- Title: Stupid Little Girl
- Writers: Sarah Caruso
- Producer and Engineer: Conrad Askland
- Released: 2002
- Album: New Faces Vol Four
- Label: Road Records
- Copyright: © 2002 Sarah Caruso
- Style: Pop, indie
Play Audio or Download MP3:
Stupid Little Girl – New Faces Vol. 4
LYRICS – STUPID LITTLE GIRL
Stupid little girl
Mister insecure
Mister out of line
Mister please believe
I’m saying goodbye
I’ve had enough
I’ve played your game
I’ve tore it up
Forgot your name
You got what you wanted out of me
And you turned out not to be so clean
Well maybe I was a child in love with you
My heart gone wild
Mr jealosy
Mr so you’re saying
Mr over age
I’ve had enough of your accusing
Of your using and abusing
And I’m leaving
You’re lazy
I’m crazy to have fallen in love with you
You’ll never do anything
Didn’t mean a dang when you said I love you
You’re a liar and you’re lazy
Mister you’ll come back if I ask you to
You’ll do all the things that I ask you to do
‘Cause you’re so naive
You’re just a girl
And you’ll believe anything in the world
You’re lazy
I’m crazy to have fallen in love with you
You’ll never do anything
Didn’t mean anything when you said I love you
You’re a liar
And you’re lazy
But I’m still a little girl
Stupid girl
****************************
I like the groove and guitar movement on this song. This is another example where the songwriter would lay down a track with acoustic guitar and vocal – then I would do the arrangement around their original performance.
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Recording with Conrad was the most enjoyable, awesome expirience ever! I walked in with an acoustic guitar and my lyrics and he really turned it into what I heard in my head.
Ahhh – that’s very sweet of you Sarah!
For an engineer/producer it’s a very fun way to work. I love listening to songs bare bones and coming up with different layers.
For any other newbie engineers out there here’s what I would do (which is fairly obvious). The artist would perform the song with guitar and vocals to a click track. If an artist plays acoustic guitar when they sing then I try to capture that on the scratch track so they are comfortable performing.
Then you cut the song up and make room for any instrumental sections, transitions, intros, repeated choruses for fade, etc.
I would put down enough tracks so the song had it’s overall texture, chord movement and rhythm.
Then the artist lays down a new instrumental track and records several takes of a solo vocal. The multiple takes are composited to the final vocal track.
Then you do the post “sweetening” with background vocals, lead vocal effects, etc. and finish the music tracks.
I really like working this way because it gives the artist the opportunity to present their song as they wrote it – and lets the song evolve. Also working this way you can be sure the artist likes the song and doesn’t just walk in to hear a totally new finished arrangement. This can be shocking to an artist and makes them feel like their music has been hijacked.
And last trick – I never let vocalists listen when I edit their composite track together. It’s a much better experience to let them just come in and hear a great vocal track that’s in tune, in time and with good enunciation (depending on the style of course). 🙂