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| re: Eclipse - Male or Female Vocal ?? | |
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pidunk 01:38 pm UTC 05/21/07 |
| In reply to: | re: Eclipse - Male or Female Vocal ?? - Klasien 01:21 pm UTC 05/21/07 |
I agree with both Marvello and Klasien, it depends on the vocalist, and passing the vocal around makes it less a personal a song. I felt that the vocals in Westlife were technical rote, not passionate attachment. But, I already wrote another "essay" about this sort of.....with a twist of the leitmotif.......(see beneath) Klasien wrote: > that has nothing to do with it being a female or male > voice. > > I think it can work for both... depends on the vocalist. > > K. > > Marvello wrote: > > Again, Female, i don't like the way they pass the lead > > vocal around, it makes it a less personal song. > > > > > Female I love fragrance counters in department stores....there, the variety of fragrances old and new, in their various and wondrous varieties are on display and able to be smelled, one after another, after another and another, until the nose becomes insensitive to the scent of the most recent moment. Immersed in the variety of versions of only one song written by Jim, you are naturally limited in your easy ability to revisit that first love of the song that you knew long ago. Maybe that's why I don't want to hear all versions of all songs, because I remember how deeply the first versions affected me, and for me, there is no substitute for the real thing. I suppose that someone who loves the symphonies of Handel might seek out all versions of a particular symphony, but just the same, that same admirer could be as much of one by keeping to one version, the one that touched them the most. I have listened to the Westlife version (Dave, I think my IP changed, as sometimes it does.....sorry...I was otherwise going to ask a member of the board to put it on a free downloader for me) which is the second version outside of the DOTv/Tanz that I have heard after Bonnie's vocals on the record produced by Jim. The only interest I had in this version was the fact that it was mixed by Jim and he referred to it on his blog. Refreshing my memory of what he said on the blog, I recapture this: I did a brilliant remix of ECLIPSE for WESTLIFE, redoing piano, drums, and adding an epic intro! Now, looking at this....."redoing" piano, "redoing" drums, I can't help but wonder....as he does not say, that he is playing both the piano, and the drums? Did he also "redo" the brass? That would be at least in the instrument family of the shorter DIMP version's beginning. Or, did he redo the tones of the piano, and the tones of the drums? I suppose that answer will come eventually. Of course Margoshes could play piano instead. But Margoshes is not known to be a drummer, is he? Is Bova? But, Jim is capable of both, be it he or either or both of them. It depends on how much levity was given to him by the Producer. The Intro is something that I immediately connected with on this remix. The Intro......I don't know German.....I don't know a finsternis from a feather-pillow. But as it happens that a few months ago I was immersed in the Preview version (not the smashed up haggard Broadway catastrophic version) of Dotv, and so I know the tune, of "Death Is Such An Odd Thing". And, recently I revisited the melodious epic of Bad For Good and "The Storm" which is re-used almost every opportunity that Jim gets. Jim's descriptives of the inspirations for this instrumental are very heavy, and the reason he reuses it is because it is a profound reminder of a certain turn of events. As such, he places it as "reminders" of itself into various pieces. That which, in this setting some people are referring to as "mad violins" is a small little piece, of that. It is a natural juxtaposition. Castinets, by the way, did not appear for the first time in Bonnie's Eclipse, but in Jim's "Rock And Roll Dreams Come Through", in that Intro. In English, this all seems to me like a strongly integrated piece of music as poetry, as opposed to poetry being components of music. What if, music was a set of metaphors which told a larger story? And the stories within the pieces of music, were merely particles of that whole larger story? That's what Jimmy's leitmotifs are about, in terms of my own perceptions of them. If pieces of music were words, as much as the words are words, how much larger is the message? What inspired me to call a radio station about the song in 1983, was the passion in Bonnie's vocals in combination with the highly elaborate arrangement with included Jim's vocals (not Dodd's as erroneously believed by some) laced into it. I did not know who wrote the song, when I first turned the volume control to the maximum and cursed at the sounds of the freeway beneath the speakers in the car. Then, hearing who wrote it, seemed to have justified those feelings. Being as the car did not give me the chance to hear the song fully well, I called the radio station. I knew it would be a great success. But if I were to hear Westlife's version, I would not have such an extreme reaction as that. Bonnie, under Jim's direction, took the dramatic level of the song to its highest point. She didn't just fall apart once in awhile, she brought the listener along with her....we fell apart too. That is the success of that song, in my feeling of it. | |
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