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Redneck Girl

Kyle Mercer

February 09, 2018

Genre: Country

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About This Song


A little country boot-scooter.

And please excuse the vocals -- I can't sing worth a damn and my audio engineering is even worse.

Feedback Requested


All comments are welcome, but I'm more interested in what's wrong with the song than whatever might be right about it. And as always, I worry that I might have inadvertently used somebody else's lyric or melody, so if you hear something in it that shouldn't be there, please advise.


4 Responses


Frank Renfordt

I like the idea. I’m missing a bit structure in this song. I cannot really recognize a chorus or refrain. Sometimes it’s also a bit wordy. Your singing is not that bad, but it’s too much in front of the mix.

February 09, 2018

No members have liked this comment.

Kyle Mercer

I love it when I can get straight feedback without the b.s., so thank you. I know what I think the song’s flaws are, but it’s nice to hear what a fresh pair of ears has to say. And I agree with you on all points. (Well, I still think my singing sucks, but other than that…)

Structurally, ‘Redneck Girl’ is a bit of an odd puppy. I haven’t turned on a radio in decades, but I suspect pre-verses went the way of dinosaurs after the Beach Boys broke up.

Melodically there are A and B sections, but the B sections use different lyrics so they don’t really function like a chorus, though they do start with the same ‘Wild and mean’ line and their first couplet pairs all rhyme with ‘halter.’ Definitely not a structural concept you’d try to pitch to a publisher.

But it wasn’t supposed to be. All the Mudbug songs I’ll be posting here were intended for a story about a fictitious never-has-been-never-will-be Texas singer/songwriter. The idea was to try to make the pieces unconventional and slightly flawed, but in interesting ways.  There’s not a verse-chorus-verse-chorus-bridge-chorus structure to be found in the batch. A lot of it tends toward the strophic.

But the story never fleshed out. So I wound up with about an hour’s worth of mostly odd and quirky musical ideas that I have no idea what to do with now. If I was a singer/songwriter, I could take them to an open mic night and see how an audience responded. That’s not an option for me.

But before I threw them in the waste basket and moved on to other projects, I was curious to see what, if any, appeal they might have to anyone else and what real songwriters and musicians might have to say about them. So I sat down at a DAW and sample-sequenced together a bunch of crude, work-tape arrangements and here I am at Frettie.

And yeah, it’s wordy and difficult to sing in places—“Too many notes,” as the king says in ‘Amadeus.’ I’ve tried to rephrase things in a couple of places and, failing that, like to pretend all those triplets give the song a little extra drive, but perhaps they tax the ear as well?

The vocals tend to sit a little too forward in all these mixes, partly because my ear and gear aren’t suitable for audio engineering and partly because my enunciation sucks and I wanted to make sure the lyrics were as intelligible as possible when soliciting feedback. I don’t expect any part of this project to go forward from here, but if it does, it will be somebody else doing the singing and mixing.

So thank you for listening and taking the time to comment. I appreciate it.

February 10, 2018

No members have liked this comment.

Sonya Dauth

Hi Kyle

Some really cool lines in there.

It didn’t quite flow well, especially with the break in the middle of the “chorus”.

This could be a really rockin’ tune given some more form.

Best wishes with it.

Cheers
Sonya

February 12, 2018

No members have liked this comment.

Kyle Mercer

When you talk about the break in the middle of the ‘chorus’, I assume you’re referring to that long 3 bar instrumental passage after the ‘She’s a redneck girl’ line. I remember when I was first trying to stitch the piece together, church-licking chords on a guitar behind the vocals, that part bothered the hell out of me. But once I had put the song in a band context and was able to hear a fiddle fill in there, I never thought twice about it. The structural thing that has always irritated me about the piece more than anything else is the pre-verse.

Describing the song as having A and B sections the way I did in an earlier comment was a bit of a simplification. The body of the piece is essentially built like an old fiddle tune: AABB. So that 3 bar instrumental passage doesn’t really land in the middle of the ‘chorus’ so much as it serves as the turn-around for the first B section. I also felt the break helps lend a little emphasis to the ‘She’s a redneck girl’ line, that line being as close as the song comes to having a refrain (in the older, more traditional sense of the term). But maybe I need to re-evaluate.

I’ve never consciously compared the piece to a fiddle tune before, but it suddenly occurs to me that even the melody line sounds a lot like notes a fiddle player might reach for. Which could help explain how the thing got so wordy and why it ended up with those intro and outtro sections—I used to listen to a lot of instrumental folk music.

Not a particularly smart way to construct a contempory country song, but the AABB form has been around in Western popular music for hundreds of years, so I wasn’t really expecting to hear comments about the song’s lack of structure—a need for a different structure, yes, but the lack of structure surprised me. But both you and Frank have mentioned it, so I guess I’ve got a little head-scratching to do. And that’s why I needed fresh ears to listen to the thing.

Thank you for taking the time to comment. I’ll keep your remarks in mind as I continue to work on the piece.

February 13, 2018

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0

Frank Renfordt

I like the idea. I’m missing a bit structure in this song. I cannot really recognize a chorus or refrain. Sometimes it’s also a bit wordy. Your singing is not that bad, but it’s too much in front of the mix.

February 09, 2018

0

Kyle Mercer

I love it when I can get straight feedback without the b.s., so thank you. I know what I think the song’s flaws are, but it’s nice to hear what a fresh pair of ears has to say. And I agree with you on all points. (Well, I still think my singing sucks, but other than that…)

Structurally, ‘Redneck Girl’ is a bit of an odd puppy. I haven’t turned on a radio in decades, but I suspect pre-verses went the way of dinosaurs after the Beach Boys broke up.

Melodically there are A and B sections, but the B sections use different lyrics so they don’t really function like a chorus, though they do start with the same ‘Wild and mean’ line and their first couplet pairs all rhyme with ‘halter.’ Definitely not a structural concept you’d try to pitch to a publisher.

But it wasn’t supposed to be. All the Mudbug songs I’ll be posting here were intended for a story about a fictitious never-has-been-never-will-be Texas singer/songwriter. The idea was to try to make the pieces unconventional and slightly flawed, but in interesting ways.  There’s not a verse-chorus-verse-chorus-bridge-chorus structure to be found in the batch. A lot of it tends toward the strophic.

But the story never fleshed out. So I wound up with about an hour’s worth of mostly odd and quirky musical ideas that I have no idea what to do with now. If I was a singer/songwriter, I could take them to an open mic night and see how an audience responded. That’s not an option for me.

But before I threw them in the waste basket and moved on to other projects, I was curious to see what, if any, appeal they might have to anyone else and what real songwriters and musicians might have to say about them. So I sat down at a DAW and sample-sequenced together a bunch of crude, work-tape arrangements and here I am at Frettie.

And yeah, it’s wordy and difficult to sing in places—“Too many notes,” as the king says in ‘Amadeus.’ I’ve tried to rephrase things in a couple of places and, failing that, like to pretend all those triplets give the song a little extra drive, but perhaps they tax the ear as well?

The vocals tend to sit a little too forward in all these mixes, partly because my ear and gear aren’t suitable for audio engineering and partly because my enunciation sucks and I wanted to make sure the lyrics were as intelligible as possible when soliciting feedback. I don’t expect any part of this project to go forward from here, but if it does, it will be somebody else doing the singing and mixing.

So thank you for listening and taking the time to comment. I appreciate it.

February 10, 2018

0

Sonya Dauth

Hi Kyle

Some really cool lines in there.

It didn’t quite flow well, especially with the break in the middle of the “chorus”.

This could be a really rockin’ tune given some more form.

Best wishes with it.

Cheers
Sonya

February 12, 2018

0

Kyle Mercer

When you talk about the break in the middle of the ‘chorus’, I assume you’re referring to that long 3 bar instrumental passage after the ‘She’s a redneck girl’ line. I remember when I was first trying to stitch the piece together, church-licking chords on a guitar behind the vocals, that part bothered the hell out of me. But once I had put the song in a band context and was able to hear a fiddle fill in there, I never thought twice about it. The structural thing that has always irritated me about the piece more than anything else is the pre-verse.

Describing the song as having A and B sections the way I did in an earlier comment was a bit of a simplification. The body of the piece is essentially built like an old fiddle tune: AABB. So that 3 bar instrumental passage doesn’t really land in the middle of the ‘chorus’ so much as it serves as the turn-around for the first B section. I also felt the break helps lend a little emphasis to the ‘She’s a redneck girl’ line, that line being as close as the song comes to having a refrain (in the older, more traditional sense of the term). But maybe I need to re-evaluate.

I’ve never consciously compared the piece to a fiddle tune before, but it suddenly occurs to me that even the melody line sounds a lot like notes a fiddle player might reach for. Which could help explain how the thing got so wordy and why it ended up with those intro and outtro sections—I used to listen to a lot of instrumental folk music.

Not a particularly smart way to construct a contempory country song, but the AABB form has been around in Western popular music for hundreds of years, so I wasn’t really expecting to hear comments about the song’s lack of structure—a need for a different structure, yes, but the lack of structure surprised me. But both you and Frank have mentioned it, so I guess I’ve got a little head-scratching to do. And that’s why I needed fresh ears to listen to the thing.

Thank you for taking the time to comment. I’ll keep your remarks in mind as I continue to work on the piece.

February 13, 2018


She's just a redneck girl in a little blue halter
Redneck girl in her little blue halter
Wild and mean but a denim-packin' dream
She's a redneck girl in a little blue halter

Well she can ride
She can rope
Close her eyes and roll a smoke
Cut a calf from a herd
Or whistle Dixie like a bird
Keep your hands in your pockets, boy
'Cause she's a redneck girl
She could plant an acre full of taters
With a harrow and a hoe
Then stay out all night dancing
To the Cotton-Eyed Joe
Jesus couldn't save you
If you ever made her mad
But if she took you to her bosom
Be the best you ever had

Wild and mean
A pretty filly in her halter
But you'll never break her in, boy
Not even if you caught her
She's a redneck girl
She can't quote Shakespeare
And she don't read books
She never went to college
'Cause she gets by on her looks
But she pledges her allegiance
Bleeds red, white and blue
Pop her in an X-ray
You'll see redneck through and through

You can hug her
You can squeeze her
You can coddle
You can tease her
You can promise her the moon
But you're never gonna please her
Walk away while you still got 'em, boy
She's a redneck girl
You'll never win her heart
You'll never capture her affection
You'll be lucky if she even blows a kiss
In your direction
Never coax her with your begging
Never fool her with your schemes
And you're never ever gonna
Get her out of your dreams

Wild and mean
She'll lead your heart to the slaughter
You could try to pin her down
But she'd whip you if you fought her
She's a redneck girl
You can't buy her love
Not with the minks or with the sables
Try to ply her with the booze
She'll drink you underneath the tables
Someday she'll settle down
Lead a life clean and sober
But you'll have to wait a while
'Til maybe hell freezes over

Redneck girl in a little blue halter
Redneck girl in a little blue halter
Wild and mean but it's kind of hard to fault her
Take the sweet with the bitter
Can't pepper, can't salt her
She's my redneck girl
In her little blue halter
God help me, that’s my redneck girl
In that little blue halter

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