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Story Behind The Song - SAY HELLO TO MY LITTLE FRIEND 

The blog series that highlights a selected song from my latest album, "III"   

 Episode 8 : SAY HELLO TO MY LITTLE FRIEND

I have never seen the famous Al Pacino movie, "Scarface". But I've certainly heard the phrase, "say hello to my little friend". And know where it came from. And couldn't resist fitting it in a song somehow. I hunted down the clip on YouTube for reference. This is kind of like my version of the Eagles "Get Over It" I guess. Ha ha.

I thought of the quirkiness of songwriters like Randy Newman and Harry Nilsson when it came time to record this little gem.

All instruments performed by me. Recorded and mixed with Logic Pro on an MacBook Pro.

Get the album "III" HERE

To see past song stories, CLICK HERE

Taxi Music Forward - Drone-y Atmospheric Tension 

..Which means: “Hey cool track, I'm going to pass this on. It may be usable to the TV/Film pro that will hear it next."

It didn't fit for the pitch I originally wrote it for because of the "build" at the end. But it worked for this one!

DRONE-Y, ATMOSPHERIC TENSION INSTRUMENTAL CUES are needed for a hard-working Music Licensing Company for placements in a popular Reality TV Show on MTV. 

They’re quickly searching for Down-to-Mid-Tempo Instrumental Cues in the general stylistic wheelhouse of the references below: 

Vice - “Zombie Drug” (Starting From 2:44 – 3:09) 

Vice - “The Deadliest Wildfire In California History” (Starting From 3:00 – 4:40) 

Please submit tension-inducing Instrumental Cues with very little to no melodic movement. They seek Cues that will add a sense of anticipation to a scene. Instrumentation like (but not limited to) Atmospheric synths, pulsing bass notes, softened drumbeats, and lush pads could all work for this request. Your submission should stick to a singular vibe and sound throughout the entire Cue to keep your piece cohesive from beginning to end. No need to go overboard for this request, simplicity, and mood are everything! 

Your submissions should be about 90 Seconds long, give or take. Non-faded endings will work best. Do NOT copy the referenced material in any way, shape, or form. Use it only as a general guide for tempo, tone, and overall vibe. Broadcast quality is needed. 

Taxi Music Forward - Investigative Instrumental Cues 

..Which means: “Hey cool track, I'm going to pass this on. It may be usable to the TV/Film pro that will hear it next."

A RANGE OF INVESTIGATIVE INSTRUMENTAL CUES is needed by an expanding International Music Library that needs lots of new music!They’re searching for dramatic, suspenseful Instrumental Cues that could work in a variety of Crime-based scenes. Please listen to the following references to get an idea of what could work for this pitch: 

Fatal Attraction (1:10 - 2:10) 

Crime Watch (0:00 - 0:39) 

Please submit well-composed Instrumental Cues that could support a variety of investigative scenes and scenarios. Your pieces can include Electronic and/or Orchestral Instrumentation, or a hybrid of both. Build your Cues around a central, tension-inducing melody that will sit easily behind a scene’s dialogue, and add new elements as it progresses to create a sense of forward movement and development. You’d be smart to keep your Cue on the simple side, as this pitch is all about setting an Investigative mood! 

NOTE: Your Instrumental Cues can cover a wide range of Crime Show styles, from what you'd hear during a tense manhunt, to the type of cues that would support detectives searching for clues in the field, to scenes in the lab, etc.  Provide the aural backdrop for those Investigative, crime-show scenes where John Q. Law stops the bad guys! 

Your submissions should be about 90 seconds long (give or take). If you go a little long, don’t sweat it! Non-Faded, Button/Stinger endings will work best. Please do NOT copy the referenced examples in any way, shape, or form. Use them only as a general guide for tempo, texture, tone, and overall vibe. Broadcast quality is needed.
 

 

Story Behind The Song - NORDSTRANTANA 

The blog series that highlights a selected song from my latest album, "III"   

 Episode 7 : NORDSTRANTANA

Unlike a most of the instrumental tracks I write which are meant to be just background music for a TV show, this is a true instrumental consisting of a lot of guitar as the feature instrument. It was mean to be listened to! 

The name is a bit strange, but I had to come up with something!. It reminded of a hipster "beat" I would hear while roaming the aisles of certain sections of Nordstrom. Also, there was something about it that reminded me of Carlos Santana. I had fun experimenting with pre-recorded instrument and drum loops.

Anyway, it was sitting around inside the "vault" for a while so I finally released it officially. It has been playing in businesses around the world through an online publisher, but now it's on CD and Spotify and all the rest of the streaming locations.

All instruments performed by me. Recorded and mixed with Logic Pro on an MacBook Pro.

Get the album "III" HERE

To see past song stories, CLICK HERE

Story Behind The Song - CAN'T STAY HERE 

The blog series that highlights a selected song from my latest album, "III"   

 Episode 6 : CAN'T STAY HERE

I set out from the start to write a moody song. Mission accomplished, I think! Ha ha.

This character hopefully is right on the edge of changing his ways and turning his life around. In my younger days, or wait..... or as a working musician, you are at the gig till the end - closing time. I guess I've heard this phrase more than once- "Don't gotta go home, but you can't stay here!!"

Probably been written before, but silly me said, "Hey, let's write another!" 

On the technical side, the "virtual" drums inside the Logic software gave me a realistic palette of drum kits and fills for me to work with. This is the first song I've put out with the new "gear".

A professional critique i got on this was "classic rock". I suppose the electric guitar lent itself to this. I loved the "Brian May" (Queen) guitar tone I discovered and I couldn't resist not using it!. There was no guitar amp in the room. It's all computer software doing it's magic. My Elton John roots did cross my mind as well as I was working on this one.

All vocals and instruments performed by me. Recorded and mixed with Logic X on an iMac.

Get the album "III" HERE

To see past song stories, CLICK HERE


***** LYRICS *****

CAN'T STAY HERE

The spark of a tongue
Saying you're done
Then you slam the door

Look at you now
Closing it down
Watching the whiskey pour

The barmaid's barking like a buccaneer
Don't gotta go home
But you can't stay here

A flood of regret
Muddles your head
Like an empty glass

Love on the line
Losing your mind
Used to hurt so bad

All you wanted was to disappear
Don't gotta go home
But you can't stay here

And as you're spilling off that barstool
Empty hand around your phone
You reach out for some blonde to break your fall

Hit with the lights
Nothing to hide
Nothing to feel at all

Except for the hole
Shaking your soul
Like an altar call

The spirit's willing, but the flesh can't steer
Don't gotta go home, but you can't stay here

© 2018 Steve Probst

Taxi Music Forward - Urban-Based Tension Instrumental 

..Which means: “Hey cool track, I'm going to pass this on. It may be usable to the TV/Film pro that will hear it next."

URBAN-Based TENSION INSTRUMENTAL CUES are needed by a European Music Library that's expanding and needs lots of new music. 

They’re looking for Mid-To-Up Tempo Instrumental Cues in the stylistic ballpark of the following examples below: 

Basketball Wives (0:13 – 0:53) 

Love & Hip Hop: New York (2:09 – 2:39) 

Please send them contemporary sounding Instrumental Cues, built around a rhythmic Urban/Hip-Hop beat that would support tension-filled scenes in Reality-based TV shows. Build your Cues around a central melodic theme, while adding and subtracting layers of instrumentation as they progress to create dynamics, interest, and forward movement. 

TAXI Tip: Please avoid anything that’s overtly busy, as it could potentially interfere with dialogue. 

All submissions should be at least 90 seconds long (give or take). Non-faded, buttoned/stinger endings will work best. Please do NOT copy the referenced examples in any way, shape, or form. Use them only as a general guide for tempo, texture, tone, and overall vibe. Broadcast quality is needed.

Story Behind The Song - A GIRL AND HER DOG 

The blog series that highlights a selected song from my latest album, "III"   

 Episode 5 : A GIRL AND HER DOG

One summer day at a New Jersey park for load-in and soundcheck, I spied, across a wide open green expanse, a girl and her....dog...interacting under a tree.

Purely on thinking it was a good title, I went from there with any kind of story line this song might take. At the time of writing this I remember thinking this one as breaking out of the normal type of song I would write. It was fun coming up with the soft brass and woodwind lines in the chorus. (All sampled instruments -  meaning, not played by real players, at my house, in front of a microphone - all from the computer). I'm really happy with the outcome.

All vocals and instruments performed by me. Recorded and mixed with Logic Pro on a MacBookPro.

Get the album "III" HERE

***** LYRICS *****

A GIRL AND HER DOG

Looking out across the green
Not a soul to be seen
Just a girl and her dog

Just like any other day
Till my thoughts began to stray
Toward the girl and her dog

We spend our lives tugging on the leash
Whatever's out of reach looks so inviting
We wag our tails until the bitter end
Every now and then we think get our way

I turned away to watch the clouds
Dancing shadows all around
The girl and her dog

CHORUS

Like a bulldog with a bone
I can't leave well enough alone
And so this song
About a girl and her dog

© 2012 Steve Probst

Taxi Music Forward - Pizzi-Based Instrumental 

..Which means: “Hey cool track, I'm going to pass this on. It may be usable to the TV/Film pro that will hear it next."

"Pizzi" is short for "Pizzicato Strings" With a short, plucking style of playing, they can sound sneaky or kind of cute, depending on the track. 

*************

ORIGINAL, PIZZICATO-BASED INSTRUMENTAL CUES are needed by an A-List Music Publisher/Music Licensing Company with a long history of placements in Film, TV, and Commercials. They're eagerly looking for simple Pizzicato Instrumental Cues that would fall in the generalstylistic ballpark of these examples they provided to us: 

Dad’s Who Play Barbie (Starting at 0:16 - 1:16) 

Did You Know 

Please send simple, well-composed Pizzicato String Instrumental Cues that could work for many kinds of happy, optimistic, and lighthearted moods in commercials. Instrumentation that could work well for this pitch includes (but is not limited to) Pizzicato Strings, Timpani, Light Percussion, Piano, Oboe, Warm Sustained Strings, or Drums. 

Your Cues should be built around an optimistic central melodic theme while layering instruments in and out as your Cues progress to create a nice developmental arc. You’d be smart to avoid submitting anything that’s frenetic, overly quirky, or just plain silly. 

All Instrumentals must be 1:00 in length (including ring outs and reverb tails) with non-faded, buttoned/stinger endings. In this context, we think One-Minute really means 59.5 seconds. That makes it more usable for TV Commercials! Please do NOT copy the referenced music in any way, shape, or form. Use them only as a general guide for instrumentation, texture, tone, and overall vibe. Broadcast quality is needed.

Taxi Music Forward - Dramedy-Style Instrumental Cues 

..Which means: “Hey cool track, I'm going to pass this on. It may be usable to the TV/Film pro that will hear it next."

DRAMEDY-Style INSTRUMENTAL CUES are needed by a legendary, Major Music Library with tons of top-notch placements in TV Commercials, Hit TV shows, and Feature Films. They’re looking for Mid-to-Up-Tempo Dramedy Cues in the general stylistic ballpark of the following examples:

KUWTK (From 0:29-1:24)

Love & Hip Hop: New York | VH1 \(From 0:48-1:12\)

Please send them well-composed Instrumental Cues that could be used in a variety of quirky, playful, mischievous and comedic scenes in Reality TV Shows. Build your Cues around a central melodic theme while adding and subtracting layers of instrumentation as it progresses to add dynamics, interest, and some forward momentum. You’d be smart to avoid submitting anything that’s overly busy for this pitch, as it could distract from a scene’s dialog. All submissions should be about 2 minutes long, give or take. Non-faded, Buttoned/Stinger endings are encouraged for this pitch. Do NOT copy the referenced songs in any way, shape, or form. Use them only as a general guide for feel, texture, tone, and vibe. Broadcast quality is needed.

 

Story Behind The Song - MAMA GONNA WHOOP YOU 

The blog series that highlights a selected song from my latest album, "III"   

Episode 4 : MAMA GONNA WHOOP YOU

There isn't any long, inspirational story to this song. My good friend and one-time traveling buddy, Kevin, with Hotel California, told me how his mom used to say "Mama's gonna whoop you" or something to that effect. Naturally, heard a song title right off the bat, wrote it down for later. 

Later arrived and so did the song in all it's uncomplicated blues/rock mischievousness.

Anyway, MAMA GONNA WHOOP YOU has been released to the masses! 

Get the album "III" HERE