Week Twenty-Three

COME AND GET ME
By Kim Davidson
© 2010

Maybe I should have stayed
Maybe you’re right
Maybe I wouldn’t have been played
But you can’t blame me for thinking that, right?
You and I, we both know who you are
You and I, we both know it’s a miracle we got this far

CHORUS: But if you really want me back, well you know where to find me
So all you have to do, is jump into that beat-up car and drive on down the road to that little bar
The one we spent so much time at, that everybody knew our names
And half the time the drinks were free… that’s where I’ll be
If you want me back, come and get me…

Why don’t you call my bluff?
Why not surprise me?
Why don’t you stop acting so tough?
‘Cause that whole act has never impressed me…
What if I know exactly what you’ll say?
What if I still need you to say it anyway?

CHORUS: If you really want me back, well you know where to find me
And all you have to do, is jump into that beat-up car and drive on down the road to that little bar
The one we spent so much time at, that everybody knew our names
And half the time the drinks were free… that’s where I’ll be
If you want me back, come and get me…

BRIDGE: There’s still time, but it’s on you, to show me what you’re made of, to show me I can trust
All I want is to believe, but baby, you’ve got to prove it to me, you’ve got to prove it to us…

CHORUS: If you really want me back, well you know where to find me
And all you have to do, is jump into that beat-up car and drive on down the road to that little bar
The one we spent so much time at, that everybody knew our names
And half the time the drinks were free… that’s where I’ll be
If you want me back, come and get me…

First of all, apologies again for the belated posting of this song! As explained in the video, it was a really hairy week at work, and while I did get my song written on schedule, I found that I was entirely without time to make a recording until this past week. It was really crazy, and I was tempted to fret over it big time, but in the end I decided that you guys would understand, and as long as I posted it at some point it would all be okay. At no time did I consider skipping a week—just so you know.

So given the circumstances, I’m not afraid to tell you that this song kinda came out on a wing and prayer. I actually wrote it while at work (shh! Don’t tell!) and then sat and added chords about a week later, as I was getting ready to record it. I did the recording at work also, as you know, and I am kind of bummed it’s not better than it is. One of the obstacles I regularly deal with is that when I record at home it’s typically later in the evening (even if not un-Godly) late, and so I find that I have to hold back on my vocal performance, which can sometimes make things not sound their best. It also sometimes affects the quality of the recording, as a quieter signal will leave the track with some high-pitched humming or hissing or whatever. So I was actually pretty excited that I was going to end up at work, because with no one else around I would be able to belt it out and make it sound great, right? Oh, if only it were that easy.

I was initially going to record on Monday night after hours. I brought everything I needed with me to the office, and figured around 11:00 PM, when I was finished with my work day, I’d make the video. Then at about 9:00 PM our payroll chick came back in to burn a little midnight oil herself, and so I couldn’t do it. Drat.

On Tuesday I was finally able to have the office to myself, but what happened was that after working for the past seven days straight, I was kind of tired. And so everything just kinda came out sounding a little forced and less than stellar, in my opinion. It was disappointing because like I said, it’s rare I have those kind of circumstances, but there wasn’t anything I could really do. After five takes I’d pretty much had it, and it wasn’t really getting any better. I mean, I wasn’t stopping because I was making mistakes or anything. I had pretty much five full takes. I just kept redoing them to see if I could get a better one, and in the end it didn’t much matter. The differences between takes were negligible. But so it goes, right?

So because of the crazy timeline I don’t have a ton to say about this song except that I am clearly unafraid to rhyme “right” with “right” and “me” with “me”, in the first verse and second verse respectively. I didn’t even notice I’d done it at first (with “right”) because the rhythm is a bit different from the first two lines to the second two lines of the first verse. For about a nanosecond I thought, “Oh, crap… what else rhymes there?” And then I thought, “Screw it! Rhyme it with itself!” I mean, I don’t think I’ve ever done it before, so why not? And then I did it again in the second verse so it would match. So there!

What I like about this song is that it’s on par with the commercial country thing I have been flirting with off and on this year. I am really trying to write some radio-friendly country tunes, because ultimately I’d love to get a publishing deal somewhere and sell my songs to whoever wants to sing ‘em. I’ll keep singing too, of course, but it would be nice to have the bills getting paid musically, and publishing is probably my best bet at this stage of my life. So it’s nice to be assembling a little collection of tunes that I can hopefully polish up and pitch down the road. I’m hoping to be able to rejoin TAXI by the end of the year, so that will be a great place to send some of these tunes. Even if they don’t get forwarded, they’ll get great feedback, and that’s important when you’re trying to write specifically to genre in the hopes of penning a “hit.”

I used to not care about writing hits. I was an artiste, after all. Now I have realized that I can have both. I can write songs for myself that may not adhere to the formula, or that may have intrinsic “faults” and it’s okay. Those are for me and for the people who like those kinds of songs. At the same time, I can try to understand and write to the formula for the people who enjoy that, and for the people who pay for that. I’ve never understood the people who argue against “selling out.” I mean, if you can do something that’s marketable and someone’s willing to pay you for it, why not make a living? You can STILL do what you want on the side. You can always do what you were doing (the thing that wasn’t making you any money), except now you can do it without the pressure of worrying how you’re going to pay your bills. I mean, how is that not a win-win? There’s nothing noble in being poor. It’s difficult to be poor, and many people don’t have a choice about it. If someone offers to pay you for your services (legitimately) then I feel like you’re insane not to take advantage of that opportunity. I don’t mean doing something to degrade yourself, or something completely out of line with what your goals are. I mean, if your love is country music, for example, and someone offers you millions of dollars to become a rap superstar, there’s a valid reason to think twice about that, because it’s going to take you very far away from what you love, and you probably can’t do both. BUT… if you are good at writing rap songs, then by all means you should be writing them and selling them to the highest bidder while you book country gigs for yourself, because you have to earn a living somehow. And who wants to wait tables or work in an office if they’re good at writing rap songs and someone wants to buy them? That’s all I’m saying.

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One Response to “Week Twenty-Three”

  1. Week Twenty-Five « Kim Davidson: New Song Weekly Says:

    […] seat of my pants (as you might have guessed with another late post, though not nearly as late as Week 23 was). With that being the case, it was a gift to have another song spurn me into action and have me […]

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