Home  Forums |
|
|
|
|
Topic History of: Cheryl Cole - Fight For This Love
Max. showing the last 5 posts - (Last post first)
|
SW |
Get your ears tested, Bobbie Cole. You're thoroughly clueless. The mix is appalling, no integration at all of the various elements.
Re timing, someone like Beyonce often sings slightly behind the beat but it all falls into the metre. These vocals don't. You're probably an A&R with ears like that...God help us... |
|
Angel |
Bobbie, I didn't say it wasn't acceptable. Some of the English used is typically American in its phrasing. Check again. |
|
Bobbie Cole |
Angel wrote:
If you'd care to listen to the lyrics, you'd have heard that its lyrically American. That in itself is ridiculous.I've just sat and read them, nothing jumping out at me there that isn't acceptable in modern day English. Please elaborate. |
|
Bobbie Cole |
SW wrote:
I'm not taking the piss, Bobbie Cole. The timing is lazy, no vocal editing has been done as far as I'm concerned. The mix...well, it's as if it hasn't been mixed.
Best talking about things you know about, isn't it?So why don’t you then? If you think you can record and edit these vocals in an hour and half you clearly don’t have a Scooby Doo.
Personally I can’t imagine Cheryl being a one-take wonder, this has taken more hours in recording than it probably should, vocal editing was a necessity. What’s wrong with the mixing? The vocal sits nicely and the layering in the chorus works beautifully, that part probably took the majority of the editing time.
I stick by what I said before, the timing is deliberate. Have a listen around to other tracks, it’s a common production trick these days. |
|
Trivia Producer |
I think that one of the main things in music that seems apparent in music these days, is that similarities in tracks are no longer disguised in any way.
There were quite a few cases like this not occurring in the earlier days of pop music, particularly in the case of early pop/rock records, all having such similar phrases that nobody even paid any attention. It could be said that this situation probably culminated in the instance of "My Sweet Lord" battling in court with "He`s So Fine" although the most ridiculous case that never even saw a court room was Bowie`s "Jean Genie" versus the Sweets` "Blockbuster".
For a very clever case of similar arrangement that people do not actually spot, check out the arrangement on Kate Bush`s "Wuthering Heights" and compare it to "Oh Mandy" by Barry Manilow. It is very cleverly filched in a way in which is not currently used and probably one in which people can no longer be bothered currently.
There are many lazy complaints about "oh !all the chord sequences have been used etc etc..", maybe, but all the human feeling in music has not been and it never will. |
|
|
|
