COMMENTS ON RUNK'S CD, "GOOD COMPANY" From Viv Lock, a fan: "I have listened to your CD, and I felt like a wine taster when I was listening -- I was getting bits of 10cc, a soupcon of Little River Band, the slightest hint of The White Album ... and some Buffet, but with much more range...and even some Reggae influence (especially in YOU WON'T SUFFER). I am sure the more I hear the more will come to me but ... I love it!" From Gary Earls, Nashville record producer, about the song, YOU WON'T SUFFER: "Really, I'm pretty cynical most of the time, been doing this soooooo long and worked in every aspect of the industry, so I've gotten picky about needing better songs to enjoy -- I just get bored with most radio stuff these days, it's so formula. BUT THIS IS REALLY COOL. It reflects the best of early Motown in feeling & melody, but it is so original, contemporary. Eternally cool." From Chris Frantz, Talking Heads: "Your songs are both lyrically interesting and refreshingly melodious. Also -- no small feat! -- while speaking to adult issues and concerns, the music is in no way awkward, or cumbersome; and your voice sounds ageless. Right on!' From Indie-Music.com: By Beeb Ashcroft: "An updated twist on classic rock, Bobby Runk breathes some new life into the status quo on Good Company. Classic rock stylings with a twang of country guitar, Runk crafts songs with solid melodies, rich choruses and lovely harmonization. Somewhere between The Moody Blues and Tracy Chapman, there is Bobby Runk. Grabbing your attention with the big sound of opening track 'Come Rest Your Head,' Runk draws the listener in and won't let go ... I really enjoyed the way Runk composes his songs with a nod to the old standards. 'Jimmy Had A Smile' is a fun, infectious piano driven song that brings to mind Billy Joel - it's one of my favorite cuts off this CD. 'You Won't Suffer' is another well-written piece that is undeniably catchy. Runk gets more introspective on cuts like '100 Years or So' and 'I Will Remember,' somewhat melancholy ballads of longing ... This album is refreshingly consistent and tight. The guitar-driven rock and rich choruses give these songs staying power. I really like Runk's timeless approach to songwriting - it is very evocative and makes for a thoroughly enjoyable listen." From Craig Bickhardt, hit songwriter, on Runk's OVER & OVER: "Hi Robert. Ah, I miss Harry Nilsson. That's who I hear inside this song. I really like this one. It doesn't follow formula, and it's just quirky enough to sound genuinely inspired. The words are playful and instinctive. There's no point picking it apart for logic and stuff that makes no difference when a song just flows smoothly and entertains us in a consistent mood. This isn't rocket science, but it IS just as hard to write a great simple song as it is to write a great complicated one. Good work on this song." From UNISONG -- comments on Runk's HAVE A HEART: "Great song craft on this song, Robert!" This melody is classic and modern at the same time - smoothly balancing between the two. Your range is not too difficult for a great many folks to sing, yet SOUNDS that way because of your clever chord choices. The verses are familiar, yet fresh sounding, and are very easy to sing along to; and the bridges really kick it up a notch, while still not straining the average voice. We really liked this recording and the arrangement -- including that great electric guitar solo-- and the Wurlitzer electric piano sounds great on this, too. Solid melody! Does the lyric say something in a new and interesting way? Yes. Does the lyric work well with the melody? Exceptionally. Lyrically, we're pleased to say that we can understand every bit of this clearly, and it all rhymes nicely and makes a lot of sense. We also really like some of the fresh-sounding lines here. The ones we feel are unique include: 'I am a violin that has no string' -- a nice new way to say 'I'm nothing without you', and 'Let's not start. There's nowhere to go, baby' -- an impassioned plea to keep things calm in their relationship! Smoothly accomplished lyrics, Robert. This is an A A B A type song - so this song is without a chorus. As it is, it works really well, especially by introducing a hearty solo to add another section element into it, so that when all is said and done - it sounds FRESH at every section change! Good job on this structure. From Steely Dan Producer - Gary Katz: 'Thinking and planning how to maintain and enhance the unique quality of the music -- the vibe that already exists in those wonderful demos -- AND make it be a great record, I think is a wonderful challenge, because the music is as honest and cool as it is.' From award-winning recording artist, Tad Robinson: "Just now listening to the new disc. Wonderful! Congrats. It sounds great. The songs hang together so well. And the sounds are incredible. Great vocals, harmonies. Melody after melody. This is a real triumph, Bob" From William F. Machen, lead guitarist for The Five Moons, Bobby's first band: 'A potpourri of fresh and original songs for the New Millennium. A deft blend of the old, the new, and the blue, this collection evokes memories of better times in the music business. It was my privilege to play with the well kept secret that is Bob Runk. Don't miss it!' From TAXI, on the song, GOOD COMPANY: Style: Americana; a little folk rock; some country - all good Melody: melodies are very great throughout. Very strong in that regard Overall comments: Hey Robert - what you have here is a potentially great song. In fact I think the song is there, but the arrangement is not, and that in turn should lift a sort of too-lethargic performance here. I know you are going for that elegant byrds vibe, and it is close, but it doesn't have that wash of sound and emotion. The good news is that I think a lot of it is the rhythm section arrangement, particularly the drum pattern. All the action in the song is on the top: the melodies, the vocals, the guitar parts, etc. The problem is the song is dead from the waist down. Leaving out the 2 on the snare and just hitting that 4 is why, I think. How about something kinda syncopated, maybe on the toms, along the lines of the beat from ticket to ride some kind of movement in the middle of the measure to keep the action hot. There is action aplenty upstairs. This is a great melody and all that stuff is being handled real well by the band, but the song drags a bit, or more accurately, I never gets going, each section is like continually hitting the reset button, intensity-wise, and having to build up a head of steam all over again until you're out of song. Then, once you've figured out a drum pattern that works look for places to play it with it dynamically, instead of looking for the common denominator part that can work through everything. Orchestrate a little bit. . In the end, let me repeat so as to have no misunderstandings here: I think this is a terrific song and an excellent band. If I didn't think so I wouldn't have taken so much time and care to get into these kinds of details. The very idea that we're talking about the details is actually a very positive thing. It means the song is there ... and that is always the hard part!
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