me tight
Baby you've read this script

I've picked up some real bad habits
From travelin' on the road
Some nights I get a little lonely
Other nights I guess I just get bored

Sometimes it's tough to come down
When you step off of that stage
So light one up, we'll drink and fuck
I've heard it's all the rage
We'll go from hearing people screaming my name
To me screaming out yours
Let them think I'm still innocent
They don't need to know
What goes on behind closed doors

I've picked up some real bad habits
From travelin' on the road
Some nights I get a little lonely
Other nights I guess I just get bored

Sometimes it's tough to come down
When you step off of that stage
So light one up, we'll drink and fuck
I've heard it's all the rage
We'll go from hearing people screaming my name
To me screaming out yours
Let them think I'm still innocent
They don't need to know
What goes on behind closed doors”



Sounds Like;

”Good As Gold” by Sarah Shook & The Disarmers




Personnel;

Savannah Haim – vocals, acoustic guitar, lyrics, composition, production
Avery Wyatt – acoustic guitar, lyrics, composition
Caleb Rhythm JR – slide guitar, composition
Jared Wyatt – drums
Brandon Caulfield – production, engineering, mixing
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#9 Posted : 30 July 2019 04:46:50(UTC)
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Track Number: #06
Title: “Skin Deep”
Artist: Savannah Haim
Album: Young Love (2019)
Length: 3:16
Recorded: Blackbird Studios, Nashville, Tennessee - December 2018
Genre: Country, Pop
Label: Southbound Records
Writer(s): Savannah Haim
Producer(s): Savannah Haim, Brandon Caulfield

“Skin Deep” begins with loose guitar playing, as Avery Wyatt strums the strings in-between tapping away at the wood of the guitar which immediately gives the song a little bit of a laid back approach, almost like it's just being played around a campfire which is an interesting change of pace, given the lyrics of the song and it's message. Clear when Savannah sings out casually, “I know what you're going through/Yeah, I know how it feels/To never think that you're good enough/To hate the reflection that you see/Constant insecurities can tear away at your heart/When you just want to be somebody else/Wish you could go back/To the start.”
The music continues in such a free flowing fashion, the loose strumming of the guitar and the occasional tapping percussion on the guitar's body. It's very stripped back, just a guitarist and a singer. Savannah continues on, “But as you grow older/You become wiser/A smart head on those shoulders/You learn to carry your confidence like boulders/And you learn to walk tall/Learn to be proud/That this body of yours/Doesn't need to stand out from the crowd.”

As we arrive at the songs chorus, the emphasis on the acoustic guitar becomes a little increased, whether this is Avery playing the strings a little harder or whether it's just the guitars microphone turned up a little more. It adds a little more urgency to the music and it's done to highlight the songs biggest moment, Savannah's vocal becomes a little louder as she belts out the chorus which happens to be the final verse too, it's the first time we've really heard her unleash power with her voice, “All of our beauty is skin deep/What we have on the inside is more important to keep/The strength inside means more than the exterior/Don't ever let them tell you/That you are inferior/All of our beauty is skin deep/What we have on the inside is more important to keep/The strength inside means more than the exterior/Don't ever let them tell you/That you are inferior”
And judging from the lyrics of the final verse in particular, this doesn't feel like it was ever supposed to become a song, perhaps a bit of side poetry from Savannah delivered with the backdrop of instrumentation.



“Skin Deep”

“I know what you're going through
Yeah, I know how it feels
To never think that you're good enough
To hate the reflection that you see
Constant insecurities can tear away at your heart
When you just want to be somebody else
Wish you could go back
To the start

But as you grow older
You become wiser
A smart head on those shoulders
You learn to carry your confidence like boulders
And you learn to walk tall
Learn to be proud
That this body of yours
Doesn't need to stand out from the crowd

All of our beauty is skin deep
What we have on the inside is more important to keep
The strength inside means more than the exterior
Don't ever let them tell you
That you are inferior
All of our beauty is skin deep
What we have on the inside is more important to keep
The strength inside means more than the exterior
Don't ever let them tell you
That you are inferior”



Sound Alike;

Kasey Chambers – The Devil's Wheel




Personnel;

Savannah Haim – vocals, acoustic guitar, lyrics, composition, production
Avery Wyatt – acoustic guitar, lyrics, composition
Caleb Rhythm JR – slide guitar, composition
Jared Wyatt – drums
Brandon Caulfield – production, engineering, mixing
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#10 Posted : 03 August 2019 17:59:28(UTC)
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Track Number: #07
Title: “I'm Just Tryin' To Understand”
Artist: Savannah Haim
Album: Young Love (2019)
Length: 3:49
Recorded: Blackbird Studios, Nashville, Tennessee – January 2019
Genre: Country
Label: Southbound Records
Writer(s): Savannah Haim
Producer(s): Savannah Haim, Erich Hess, Karoliena Verlinden

“I'm Just Tryin' To Understand” begins with a soft and tender acoustic guitar strumming pattern and a melodic electric guitar picking sound which creates the songs ballad sort of feel. The tenderness of the music highlights the songs emotional weight and Savannah delves into the depths with the opening verse as it sets the scene, “There's an old Jersey hangin' on the wall/In the high school gym that I used to roam around in/It's hung so proudly in the center/It's the talk of my hometown/It hangs there by the scoreboard/Where those plastic bleacher seats fold down/See, number thirteen took us to the finals that year/But that ain't why it's hangin' there.” and it becomes clear that this song has more of a story to discover within it and it's likely to be painful.

A drumming pattern then emerges into the early chorus as the duelling guitar patterns become a little more prominent and drive the song forward along with Savannah's heartfelt vocals as she sings it's emotive refrain, “Lord, if I get to heaven/Will you answer all my questions/Like why do you make an honest family struggle?/Why do you create so much trouble?/How can the world be so god damn pretty?/Just for us to mess it up so quickly/Why must we suffer in pain?/Can't you give us a helping hand?/Forgive me, I'm just tryin' to understand.” and it's clear that this isn't necessarily an anti-religion song but it's somebody trying to find a reason to keep their faith.
We arrive at the second verse which follows the chorus in an interesting change of pace as it continues to set the scene, the music continues in very much the same pattern, becoming more urgent and prominent as the song grows, Savannah delivers her lyrics with an assertiveness and has a very engaging delivery in this track in particular, “I know in a box in my childhood bedroom/There's a yearbook under my bed/It's got a senior picture missing/Instead with heartfelt tributes written/I got along with his mother/I know she don't go to church/Because she finds it hard to believe in your plan/It's stopped making sense/Down here on earth.”

Although we're not quite given the details of the loss of this young man, it becomes very clear with the two verses that this is a song about somebody with so much potential being taken away very early and the subsequent confusion that this brings to people that were presumably full of faith and religion in some capacity, Savannah delivers the chorus again twice, with a brief bridge in-between “That's all I'm sayin'/It's a little hard believing/When such innocent people/Spend the rest of their life grieving.” and it ponders some very real questions.



“I'm Just Tryin' To Understand”

“There's an old Jersey hangin' on the wall
In the high school gym that I used to roam around in
It's hung so proudly in the center
It's the talk of my hometown
It hangs there by the scoreboard
Where those plastic bleacher seats fold down
See, number thirteen took us to the finals that year
But that ain't why it's hangin' there

Lord, if I get to heaven
Will you answer all my questions
Like why do you make an honest family struggle?
Why do you create so much trouble?
How can the world be so god damn pretty?
Just for us to mess it up so quickly
Why must we suffer in pain?
Can't you give us a helping hand?
Forgive me, I'm just tryin' to understand

I know in a box in my childhood bedroom
There's a yearbook under my bed
It's got a senior picture missing
Instead with heartfelt tributes written
I got along with his mother
I know she don't go to church
Because she finds it hard to believe in your plan
It's stopped making sense
Down here on earth

Lord, if I get to heaven
Will you answer all my questions
Like why do you make an honest family struggle?
Why do you create so much trouble?
How can the world be so god damn pretty?
Just for us to mess it up so quickly
Why must we suffer in pain?
Can't you give us a helping hand?
Forgive me, I'm just tryin' to understand

That's all I'm sayin'
It's a little hard believing
When such innocent people
Spend the rest of their life grieving

Lord, if I get to heaven
Will you answer all my questions
Like why do you make an honest family struggle?
Why do you create so much trouble?
How can the world be so god damn pretty?
Just for us to mess it up so quickly
Why must we suffer in pain?
Can't you give us a helping hand?
Forgive me, I'm just tryin' to understand”



Sound Alike;

Taylor Swift – All Too Well




Personnel;

Savannah Haim – vocals, acoustic guitar, lyrics, composition, production
Avery Wyatt – electric guitar, composition
Jared Wyatt – drums, percussion
Erich Hess – production, engineering
Karoliena Verlinden – production, mastering, mixing
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#11 Posted : 10 August 2019 16:29:56(UTC)
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Track Number: #08
Title: “Roman Candle”
Artist: Savannah Haim
Album: Young Love (2019)
Length: 3:14
Recorded: Blackbird Studios, Nashville, Tennessee – February 2019
Genre: Country
Label: Southbound Records
Writer(s): Savannah Haim
Producer(s): Savannah Haim, Erich Hess, Karoliena Verlinden

The track begins with the sound of guitar strings being plucked and strummed to create an old-school southern rock sound, the same pattern can be heard for around eleven seconds for the instrumental intro to the song before Savannah delivers the songs simplistic opening lines, “Driving through those city lights/Let's get to that open road/We'll take a ride outta town on a summers night/Like we used to do so many times before.” and the delivery of her vocal feels slightly looser than usual, matching songs gritty southern guitar sound to provide a track that would feel at home being played over a jukebox in an old dive bar, the same pattern continues as she moves into the second verse, “You've got your hands on the wheel/And your pretty baby by your side/Escaping from our reality/Just for tonight/Just like old times.” and with such short and rapid verses it feels like little bursts of the story.

The acoustic guitar picks up the pace as the song reaches it's chorus again continuing with it's looser feel than songs previously heard from the album, “Our love has always burned bright/Just like a roman candle/As soon as we ignite/They say it's too intense to handle.” and it almost feels like a lazy pop chorus designed for fans to sing it back to her. But it's the following bridge which leads into the chorus and repeats to close out the song that brings the songs most detailed aspect, “You've got your hands on the wheel/I'm giving head while you drive/Let's find a quiet spot underneath the stars/And you can touch me like I'm yours/And I'll fuck you like your mine.” This is then repeated for another Chorus-Bridge-Chorus sequence before the song fades out.

“Roman Candle”

“Driving through those city lights
Let's get to that open road
We'll take a ride outta town on a summers night
Like we used to do so many times before

You've got your hands on the wheel
And your pretty baby by your side
Escaping from our reality
Just for tonight
Just like old times

Our love has always burned bright
Just like a roman candle
As soon as we ignite
They say it's too intense to handle

You've got your hands on the wheel
I'm giving head while you drive
Let's find a quiet spot underneath the stars
And you can touch me like I'm yours
And I'll fuck you like your mine

Our love has always burned bright
Just like a roman candle
As soon as we ignite
They say it's too intense to handle

You've got your hands on the wheel
I'm giving head while you drive
Let's find a quiet spot underneath the stars
And you can touch me like I'm yours
And I'll fuck you like your mine

Our love has always burned bright
Just like a roman candle
As soon as we ignite
They say it's too intense to handle”



Sound Alike;

Sinead Burgess - “Momma Raised A Ramblin' Man”




Personnel;

Savannah Haim – vocals, lyrics, composition, production
Avery Wyatt – acoustic guitar
Erich Hess – production, engineering
Karoliena Verlinden – production, mastering, mixing
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#12 Posted : 13 August 2019 02:15:32(UTC)
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Track Number: #09
Title: “I Could Hold You Real Close (feat. Dylan O'Connor)
Artist: Savannah Haim
Album: Young Love (2019)
Length: 2:57
Recorded: Blackbird Studios, Nashville, Tennessee – January 2019
Genre: Country, Americana
Label: Southbound Records
Writer(s): Savannah Haim, Dylan O'Connor
Producer(s): Savannah Haim, Erich Hess, Karoliena Verlinden

The song begins with a strong drum beat and a basic guitar riff, the sound of the music sounds a little compressed and moves away slightly from the more roots-based elements of the previous songs we've heard as Dylan O'Connor begins to sing the opening lines with a gruff southern rock vocal, “When you moved back out here with all your bad luck and heartache/It was clear to me that you've been cryin'/Ever since I met you, you've been shit out of luck/Love never stuck around/But that never stopped you from tryin'.” and it feels melodic and smooth with the vocal mixed with slightly more muted instrumentals. He continues, this time joined by a higher pitched female vocal by Savannah as the two sing a refrain in harmony, “I could hold you real close/I'd hold you so tight/I could hold you real close/I'd hold you so tight.”

As we arrive to the second verse, the instrumentals either become more quiet or the mic has been turned up a little louder as the distinctive country vocal by Savannah can be heard dominating the song as she sings, “When you pulled me in for a kiss, I didn't know what to do/It never occurred that you felt this way/The way I always have, the way I felt about you/The taste still lingers on my lips/From time to time/Rushes of memories/That will always be mine.” before the two again combine vocals for another refrain of, “ I could hold you real close/I'd hold you so tight/I could hold you real close/I'd hold you so tight.”
And the pair continue to harmonize with an outro of sorts as they sing together, “We'll take each other and walk hand in hand/Face all of our darkest fears/Together we'll stand/We'll stand tall and we'll stand right.” before another refrain of the previous lyrics of 'I could hold you real close.' which closes out the track.



“I Could Hold You Real Close”

(D. O'Connor)
“When you moved back out here with all your bad luck and heartache
It was clear to me that you've been cryin'
Ever since I met you, you've been shit out of luck
Love never stuck around
But that never stopped you from tryin'

I could hold you real close
I'd hold you so tight
I could hold you real close
I'd hold you so tight

(S. Haim)
When you pulled me in for a kiss, I didn't know what to do
It never occurred that you felt this way
The way I always have, the way I felt about you
The taste still lingers on my lips
From time to time
Rushes of memories
That will always be mine

(D. O'Connor, S. Haim)
I could hold you real close
I'd hold you so tight
I could hold you real close
I'd hold you so tight

We'll take each other and walk hand in hand
Face all of our darkest fears
Together we'll stand
We'll stand tall and we'll stand right

I could hold you real close
I'd hold you so tight
I could hold you real close
I'd hold you so tight”



Sound Alike;

The Wandering Hearts - “Til' The Day I Die”




Personnel;

Savannah Haim – vocals, lyrics, composition, production
Dylan O'Connor – acoustic guitar, vocals, lyrics
Erich Hess – production, engineering
Karoliena Verlinden – production, mastering, mixing
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#13 Posted : 24 August 2019 19:24:14(UTC)
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Track Number: #010
Title: “Hummingbird”
Artist: Savannah Haim
Album: Young Love (2019)
Length: 4:06
Recorded: Blackbird Studios, Nashville, Tennessee - December 2018
Genre: Country, Pop
Label: Southbound Records
Writer(s): Savannah Haim
Producer(s): Savannah Haim, Brandon Caulfield

The song begins and follows throughout with a simple soft acoustic guitar pattern, it's melodic and emotive delivered perfectly by Avery Wyatt and Flynn McCarthy as Savannah sings about an emotional moment of her life, she delivers her vocals loud and full of emotion as she opens up with, “Pretty wings/You're the prettiest thing to me/Most beautiful thing that I never got the chance to see/Six years never once left my memory/Twenty thirteen still lingers deep inside of me.” and it's given some added beauty as Avery sings quietly alongside Savannah, delivering backing vocals that add to the beauty of the slow song. “I wanna be all dressed in black/Like a female equivalent of Johnny Cash/I'm gonna write a book of poetry and put your name on every page/Every page/For every missed day.” and when going into research it would become evident that this song is about the child that Savannah lost in her late teens around around six weeks into the pregnancy.

The acoustic guitars continue to play the same soft finger picked melody in unison, with microphones seemingly placed very close as you can clearly hear every little echo which just adds to the beauty of this sad song as Savannah continues her story with it's chorus, “Hey there pretty little hummingbird/Keep flyin' around me now/I need the sound of your wings /Like a baby needs a lullaby/Never got a chance to say hello/But it was the hardest ever goodbye.” and there's a voice crack in the middle, but she composes herself to continue, “I was the sea that washed away all the sand/You were the Hatchling and I was a weak branch/I was the winter watching those flowers dying.” a brief break as the acoustic guitars continue before she herself continues on, “It wasn't much just everything to me/That in nine months is when you'd finally come to be/But I fell asleep and my dreaming turned to nightmares/Turned to nightmares.” we're then given another go-around with the chorus before the song comes to fade out to the sound of acoustic strings.

“Hummingbird”

“Pretty wings
You're the prettiest thing to me
Most beautiful thing that I never got the chance to see
Six years never once left my memory
Twenty thirteen still lingers deep inside of me

I wanna be all dressed in black
Like a female equivalent of Johnny Cash
I'm gonna write a book of poetry and put your name on every page
Every page
For every missed day

Hey there pretty little hummingbird
Keep flyin' around me now
I need the sound of your wings
Like a baby needs a lullaby
Never got a chance to say hello
But it was the hardest ever goodbye

I was the sea that washed away all the sand
You were the Hatchling and I was a weak branch
I was the winter watching those flowers dying

It wasn't much just everything to me
That in nine months is when you'd finally come to be
But I fell asleep and my dreaming turned to nightmares
Turned to nightmares

Hey there pretty little hummingbird
Keep flyin' around me now
I need the sound of your wings
Like a baby needs a lullaby
Never got a chance to say hello
But it was the hardest ever goodbye

Hey there pretty little hummingbird
Keep flyin' around me now
I need the sound of your wings
Like a baby needs a lullaby
Never got a chance to say hello
But it was the hardest ever goodbye”



Sound Alike;

Brandi Carlile - “The Mother”




Personnel;

Savannah Haim – vocals, lyrics, composition, production
Avery Wyatt – acoustic guitar, backing vocals
Flynn McCarthy – acoustic guitar
Brandon Caulfield – production, engineering, mixing
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#14 Posted : 31 August 2019 18:18:08(UTC)
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Track Number: #011
Title: “A Place In This World”
Artist: Savannah Haim
Album: Young Love (2019)
Length: 4:38
Recorded: Blackbird Studios, Nashville, Tennessee - January 2019
Genre: Country, Pop
Label: Southbound Records
Writer(s): Savannah Haim
Producer(s): Savannah Haim, Erich Hess, Karoliena Verlinden

The song begins with an acoustic guitar and electric guitar combination, the electric echoes and provides a little more energy while the acoustic keeps the melody ticking along in rather seductive vibe before Savannah begins to sing the opening verse with a soft southern delivery, “ Well I used to pray to Jesus but I don't anymore/Always went to church but now I don't go/Spend my nights just drinkin' to avoid what is real/These scars on my worn heart/I don't think they'll ever fully heal.” and it's clear that it's a song about somebody struggling in life in some way and finding it difficult to continue to believe in the things that she has been taught to believe in. It's a small acknowledgement to religion and Savannah's own conflicting feelings towards that, having been brought up in a religious family.

She continues amid the acoustic and electric combination while a small drumming beat arrives as we reach the pre-chorus and chorus of the song, Savannah delivers the lyrics with a beautiful and natural tone, “I've been goin' through a rough patch/For most of my life now/But I don't understand why/I get all this pain that god will allow.” and the emotional hook of the song is clear in this moment, it almost feels like she's having a conversation with her family about her conflicting views, she then shuts it down in the chorus and delivers the basis of the song, “I'm just a normal girl/Tryin' to find her place/Tryin' to find a place in this world/Just a normal girl/Tryin' to find her place/Tryin' to find her place in this world.” and with the chorus the song moves away from potentially an anti-religion song to a universal song about struggles and self-discovery.

And with the final verse of the song, we see Savannah put her own specific aspect into the song as she again sings out in a sombre and beautiful tone, “Sure, I've been led astray/But I ain't ever done anyone harm/I may have drank and smoked a little too much/But I've just been tryin' to get along/That don't mean I deserve all this sadness/Memories that hurt my heart/That don't mean a little girl should lose her father/Before her life could truly start.” and with this it moves from a generic and universal song to something a little more personal as Savannah sings about her own smoking habits which she has described as excessive and her own sadness over the loss of her father while she was still a young child. Of all the songs on the album, this is perhaps one that shows the intelligence of Savannah as a songwriter as she fits a host of different universal themes in her song while also making it very personal to her own life.



“A Place In This World”

“Well I used to pray to Jesus but I don't anymore
Always went to church but now I don't go
Spend my nights just drinkin' to avoid what is real
These scars on my worn heart
I don't think they'll ever fully heal

I've been goin' through a rough patch
For most of my life now
But I don't understand why
I get all this pain that god will allow

I'm just a normal girl
Tryin' to find her place
Tryin' to find a place in this world
Just a normal girl
Tryin' to find her place
Tryin' to find her place in this world

Sure, I've been led astray
But I ain't ever done anyone harm
I may have drank and smoked a little too much
But I've just been tryin' to get along
That don't mean I deserve all this sadness
Memories that hurt my heart
That don't mean a little girl should lose her father
Before her life could truly start

I've been goin' through a rough patch
For most of my life now
But I don't understand why
I get all this pain that god will allow

I'm just a normal girl
Tryin' to find her place
Tryin' to find a place in this world
Just a normal girl
Tryin' to find her place
Tryin' to find her place in this world”



Sounds Like;

Holly Macve - “No One Has The Answers”




Personnel;

Savannah Haim – vocals, acoustic guitar, lyrics, composition, production
Avery Wyatt – backing vocals, electric guitar, composition
Jared Wyatt – drums, percussion
Erich Hess – production
Karoliena Verlinden - production
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#15 Posted : 02 November 2019 17:17:13(UTC)
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Track Number: #012
Title: “Talk Is Cheap”
Artist: Savannah Haim
Album: Young Love (2019)
Length: 4:18
Recorded: Blackbird Studios, Nashville, Tennessee – September 2018
Genre: Country
Label: Southbound Records
Writer(s): Savannah Haim, Brandon Caulfield
Producer(s): Savannah Haim, Brandon Caulfield

“Talk Is Cheap” starts off with an acoustic guitar, the slow melodical finger-picking style of 'Avery Wyatt' comes to the forefront here which gives the track a more contemporary and familiar sound in comparison to the pedal steel country vibes of her previous single. Savannah begins the opening verse of the song with a strong vocal delivery as she sings, “Never wanted anybody's love like this
But I swear I wanna feel this way with you forever/I've never felt this safe before/Like things between us can only keep getting better/And people say we've lost our minds/That we're losing sense of who we used to be/But I say they can talk that talk/Because I just want you to keep on loving me.” she sings with passion and focus like the things she is singing about have never been in doubt. The songs theme throughout is one of a strong love being judged by outsiders that don't fully understand it.
The fact that it was written in the summer by Savannah and Brandon when both were becoming closer and closer and would eventually lead to the pair officially beginning a romance of their own shows that the song may come from a very real place, the lyrics about how 'People say we've lost our minds' stands out as some fans and critics have already questioned the relationship due to the fact that it began less than a year after the death of Brandon's wife Hannah and many have questioned the motives of Savannah. Perhaps she knew the negativity would come when their relationship became public knowledge and this was her response.

She continues lyrically in a similar vein, “I can see the occasional looks/The stares from across the room at us/They don't think that this will last/But I'm all in baby, no looking back.” before she quickly switches from a somewhat vulnerable position to one of strength and anger as she shuts down those judgemental figures in emphatic fashion. “Talk is cheap when you got nothing good to say/Believe me, I never thought it would ever turn out this way/Can't you be happy when you see things work out/Maybe if you ain't got nothing good to say/Then you should shut your mouth.” amidst the backdrop of the soft acoustic guitar playing, her voice becoming more and more powerful as she puts emphasis on certain words and phrasing to drive home her point that nothing will get in the way when it comes to matters of the heart.
The music then picks up pace a little more as Avery Wyatt switches from a finger-picking style to a strong and repetitive strumming to go in line with the rapid-fire delivery of a couple of shorter verses where Savannah sings positively about how she feels about the person she's in love with despite the negative eyes judging from a distance, “Cause I can see you lift me up/Give me joy that I've been searching for/And I feel that this is a powerful love/It's clear to me that this is real/This is the real deal/I love the way you hold me/The way that you make me smile/I love the way you make the worst days/Feel like they'll be over/In no time.”
We're then given the battle-ready pre-chorus and chorus once more before the song fades out to it's end.


“Talk Is Cheap”

“Never wanted anybody's love like this
But I swear I wanna feel this way with you forever
I've never felt this safe before
Like things between us can only keep getting better
And people say we've lost our minds
That we're losing sense of who we used to be
But I say they can talk that talk
Because I just want you to keep on loving me

I can see the occasional looks
The stares from across the room at us
They don't think that this will last
But I'm all in baby, no looking back

Talk is cheap when you got nothing good to say
Believe me, I never thought it would ever turn out this way
Can't you be happy when you see things work out
Maybe if you ain't got nothing good to say
Then you should shut your mouth

Cause I can see you lift me up
Give me joy that I've been searching for
And I feel that this is a powerful love
It's clear to me that this is real
This is the real deal

I love the way you hold me
The way that you make me smile
I love the way you make the worst days
Feel like they'll be over
In no time

I can see the occasional looks
The stares from across the room at us
They don't think that this will last
But I'm all in baby, no looking back

Talk is cheap when you got nothing good to say
Believe me, I never thought it would ever turn out this way
Can't you be happy when you see things work out
Maybe if you ain't got nothing good to say
Then you should shut your mouth”



Sounds Like;

Kelsea Ballerini - “Unapologetically”






Personnel;

Savannah Haim – vocals, lyrics, composition, production
Avery Wyatt – acoustic guitar
Brandon Caulfield – lyrics, composition, production


OOC: Apologies for the delays, life just kinda got in the way a little. Hopefully I'll have time to be somewhat active once more. :)

Edited by user 02 November 2019 17:18:57(UTC)  | Reason: Not specified

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#16 Posted : 04 November 2019 06:12:02(UTC)
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Track Number: #013
Title: “Brave Little Soldier”
Artist: Savannah Haim
Album: Young Love (2019)
Length: 4:27
Recorded: Blackbird Studios, Nashville, Tennessee - September 2018
Genre: Country
Label: Southbound Records
Writer(s): Savannah Haim
Producer(s): Savannah Haim, Brandon Caulfield

“Brave Little Soldier” begins with a soft acoustic guitar and signals the entire tone of the song immediately as it gives it a sombre and reflective feeling to the track which is inspired by the true story of her father's death while in service for the United States Armed Forces. Savannah delivers this song with a dreary and sad vocal in order to emphasize the sadness that she feels, “I remember those tears running down my face/When you said, “I'm gonna have to go”/You promised me you'd be back soon and told me to be your brave little soldier/It's been seventeen years now and I know you ain't coming back/I hope you know your little girl's gotten so much older/Carrying the weight of the world /Upon her shoulder.”
The opening verse sets the tone for the song and aims straight for the emotional connection, she continues while the soft and sombre acoustic guitar plays faintly in the background, “They told me to close my eyes/Or look up at the sky/Don't be shy, to ask him for advice/He's all around/Watchin' from above/Cause when they've gone/They make sure we still feel their love.”

The acoustic guitar continues with the same pattern throughout and it feels like this is done to highlight the vocals and lyrics, the instrument is barely noticeable at certain parts of the song and it feels like this is by design as Savannah delivers her saddest memories from her childhood as she sings something personal but very universal to the feeling of fear and sadness that the country felt in 2002, “ Don't turn on the television, angel/Cause they're telling us to stay inside and hide/Please don't open the door or look out of your window/They all say a war is raging outside/Good men and women are being sent to battle/Don't know what they're fighting for/Will some of them come back/We just don't know.”
She continues with the songs chorus once more and delivers one final verse reflecting on how she feels now that she's become a woman and how she's tried to continue her life in the strongest way possible, “I'm older now and I've learnt to hide my pain/Force a shine through all this rain/I'll never forget about you/There's not a day/That you're not in my thoughts/In some devastating way.”



“Brave Little Soldier”

“I remember those tears running down my face
When you said, “I'm gonna have to go”
You promised me you'd be back soon and told me to be your brave little soldier
It's been seventeen years now and I know you ain't coming back
I hope you know your little girl's gotten so much older
Carrying the weight of the world
Upon her shoulder

They told me to close my eyes
Or look up at the sky
Don't be shy, to ask him for advice
He's all around
Watchin' from above
Cause when they've gone
They make sure we still feel their love

Don't turn on the television, angel
Cause they're telling us to stay inside and hide
Please don't open the door or look out of your window
They all say a war is raging outside
Good men and women are being sent to battle
Don't know what they're fighting for
Will some of them come back
We just don't know

They told me to close my eyes
Or look up at the sky
Don't be shy, to ask him for advice
He's all around
Watchin' from above
Cause when they've gone
They make sure we still feel their love

I'm older now and I've learnt to hide my pain
Force a shine through all this rain
I'll never forget about you
There's not a day
That you're not in my thoughts
In some devastating way

They told me to close my eyes
Or look up at the sky
Don't be shy, to ask him for advice
He's all around
Watchin' from above
Cause when they've gone
They make sure we still feel their love”



Sounds Like;

Lana Del Rey - “Looking For America”





Personnel;

Savannah Haim – vocals, lyrics, composition, production
Avery Wyatt – backing vocals, acoustic guitar, composition
Jared Wyatt – drums, percussion
Brandon Caulfield – production
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#17 Posted : 24 November 2019 19:22:08(UTC)
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Track Number: #014
Title: “American Masquerade” (feat. Erich Hess)
Artist: Savannah Haim
Album: Young Love (2019)
Length: 4:35
Recorded: Blackbird Studios, Nashville, Tennessee – February 2019
Genre: Americana, Southern Rock
Label: Southbound Records
Writer(s): Savannah Haim
Producer(s): Savannah Haim, Erich Hess, Karoliena Verlinden

“American Masquerade” (feat. Erich Hess) begins with a slide guitar and drums intro which sets the tone for the storytelling of a love story set in the excessive world of Las Vegas as Savannah dreamily sings the opening verse and sets the tone, “Red Wing boots and Marlboro cigarettes/We're the king and queen of Vegas/What more did you expect?/Stomach full of expensive steak and top-shelf liquor/When you've built your empire/It's easier to burn it down so much quicker.” her tone is soft and sultry and matches well with the gruff vocal delivery from Erich as he adds an electric guitar instrumentation with a Blues vibe as he sings, “They say the lights around here never go down/And that the house always wins/I've spent my whole life becoming the cliched prince of Nevada/Shotgun weddings, Vegas chapels and sins.”

As we reach the chorus the pair sing in harmony, “We call this the American masquerade/The high-life built on chances that we've made/Now we're headlining Caesar's palace/Gambling our whole life away/Just for the money, fame, fortune and stage.” which brings to mind Johnny Cash and June Carters most famous duet, “Jackson.” The chemistry between the pair seems to be perfected as they appear on the same page, perhaps enhanced by the time that Erich spent in the studio producing much of the album before this song was created.
The guitars slow down as Erich delivers another solo verse, “They call me the Frank Sinatra of the south-west/Drinking at the bar with my California princess/A mix between modern day hustle and old school class/We're living wild and free/They say we'll burn out just as fast.” Which is again followed by the duo singing in harmony, “They say it's survival of the fittest when the deal goes down/But the king and queen of Las Vegas run this motherfucking town.”

We're given the songs chorus once more before one final verse from Savannah as she amps up the sultry vocal delivery one more final time, “We've got our love that stands strong and true/Loyalty is knowing that you've got my back and I've got yours too/Love, weed, power, wealth/Every night's a pleasure when you're drinking top-shelf.” before we head another chorus sung in harmony by the pair before the music fades out.



“American Masquerade”

“Red Wing boots and Marlboro cigarettes
We're the King and Queen of Vegas
What more did you expect?
Stomach full of expensive steak and top-shelf liquor
When you've built your empire
It's easier to burn it down so much quicker


They say the lights around here never go down
And that the house always wins
I've spent my whole life becoming the cliched prince of Nevada
Shotgun weddings, Vegas chapels and sins


We call this the American masquerade
The high-life built on chances that we've made
Now we're headlining Caesar's Palace
Gambling our whole life away
Just for the money, fame, fortune and stage


They call me the Frank Sinatra of the south-west
Drinking at the bar with my California princess
A mix between modern day hustle and old school class
We're living wild and free
They say we'll burn out just as fast


They say it's survival of the fittest when the deal goes down
But the king and queen of Las Vegas run this motherfucking town

We call this the American masquerade
The high-life built on chances that we've made
Now we're headlining Caesar's palace
Gambling our whole life away
Just for the money, fame, fortune and stage


We've got our love that stands strong and true
Loyalty is knowing that you've got my back and I've got yours too
Love, weed, power, wealth
Every night's a pleasure when you're drinking top-shelf


We call this the American masquerade
The high-life built on chances that we've made
Now we're headlining Caesar's palace
Gambling our whole life away
Just for the money, fame, fortune and stage
We call this the American masquerade
The high-life built on chances that we've made
Now we're headlining Caesar's palace
Gambling our whole life away
Just for the money, fame, fortune and stage”




Sounds Like;

BJ Barham - “O' Lover”




Personnel;

Savannah Haim – vocals, lyrics, composition, production
Erich Hess – vocals, electric guitar, composition, production, engineering
Avery Wyatt – backing vocals, slide guitar
Jared Wyatt – drums, percussion
Karoliena Verlinden – production, mastering, mixing
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Offline C4AJoh  
#18 Posted : 17 December 2019 05:18:21(UTC)
C4AJoh
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Track Number: #015
Title: “Like You Do”
Artist: Savannah Haim
Album: Young Love (2019)
Length: 3:26
Recorded: Blackbird Studios, Nashville, Tennessee – January 2019
Genre: Americana, Southern Rock
Label: Southbound Records
Writer(s): Savannah Haim
Producer(s): Savannah Haim, Erich Hess, Karoliena Verlinden

“Like You Do” begins with a melancholic piano intro and a slide guitar, it sets the tone for a sombre song that takes it's time and allows the words to sink, Savannah sings with a pretty southern drawl, “I gave my all for you/Everybody said that I was crazy/You'd get bored like you do/But I thought you'd always love your pretty baby/I gave my all for you/They all said I'm fuckin' crazy/Get bored like you do/Abandon your pretty baby.” and it's clear where the song is likely to go as we arrive at the hook, “You took the bourbon/My liqour's top shelf/You stoke my Lincoln/I hope you go to hell.” and it's simplistic and feels very country lyrically despite the slower pace.

The song tells a story in the traditional country style, “We threw a party that night for you/I did all I had to do/But it was hard to show a smile/When I was dyin' inside/The little red dress didn't hide the pain/The cocaine got me alive again/But I could still only think about you.” which is followed by another hook, before the songs chorus comes back into place, “I gave my all for you/Everybody said that I was crazy/You'd get bored like you do/But I thought you'd always love your pretty baby/I gave my all for you/They all said I'm fuckin' crazy/Get bored like you do/Abandon your pretty baby.” and the songs chorus repeats over the piano backdrop before fading out.



”Like You Do”

“I gave my all for you
Everybody said that I was crazy
You'd get bored like you do
But I thought you'd always love your pretty baby
I gave my all for you
They all said I'm fuckin' crazy
Get bored like you do
Abandon your pretty baby

You took the bourbon
My Liquor's top shelf
You stole my Lincoln
I hope you go to hell

We threw a party that night for you
I did all I had to do
But it was hard to show a smile
When I was dyin' inside
The little red dress didn't hide the pain
The cocaine got me alive again
But I could still only think about you

You took the bourbon
My Liquor's top shelf
You stole my Lincoln
I hope you go to hell

I gave my all for you
Everybody said that I was crazy
You'd get bored like you do
But I thought you'd always love your pretty baby
I gave my all for you
They all said I'm fuckin' crazy
Get bored like you do
Abandon your pretty baby

I gave my all for you
Everybody said that I was crazy
You'd get bored like you do
But I thought you'd always love your pretty baby
I gave my all for you
They all said I'm fuckin' crazy
Get bored like you do
Abandon your pretty baby”



Sounds Like;

Lana Del Rey - “Love”





Personnel;

Savannah Haim – vocals, lyrics, piano, composition, production
Avery Wyatt – slide guitar, backing vocals
Jared Wyatt – drums, percussion
Brandon Caulfield - production
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Offline C4AJoh  
#19 Posted : 17 December 2019 05:20:46(UTC)
C4AJoh
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Title: “Cigarettes And Kerouac”
Artist: Savannah Haim
Album: “Young Love” (2019)
Release Date: July 24, 2019
Length: 4:57
Format: CD Single, Digital Download, 7” Single
Recorded: Blackbird Studios, Nashville, Tennessee – February 2019
Genre: Country, Americana, Pop
Label: Southbound Records
Writer(s): Savannah Haim
Producer(s): Savannah Haim, Erich Hess, Karoliena Verlinden

“Cigarettes And Kerouac” is a song written and recorded by American singer-songwriter 'Savannah Haim', the song marks the fourth official single released from the upcoming artist and is taken from her 2019 debut album “Young Love”. It follows on from her previous single “Smoke” which was released back in February and peaked at number one on the singles chart and has remained a top five single ever since it's release back at the beginning of the year. The singer made an unexpected move to leave a bigger gap between single releases following her first number one single, making it five months since her last single when the majority would have expected her to release a new track sooner in order to capitalise on the success, but with the ongoing support for “Smoke” it was decided that it was a perfect time to shift the focus to the record and promo for that record, which saw Savannah take on her first solo tour, a brief run of theatres throughout the USA.

The latest single like previous efforts was written solely by Savannah Haim and see's the singer depict her life before making it big with a record deal as she sings about travelling on the road and to places she hasn't been before just to perform her songs. According to a recent interview, Savannah had this to say about the track, “This is a song I really love to listen to, it's slower and more melodic than a lot of the other tracks from the album, but it still draws me in. I really like the images I feel like I've created with the lyrics to this song and it feels very true to a specific time in my life. I think it's a rumour killer too as I think a lot of people still have an image of me as someone that just had everything come easy to. I've been trying to do this since I was eighteen and I'm now twenty five years old and finally putting out my debut album. Like I've worked hard for around six or seven years to try to get to this point and I think this song captures the initial feelings I had when I headed to California for the very first time.”

The track will be released on July 24, 2019 through Southbound Records.



The song begins with a soft and slow acoustic guitar and the faint sound of a drumming backbeat before Savannah delivers the opening verse in a slower and more sombre tone, “I'm packing up all my things, to sing these songs out on that open road/I'm heading somewhere out west, I've never been before/I'm used to travelin' around on crowded trains/But now I've got a fancy guitar and a famous name/With people that actually want to hear me sing/People are actually listenin'”
Following on from the opening verse, we can hear the pace speed up a little and the addition of an electric guitar can be heard as the chords echo in the forefront before Savannah continues to sing about her life travelling on the road with the songs chorus, “I used to carry my guitar across my back/With cigarettes and Kerouac/Heading out on the road/A different man in every city/I'd keep em' all close to me/So I'd always have a place to crash/With cigarettes and Kerouac/And the same old worn clothes on my back.”

The music continues in a similar pace as we reach a post-chorus breakdown. The music slows back down again as the story demands it with Savannah singing again in a sombre tone about her arrival in California, “I stuck around out west where the big stars stay/Played my beat up guitar under the stars/On the streets of west LA/Tried my best to make a name/But California never felt like home to me/So I travelled for four days and got back home to Tennessee/The place I was always meant to be.” which adds to the story being told by Savannah and indicates the classic idea that not all that glitters is gold.
We're then give the songs pre-chorus and chorus once more before it fades out.



“Cigarettes And Kerouac”

“I'm packing up all my things, to sing these songs out on that open road
I'm heading somewhere out west, I've never been before
I'm used to travelin' around on crowded trains
But now I've got a fancy guitar and a famous name
With people that actually want to hear me sing
People are actually listenin'

I used to carry my guitar across my back
With cigarettes and Kerouac
Heading out on the road
A different man in every city
I'd keep em' all close to me
So I'd always have a place to crash
With cigarettes and Kerouac
And the same old worn clothes on my back

I guess that's when I was always searchin'
Well I ain't searchin' anymore
I guess that's where I did most of my learnin'
About all the things worth livin' for

I stuck around out west where the big stars stay
Played my beat up guitar under the stars
On the streets of west LA
Tried my best to make a name
But California never felt like home to me
So I travelled for four days and got back home to Tennessee
The place I was always meant to be

I guess that's when I was always searchin'
Well I ain't searchin' anymore
I guess that's where I did most of my learnin'
About all the things worth livin' for

I used to carry my guitar across my back
With cigarettes and Kerouac
Heading out on the road
A different man in every city
I'd keep em' all close to me
So I'd always have a place to crash
With cigarettes and Kerouac
And the same old worn clothes on my back”



Sound Alike;

Dawn Landes - “Traveling”




Personnel;

Savannah Haim – vocals, lyrics, composition, production
Avery Wyatt – acoustic guitar, composition
Caleb Rhythm JR – electric guitar, composition
Jared Wyatt – drums, percussion
Erich Hess – production
Karoliena Verlinden – production
Frankie Dallas – engineering
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#20 Posted : 17 December 2019 05:29:24(UTC)
C4AJoh
Rank: Advanced Member

Groups: Moderators, Registered
Joined: 18/05/2009(UTC)
Posts: 12,336
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DELUXE EDITION TRACKS;

“Lord Above”

“You say I'm an angel
But angels don't fly this low
Darlin', I lost my innocence quite some time ago
They say I've been through some things
Nobody should ever go through
But I just accept that life can be bullshit
That's the only thing that's true

I can't believe in the lord above
When there's so many things that are so fucked up
I can't believe in the lord above
When there's so many things that are so fucked up

So you'll read through the bible
And you can memorize the book of John
Every Sunday's spent in church service
Thinking all your sins have gone
But you've spent most of your adult life
Judging people without a clue
Our lord and saviour says that we should learn to forgive
But I don't have him to answer to

I can't believe in the lord above
When there's so many things that are so fucked up
I can't believe in the lord above
When there's so many things that are so fucked up

A long time ago
I lost my faith
When it seemed to me
That they keep preachin' hate
A long time ago
I lost my faith
When it seemed to me
That they keep preachin' hate

So you can read through the bible
And you can memorize the book of John
Sunday's spent in church service
Fooled into thinking all of your sins have gone
You can read through the bible
Memorize the book of John
Sunday's spent in church service
Thinking that all of your sins have gone”



“Love Hurts Like A Motherfucker”

“I know she's got it bad
When she can't go two minutes
Without the thought of him passing through her little head
And she gets all doe-eyed
Whenever someone says his name
And you can hear her breath falter when she see's him
And it's obvious she'd give anything to be with him
And I know all of this
Because when he was mine
He had the same effect on me

Love hurts like a motherfucker
So I've learnt to keep my heart to myself
Love hurts like a motherfucker
When it turns out he can easily leave you
Gathering dust on the shelf

If he left me
What makes you think
He's not capable of doing the same to you

Let's pretend I stopped caring at the same moment you did
Maybe that way we can call it even
Because the only thing that would've hurt more than my shredded heart
Would have been you seeing it all falling to pieces
And still fucking leaving
That's what you did

Love hurts like a motherfucker
So I've learnt to keep my heart to myself
Love hurts like a motherfucker
When it turns out he can easily leave you
Gathering dust on the shelf

If he left me
What makes you think
He's not capable of doing the same to you”



"You Don't Own Me" (Lesley Gore Cover)

"You don't own me
I'm not just one of your many toys
You don't own me
Don't say I can't go with other boys

And don't tell me what to do
Don't tell me what to say
And please, when I go out with you
Don't put me on display 'cause

You don't own me
Don't try to change me in any way
You don't own me
Don't tie me down 'cause I'd never stay

I don't tell you what to say
I don't tell you what to do
So just let me be myself
That's all I ask of you

I'm young and I love to be young
I'm free and I love to be free
To live my life the way I want
To say and do whatever I please

And don't tell me what to do
Oh, don't tell me what to say
And please, when I go out with you
Don't put me on display

I don't tell you what to say
Oh, don't tell you what to do
So just let me be myself
That's all I ask of you

I'm young and I love to be young
I'm free and I love to be free"



"How Does That Grab You, Darlin?" (Nancy Sinatra Cover)

"You came by at two o'clock, you shoulda been by at ten
I said bye at three o'clock and I ain't coming back again

Whoa!
How does that grab you, darlin'?
How does that mess your mind?
How does that grab you darlin'?
This girl is leavin' you behind.

You smart alec tom cat you!

When the sun goes down and the moon comes up
I'm gonna go out and prowl.. Oh ya!
Don't come lookin' for your pussy cat,
cause I won't be here no how!

Whoa!
How does that grab you darlin'?
How does that mess your mind?
How does that grab you darlin'?
This girl is leavin' you behind.

Now you ain't nothin' but an old to cat, runnin' around my house
I'll tell you sometning you old tom cat...you just lost your mouse

Whoa!
How does that grab you darlin'?
How does that mess your mind?
How does that grab you darlin'?
This girl is leavin' you behind.

There's more than one way to skin a cat you know. Prrrrrrr...
Bye Bye"



"Downtown Train" (Tom Waits Cover)

"Outside another yellow moon
Punched a hole in the nighttime, yes
I climb through the window and down the street
Shining like a new dime
The downtown trains are full
With all those Brooklyn girls
They try so hard to break out of their little worlds

You wave your hand and they scatter like crows
They have nothing that will ever capture your heart
They're just thorns without the rose
Be careful of them in the dark
Oh if I was the one
You chose to be your only one
Oh baby can't you hear me now

Will I see you tonight
On a downtown train
Every night its just the same
You leave me lonely, now

I know your window and I know it's late
I know your stairs and your doorway
I walk down your street and past your gate
I stand by the light at the four way
You watch them as they fall
They all have heart attacks
They stay at the carnival
But they'll never win you back

Will I see you tonight
On a downtown train
Where Every night its just the same
You leave me lonely
Will I see you tonight
On a downtown train
All of my dreams just fall like rain
All upon on a downtown train"


OOC: That's the album finally finished. Way later than I had expected to have it all done. Rushed a little towards the final songs but definitely the last fully descriptive roleplay album from myself. I've always had more enjoyment from the lyric writing side of things, so it's likely to be lyric-only album releases in the future. Anyway, hope ya'll enjoyed it!

Edited by user 17 December 2019 05:33:38(UTC)  | Reason: Not specified

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