Discussion in 'Music' started by Mel O'Drama, Oct 20, 2016.
Wait . . . scratch that. I think I might be getting Emotion mixed up with Wild Angels.
That'll be a fun project.
The last album I listened to in full was Waking Up Laughing. I've got some serious catching up to do, and I suspect will lag behind you as I'm in a bit of a Christmas music place this week. But I'll create Martina/Timeless/Emotion album playlists to remind myself to listen.
Martina is not an album that's spoken to me so far. Looking in iTunes there are three songs with a zero play count. On top of that, four songs have been played just once and there are two songs I've played twice. Only my top three choices have been played a good number of times.
I'm looking forward to listening to the album with your comments in mind.
It's a great song. I'd forgotten it was from Martina and had convinced myself it was on Evolution.
It's really beautiful. I added it to my Favourites playlist in October - probably influenced by the "Hallowe'en night" lyrics. It got quite a lot of plays for a while there.
I have exactly the same issue with I Give It To You on Eleven, and usually don't get past the first line. Reluctant Daughter is one of the three songs with no plays from the Martina album. I can't remember if there's a reason for that though, as I can't remember hearing it.
When I've watched her concert DVD I've loved the energy when she sings that one. Not just from Martina and her band but from the audience who seem really in the moment with it.
My biggest problem with it is that it speaks to me while at the same time dismissing me. If it was de-gendered it would still work. There's nothing in the experiences she's singing about that are specific to girls and women. I can relate to them all. So I feel a little resentful that my experiences aren't being validated simply because of my gender.
I'm looking forward to this.
Reckless and I had a moment yesterday. It came on when I was cleaning and I found myself belting it out and then playing it a few more times. It felt really good. It's a really satisfying song to sing along to--not just because of the content of the lyrics, but because of the structure and rhythm of the lyrics.
The song grabs you right away with those opening lyrics--"For stumbling through a mess of dances"--I love that image.
Also, I don't know why but I'm captivated by the first two lines of the second verse--the way she starts both of the first two lines with "for" but uses for in a different way--"for trusting me" and "forgiving me"--I hear the second one as "for giving me" with a space between "for" and "give" because it matches with the first line but then it goes on to "when I didn't deserve it" and for some reason that just tickles me that she pulled a little fast one on my brain. I know--I'm a nerd. And then the third line goes back to " for looking". Also--I LOVE the way she sings "deserve" in that section.
I also love the couple of parts where she repeats words three times--"cryin, cryin, cryin" "run, run, run" "done, done, done."
Also--reckless, senseless--the two words that end with "less" and then rhyming them with "fences" another part that tickles me for some reason.
I know it's silly to break a love for a song down to such little things but that's only a part of it. The message--feeling broken and damaged and being loved in spite of it or maybe because of it--it feels good and cathartic.
I've mentioned it before, I think, but I absolutely love singing the bridge--"any one else . . ."--belting that out feels amazing.
I also really love the images that these lines give me: "You reached your hand out and you met me in the fire. You fanned the flames up higher." I like the idea that instead of pulling her out of the fire, he joins her there and fans the flames instead of putting them out.
It helps that like with lots of Martina songs, it falls right in my singing range, so I feel like I can sing it kind of decently.
Anyways, at the moment I'm stuck on this song and Reckless and I have date in the shower this morning.
Oh yay. I love when that happens.
Ah. Now this is interesting. For some time I heard it as "forgiving me", but I've gone the opposite route to you and now hear it as "for giving me". It still works (at least in my head) with the following line. Although now you've said it, I'm wavering back towards "forgiving".
Oh yes. That way she goes through several notes. It's not quite melisma, not quite gliding. And I haven't yet got it right when singing along.
Same here. The "cryin'" example feels quite unexpected every time, and the two other examples from the middle section are so enjoyable to belt out.
It's such a lovely message. There's something a little sad about it, but beautiful too.
I know what you mean (as long as I sing it an octave lower than she does). It's the reason I find it easier to sing along to Martina's version of I Just Call You Mine than David Phelps.
Have fun you two.
Something I really love about Reckless is the feeling of it building. It starts off quietly and adds more and more until it gets huge.
The part I can't get enough of is the first chorus from around the 26 second mark (the first time she says "I'm reckless...") when this electric guitar thing comes in and it feels like it's driving the song forward. It's almost like stepping from a serene lake to a river with a strong flow. Then at 45 seconds those tribal, primal drum sounds come in and it's like they're felt rather than heard. I love how sometimes they come in twos and sometimes in threes, and ever after all this time I'm still never sure which it's going to be. Then there's the dropout just after the minute mark at the end of the first chorus before it comes in all guns blazing for the second verse. And still keeps building until by the time we get to the "run, run, run"s, the energy is so high. So we've gone from a lake to a river to the raging sea. And then things get calm again.
I listened to it a few more times today with these comments in mind. I love the drum stuff. It really is a well crafted song on many levels.
I found this little article on the song when I was googling the lyrics. I think it's an interesting point they make about the song starting at a high point.
Damn - why isn't this on UK iTunes? Or Amazon? Or a CD single?!
He was amazing and I was really disappointed he didn't win this season. I have several of his songs in my Favorites playlist. His cover of Celine's I Surrender is awesome, as is his cover of Queen's (and also Celine's) The Show Must Go On. I'm sure he will get a record deal in spite of not winning. I'm looking forward to it.
I've rewatched Billy's version several times today, and it wows me a little more each time. I love the physicality to his performance: the way his legs move; how he uses the mic stand - eventually throwing it as he gets into the power notes. He's a great performer. I'm very impressed indeed.
I spotted that one in YouTube suggestions after watching his Anyway. It's a great rendition. I don't know Céline's version too well. To me, I Surrender will always be the song that Claire sang in her concert solo spot that when announced was briefly believed to be the Steps song of the same name.
I'll have to check that one out. His version of My Way is great fun too. I watched Robbie Williams perform it in a New Year's show, and Billy's version - as Claire might have me say - pisses all over it.
Not having watched, I'm a little confused with how The Voice works, as I've heard of several well-known professional singers taking part - Billy being one of them. Alison Jiear was in the British version a year or two ago. But then some contestants seem to be members of the public.
I think Celine's version is breathtaking. It's one of my favorites by her.
I like that one too.
The contestants are all members of the public. It's blind auditions--the judges don't know anything about who is auditioning and can't see them, only hear them and have to decide based on the voice if they want to coach them. A few times people who were part of the recording industry in the past but have seen the industry move beyond them, like Billy, have auditioned in hopes of getting a recording contract. People like Billy and (I'm assuming) Alison may have some celebrity cache, but can't get a recording company to give them a contract. They have to audition on the merits of their voice alone and not the past fame.
I don't have high hopes that this will play, but here is Billy's blind audition. (He got the best coach):
This is the little emotional snippet they play about the contenders before the audition:
This was an interview Billy did a few years back right after he came out:
I think it's really cool that Martina tweeted that comment to him about his Voice performance. It doesn't surprise me that she is supportive of young artists (and a young gay artist even) but it's really nice.
I'll have to check it out.
That makes sense. It does seem to make the playing field less level once past the audition stage, but I suppose that could spice things up and give this series a unique selling point. I watched some clips of Alison Jiear on the show, and Simon Cowell really gave her a hard time on the basis of her past form, so I suppose the unlevel playing field isn't just for the newbies.
All your videos played!! I'm pleasantly amazed.
That's great. He really does have a good voice. For some reason I was sure Adam had been a coach on The Voice UK too, but a quick Google tells me otherwise.
The video of Adam and Billy singing Bye Bye Love from the finale was thoroughly enjoyable. They sound good together.
Wow. So nice to see his parents supporting him.
I remember reading about a backlash in country music around the time Billy came out, where he'd said he was having difficulty getting a recording contract. It's one of the uglier faces of country music, but there seem to be a lot of supportive voices too, and I'm so glad Martina's is one of those.
I'm very curious that Martina's Tweet went on to say about them sharing a stage. I can't find any videos of them together online. The song that I associate young Billy with is 'Til I Can Make It On My Own, which Martina also recorded.
Wouldn't it be great to see a duet between Martina and Billy?! I wouldn't say no to a duet version of Anyway. Perhaps if he gets his recording contract.
So with these comments in mind I've made a start to this little project. In putting the first batch of songs together, I set myself just one rule: the song must use third-person narrative.
Then I broke those songs down into three categories...
1. "Pure" story songs that use entirely third-person:
A Broken Wing
Phones Are Ringin' All Over Town
She Ain't Seen Nothing Yet
She's A Butterfly
2. Songs that are narrated in third-person but include first and second person dialogue spoken by the characters:
All The Things We've Never Done
I'm Gonna Love You Through It
It's My Time
You're Not Leaving Me*
* You're Not Leaving Me is very tenuous here. It's almost entirely first person but for a couple of "She said"s.
3. Songs that are narrated in third-person but where the narrator uses "I" statements about themselves and has first-hand knowledge of the story:
Harper Valley PTA
When God-Fearin' Women Get The Blues***
** That's Me feels like it's told in a very different style to the other Cat 3 songs, but still meets the requirements.
*** I'm really not sure about God-Fearin' Women, which is definitely a story song but almost its own category, particularly when the spoken intro is included. It's somewhere between categories 2 and 3.
I've probably missed a few (Do You Hear What I Hear?, for example), but we can add to it.
Before setting the narrative rule, I started with a far longer list and then removed songs like Love Land and Wrong Again that didn't use third person at all but tell a story. I ended up setting myself the rule as there were so many variants of story songs it was getting too daunting. Hopefully we can get to them a little down the line.
Wow, amazing! I like the categories you've chosen too. Looking through the lists, there's quite a variation in tone and subject matter across the songs. It really would make for a fun, dramatic, romantic story all linked together somehow.
And apologies for the delayed response.
Yeah. Definitely. There are enough common themes to have a few stories interwoven. How they'd link up I don't know, but off the top of my head I think the background would be two contrasting relationships. One happy and one not. Maybe they'd be different couples; the same couple at different stages or a fantasy world vs. reality thing. Or a bit of all three.
It's quite easy to imagine characters from one song stepping into another. Is the alcoholic in I'm Tryin' the same guy from Cheap Whiskey and Independence Day? Perhaps even It's My Time (a song I'm adding to the list as I forgot it before). It's easy to imagine he is. The challenge comes from deciding which order the story goes.
I think there's even enough material for it to be three or four couples--sort of Scenes From a Marriage or Knots Landing the Musical. (I can think of season one and two Knots Landing stories that would lend themselves to a few songs.)
That's the fun part. And because I'm only marginally creative I like projects like these were you have sort of a framework, provided by the songs, to work within.
I found myself listening to a few songs from Waking Up Laughing yesterday and even added a couple more to my Favourites playlist: If I Had Your Name and Everybody Does.
I recall If I Had Your Name was a top three song for you, Jason. The lyric structure of the verses feels like a kind of flip side to If I Were A Bell from Guys & Dolls (it's just occurred to me the title is very similar too):
Everybody Does is classic Martina. It's got a great vocal and feels like a friend sharing their wisdom and hope. I'm glad to have discovered this one so close to our last re-listen in December.
Tryin' To Find A Reason was also pulled in there recently and I need to give it a proper shot. The live version she sang with her brother in the concert DVD planted the seed with that song. I know I like it, but just haven't listened to it much.
I really like those ideas. And stranger things have happened.
Oh - I think you're selling yourself short. But I know what you mean - the framework is helpful. After all, the muse has to be found somewhere.
My enjoyment of Anyway has been enhanced by the addition of some different versions on CD:
The performance tracks aren't soundalikes or reproductions. It's the actual track in three different keys with the vocal removed (almost completely - I can still hear Martina a little in the quiet moments. Especially the "s" sounds). I love instrumentals. It's like hearing the track in a new way, picking up little sounds that usually blend in with the vocal.
The "Demonstration" version is Martina's original.
I still can't get enough of Billy Gilman's version and watch it on YouTube almost every day. Someone needs to tell The Voice US to make their iTunes or Amazon MP3s available internationally.
I didn't even know such a thing existed.
I was just thinking about how enjoyable instrumentals are yesterday when I was watching that Tina Arena video you posted. I was enjoying the band playing You Set Fire to My Life at the end of the performance.
It comes up every so often in shuffle now and I really enjoy singing along. After knowing Martina's version so well, it's fun to sing along to Billy's take on the song.
The single was apparently promo only. There aren't any remixes on it or anything - just the album versions and two slightly edited versions.
The Radio Fade is the same as the video.
It's shortened by fading out the playoff early and halving the length of the guitar strums just before the final verse. The Radio Cold has the same cut before the final verse, but cuts out most of the playoff altogether, skipping to the final note. I was looking forward to hearing this one, but found it's identical to a version I made in GarageBand a while back (or I suppose I should say that the version I made is identical to the official edit).
That's a very well-timed coincidence.
I had a similar experience when I was listening to a Donna Summer concert. At the end, she made her thanks while the band played Last Dance and the backing singers sang their harmonies without Donna. I almost wanted Donna to hush up so I could hear it better.
When I sing along to the instrumental, it's going to be mostly Billy style. Although I find singing along to instrumentals is more attractive in theory than in practice. My voice has nowhere to hide and I usually get horrified and stop. When I sing along with Martina or another great singer, my brain can airbrush things so my vocal blends seamlessly with theirs.
For no particular reason I decided to list my Martina tracks by play count, from highest to lowest. I wonder how different this will look in a year or two:
Where Would You Be - 703
Anyway - 585
Heart Trouble - 351
When You Are Old - 348
We’ve Got Tonight [Live] - 339
Independence Day - 280
‘Til I Can Make It On My Own - 275
Whatever You Say - 271
A Broken Wing - 270
Over The Rainbow [Live] - 269
Harper Valley PTA - 185
There You Are - 166
Be That Way - 160
(I Never Promised You A) Rose Garden - 154
I Don’t Want To See You Again - 148
Once A Day - 135
Little Bits Of Lightning - 134
Independence Day [Live] - 129
Suspicious Minds / Wrong Again - 115
Reckless - 102
All The Things We’ve Never Done - 98
I Just Call You Mine / You’re Not Leaving Me - 87
Heartaches By The Number - 85
Thanks A Lot / Life #9 - 79
Blue Christmas [with Elvis] / I’ll Be There / Let It Snow! Let It Snow! Let It Snow / Valentine - 75
Anyway [Live] - 74
Where Would You Be [Live] / You’ll Get Through This - 71
True Love Ways - 66
Bring It On Home To Me [with Gavin DeGraw] / A Great Disguise - 63
When God-Fearin’ Women Get The Blues - 59
Baby, It’s Cold Outside [with Dean Martin] - 56
Through Your Eyes / What Do I Have To Do - 55
How Far / Lies / Phones Are Ringin’ All Over Town / Strangers - 53
Wild Angels - 50
Smile [Live] - 43
The Real Thing [with Buddy Miller] - 42
Little Bit Of Rain / Please Come Home For Christmas - 41
Do Right Woman, Do Right Man - 40
Just Around The Corner - 38
I’ve Been Loving You Too Long - 36
Closing Time - 35
I Ain’t Going Nowhere - 32
Goin’ To Work / The Time Has Come - 29
I’ll Be Home For Christmas / To Know Him Is To Love Him - 28
My Babe - 27
Baby What You Want Me To Do - 26
Ride - 25
Swingin’ Doors - 25
Beyond The Blue / Concrete Angel / O Holy Night - 23
Harper Valley PTA [Live] / When Love Is Gone / You Can Get Your Lovin’ Right Here - 22
We’ll Pick Up Where We Left Off - 20
A Broken Wing [Live] / I Don’t Hurt Anymore / If You Don’t Know Me By Now / What Becomes Of The Brokenhearted - 19
At Last / Help Me Make It Through The Night - 18
You Ain’t Woman Enough - 17
Danny’s Song [with Anne Murray] / Long Distance Lullaby / Perfect / Summer Of Love / That’s The Thing About Love / You Win Again - 16
Born To Give My Love To You / Dreaming My Dreams - 15
Some Say I’m Running - 14
By Your Side / Do You Hear What I Hear / White Christmas - 12
Cryin’ Time - 11
God’s Will / It Ain’t Pretty - 10
My Favorite Things / Silent Night / Silver Bells / Whatever You Say [Live] / Wild Night - 9
Everybody Wants To Be Loved / Have Yourself A Merry Little Christmas - 8
Diamond [with Keith Urban] / From The Ashes / I’m Gonna Love You Through It / I’m Little But I’m Loud / Love’s Gonna Live Here / That’s Me / Winter Wonderland / You And You Alone / You Ain’t Woman Enough [Live] - 7
The Christmas Song / Come See About Me / It’s My Time / Over The Rainbow [2007 Live version] / Safe In The Arms Of Love / What Child Is This [with Michael W. Smith] / Whatcha Gonna Do - 6
Cry On The Shoulder Of The Road /Here In My Heart / I Can’t Stop Loving You/ If I Had Your Name / In The Basement [with Kelly Clarkson] / Over The Rainbow [single version] / That Wasn’t Me / Tryin’ To Find A Reason / Wrong Baby Wrong Baby Wrong - 5
Everybody Does / How I Feel / I Won’t Close My Eyes / I’ll Still Be Me / I’m Trying / Jingle Bells / O Come All Ye Faithful / One Night / Take These Chains From My Heart / Walk On By / Where I Used To Have A Heart - 4
Always Be This Way / Ashes / Concrete Angel [Live] / Don’t Cost A Dime / Don’t Stop Believin’ [Live] / Hit Me With Your Best Shot [Live] / I Never Promised You A Rose Garden [Live] / Low All Afternoon / Make Me Believe / Make The World Go Away / My Baby Loves Me / Straight To The Bone / Surrender / That’s How Strong My Love Is / Walk Away / You’ve Been Driving All The Time - 3
Anything And Everything / Anything’s Better Than Feelin’ The Blues / Away In A Manger / Blessed / Broken Umbrella / Cheap Whiskey / City Of Love / Cry Cry (Til The Sun Shines) / For These Times / Good Bye / Happy Girl [Live] / House Of A Thousand Dreams / I Give It To You / I Still Miss Someone [with Dolly Parton] / Keeping My Distance / Learning To Fall / Love Land / She’s A Butterfly / So Magical / Still Holding On [with Clint Black] / This One’s For The Girls [Live] / Today I Started Loving You Again / Two More Bottles Of Wine / What Child Is This / When God-Fearin’ Women Get The Blues [Live] / When You Love A Sinner / Wild Rebel Rose / You’re In My House Now - 2
Ask The Boy / Beautiful Again / Being Myself / Chances Are [with Bob Seger] / Do What You Do / For The Love Of A Woman / From The Ashes [Live] / How Great Though Art / I Love You / In My Daughter’s Eyes / Happy Girl [Live] / Hark! The Herald Angels Sing / Help Me Make It Through The Night [Live] / Love’s The Only House / Marry Me [with Pat Monahan] / My Baby Loves Me [Live] / Pick Me Up On Your Way Down / The Rope / Satin Sheets / She Ain’t Seen Nothin’ Yet / Sunny Side Up / Teenage Daughters / This Uncivil War / Wearing White / Wild Angels [Live] - 1
I haven't been listening to Martina much lately and most of her songs are currently out of my Favorites playlist, with the exception of a few. I've mostly been listening to Tina, Bright Light Bright Light and Brendan Maclean.
Did you expect this one to be your most played?
Separate names with a comma.