The more I listen to Euronight - Eurogroove, the more I'm convinced there are two male vocalists. Lorenzo just sounds so different in the verses. I've heard his other songs from Stylophones, Lou Turner and Jock Lee and he just has never used that same tone as in Eurogroove. It's definately him in the chorus and and the two kinda merge in the bridge. It's also him in the Intro and the epic shouts, but who is the other singer? Unless it's just his vocals slowed down, in wich case I love them even more. .
Follow me the night is Euronight!
Super Eurobeat 192
Claudio Magnani's vocal tone was really stretched to a much deeper level than usual on the awesome Message In A Bottle / Atrium (SEB 101), so it's slightly possible that the a-melo vocalist in Euronight is just Lorenzo without his usual raspy shouting. but tbh I'm gonna agree with you and state that it's most likely a newcomer to Dall'Ora's male roster.
I'm almost done writing my review for SEB 192, but unfortunately I'm not gonna be able to post it until Monday, as part of it is currently only saved on the computer network at my school (and I never really got too much of a chance to e-mail it back home, as today I had no free time and a science test that I needed to study for beforehand).
Hopefully my last top (20) should give you guys an indication of which tracks I enjoyed most on this CD, but I also more than happy to post another top 10 list in-between this weekend, except with comments this time.
I'm almost done writing my review for SEB 192, but unfortunately I'm not gonna be able to post it until Monday, as part of it is currently only saved on the computer network at my school (and I never really got too much of a chance to e-mail it back home, as today I had no free time and a science test that I needed to study for beforehand).
Hopefully my last top (20) should give you guys an indication of which tracks I enjoyed most on this CD, but I also more than happy to post another top 10 list in-between this weekend, except with comments this time.
I think it's just Lorenzo Campani doing the lead vocals in Euronight. Luca Torchiani sings his Paul Harris songs (I mean the recent ones, such as Mira La Luna, Fever and Quiero L'Amor) in a similar, deep style, very different to his Mark Astley songs.
I think Giordano Gambogi did some of the backing vocals, though. I can clearly hear him in the line "so wonder, baby".
I think Giordano Gambogi did some of the backing vocals, though. I can clearly hear him in the line "so wonder, baby".
~REVIEW FOR SEB 192~
1. NACK 5 / DOMINO & KAIOH: (10+)
After one of the shortest eurobeat intro's ever, yet another track of Go Go's Music gold is unleashed to open the CD (excluding the megamix). Just abvout everyone here seemed to be hyped up about this song, and while I never really gave it an entire chance until I got the release, I can already say that this is easily one of the best presentations the label has done so far. The sounds are lusty and catchy as usual, but by far the driving force of this track would be the stunning vocalwork throughout. Federico's voice has really matured a lot for the better; the last time he made an appearance on SEB (in the incredibly bizarre Welcome To The Beach, with Nuage), he still sounded really young and gritty, but now I can already tell that he's soon to become one of my favorite males from GGM; whereas Leo River definitely takes the role of Fastway for the lineup, Federico is the answer to Ace. His vocal tone here is very smooth, melodic, and still not without that necessary punch to keep up with the powerful eurobeat synths that support him. Plus, he's already been in two duets so far, and we all know how much SCP loves to pair up Ace with the numerous women at their disposal. But back to the song itself, the combination and manipulation between Federico and Domino is sheer perfect; the two are singing simultaniously during the impressive a-melody and solidly drive the song forth after the sabi strikes in, and things are only kept more interesting as the a-melo progresses into the b and c-melo's that continue to mix up the vocalwork with amazing effect, the backup synths still going incredibly strong. There isn't a singe moment in this track that feels out-of-place, and being the lead-off number on a party-themed compilation, it's sure to be fun for a very, very long time. A fantastic GGM opener, and definitely one that I expect to be playing a lot more than Hurry Up, Hurry Up (which is cute, but not too longlasting).
2. HEY BOY / APPLE: (10+++)
Oh, wow! If Nack 5 was enough of a huge surprise for me, the level of excitement is even more prominent with the first of EuroGrooves two debut tracks. What I originally anticipated to be a fairly average performance by Elena Ferretti really turned out to be quite the opposite. I set my expectations extremely high for this new label succeeding TIME, and they surely weren't in any vain. If SEB 179 was one of the best albums for Sergio Dall'Ora, then Hey Boy follows the same, successful pathway while raising the bar even higher. The super full-on production is present again and shines as usual, but what really blew me away this time was the amount of creativity and imagination injected into the entire package. Beyond the massively captivating intro sequence, the main synthline is strong and solid, neither too repetitive nor overdone. The fun really kicks in, however, by the time the track reaches the verse, which is handled far differently than the usual faire, but more than undoubtedly for the better. Both the verse and the phrase after it put a lot of emphasis on the musical connotation between the vocal melody and the quirky sound effects in the backdrop; everything going on is well-mixed to sound infectiously catchy while still driving the track in full-throttle and not becoming overly redundant. The chorus is great heritage to everything I've come to know about Dall'Ora's classic style and perfectly peaks the presentation after a tremendous buildup throughout the previous phrases. This incredible package is full of surprises from start to finish and is easily one of the strongest releases of the 190's decade thus far, surpassing even the likes of Runaway for me. An outstanding start for the EuroGrooves label on Super Eurobeat; if Dall'Ora hopefully continues this excellent level throughout the rest of the decade, then I won't be any hesitant to pin down EuroGrooves as my top label by a longshot.
3. 1 2 3 4 LIVE ON DANCE FLOOR / MEGAN: (9+)
Those intro's just keep getting weirder and weirder with every new release Mr. Leonardi puts out. If Roberta's wild yelling in Flame & Fire and the African-style chant in Looking For Lovers were bizarre enough, then I REALLY don't know what to say about this. That guy's voice just seems so out-of-place for some reason; maybe it's his incredibly casual American accent that seems goofy being in a Leonardi eurobeat track, or perhaps it's just the cheesy instrumentation surrounding him (though it's not particularly bad - I like the muted synthline right before the sabi comes in). Moving on from that, despite my increasing urge for a new male track from SinclaireStyle, I was once again very pleasantly surprised by this track. The shrill synthline still isn't the best, but the vocal melody here is far more unique and far more compelling than the bland Looking For Lovers. The male backup adds excellent reinforcement to Roberta's vocals during the verse, and the chorus structure is infectiously remarkable. I love the delighted feel that this track gives, and unlike the previous Leonardi presentation, this is probably gonna stay a a favorite of mine for quite a while.
4. HARAJUKU NIGHTS / ALPHATOWN: (8½)
Not a whole lot to comment on here; if you know what to expect from Mauro Farina, this song isn't gonna shake things up very much. Unlike the surprisingly dark previous Alphatown release Many Times, Harajuku Nights is a jumpy, mildly energetic presentation that works fairly well thanks to the nicely-rounded melodic structure and fun-to-sing-to lyrics. Just ignoring the fact that this is the sixth consecutive song by the same vocalist Avex has released from Saifam, this is still a pretty usual track for the label and gets old kind of fast, but it's definitely not a poor song in any way. I wouldn't really call it a standout when compared alongside the impressive level of previous showings, but it's still quite satisfying as is.
5. PARA GIRL (DOMINO GIRL'S POP MIX) / DOMINO: (9)
Especially after the removal of SEB 190 from mu-mo.net, the release of Para Girl on a regular album is a great idea for those who still want to buy it in CD form or haven't already picked it up yet. That's a good thing, since it's a solid track and sounds better imo than Call Me (though I never even picked that song up). The key stand-out factor here is definitely that cute sabi melody, juicing up the adrenaline quite a bit and continuing the party theme of the album marvelously. Unfortunately, the vocal melody isn't horrendously interesting, although that's a common weakness in many of Domino's happier songs (not that they aren't still good, though). The verse sounds catchy enough, but the chorus doesn't have any peaks that grab my attention and pretty much just stalls my attention until that awesome sabi hook kicks back in. Either way, this song still does just about everything it should and keeps the excitement level going strong.
6. FOOD FIGHTER / IRENE: (10+++)
Wow, SCP sure has started to put a lot of emphasis on Irene ever since the massive success of Love Is The Name Of Love. I'm starting to wonder what happened to older, neglected females, especially Melissa White, but for the time-being, that's not a bad thing at all. I simply can't get enough of this song; it's such incredibly wacky fun that definitely draws a lot of heritage to Euromach. Speedy, excited, and cute, this track just completely reminds me of my love for this type of eurobeat that I listened to constantly about a year ago. I love Irene; as noted also with her previous song on 188, she's like an aggressive male artist embodied as a cute, innocent girl, which she even suggests in this track ("...you think I'm a little girly; all the man, baby I can be, it's like a delicious treat"). She takes no chances at all and doesn't let anything get in the way of her throughout this incredibly energetic track that's so addicting that I can listen to it several times without losing any interest. I love every bit of it, and I'll definitely be repeating it for a long time.
7. SEF DELUXE / TRI-STAR: (9-)
A song that completely washed over me when I initially heard it, due to the slightly poor mastering of the vocals, which suffer "The One For Me" syndrome (they're too quiet to notice without paying close attention). However, repeated listens have caused the song to grow on me a lot, picking up its complex note structure and truly noticing its aesthetic traits. The synthline is very catchy, and the sounds are effective, if slightly overpowering. It's overall another great song to continue the album's strong level, but it's still not quite the best on this album.
8. EURONIGHT / EUROGROOVE: (10+)
If the previous EuroGrooves track was beyond groundbreaking, then this is definitely not far behind at all. Hey Boy represented pretty much everything that I love and want from Sergio Dall'Ora's female productions, and Euronight models everything that impresses me about his male performances. The vocalists here are a promising newcomer, as well as the well-known Lorenzo Campani, who's probably the best choice they could've made, as his vocals are always delivered with by far the most fuel and energy of anyone from the more-recent lineup of male TIME vocalists. The opening is structured outstandingly, introducing the funky-blues-styled chord progression appropriately before Campani's vocals come striking in to peak the interest level, building up perfectly to the adrenaline-pumping synthline explodes into action. The track progesses to drive with an iron fist, without leaving any signs of suddenly slowing down. Once again, the melodic hooks are representative of what I've come to know about Dall'Ora's music, but the track is built so dynamically and creates so much excitement that it comes off sounding like a fresh package with plenty of surprises. Absolutely stunning.
9. PAGAL / MARA NELL: (10+)
Well, I sure don't understand all the dislike for this track, not at all. At least SEF Deluxe backs up my dear Melody popularity-wise. Nonetheless, while I enjoy that song, this track is the true HRG for me on this CD. Like the previous song, Melody's vocals are not pitched to unlistenable levels, but this time I was able to notice and fall in love with the song immediately. The whole song is just perfectly right in-your-face, with extremely heavy synths, but also a very strong vocal melody that stands out over the backup just the right amount. The musical construction of this track is just incredibly attractive and catchy, and the song overall reminds me a lot of Hi-NRG Attack's fantastic female performances from the Eurobeat Flash era (which also featured an only mildly-pitched Melody as the vocalist in many tracks). This song is easily the best release from Hi-NRG Attack in a very long time for me, and I have strong hopes that the label will continue down this direction for many albums to come.
10. A SIMPLY MELODY / VALERY SCOTT: (7-)
I don't exactly know what to make out of this song, and I especially don't see why Avex decided to include it when it's already 9 years old and even previously featured on a different compilation ages ago, Farm Records or not. They could've just as well gone with something a lot more up-to-date and suitable to the album's party theme like Saturday Night Fever / Milk & Coffea or even instead the awesome party-joint Delta track Dance To The Music / Za-Za (only availible on Eurobeat Masters and not yet promoted by Avex in any way). A Simply Melody is completely a bittersweet listening experience for me; at times, it sounds fairly cute and catchy, but there's just something about it that really seems to draw me away from it. The fact that it's old isn't really the main problem for me, as I'm an avid fan of older eurobeat songs and I loved Give Me Another Chance / Susy on SEB 167, but the presentation of this track is just obsurdly creepy. The melodic structure feels somewhat childish, the lyrics even moreso, and the vocals during the chorus are way too high-pitched and shrill for my listening tastes. The mish-mash feeling between cute + catchy yet also strangely scary at the same time just doesn't leave me with a straight feeling, and overall it's unlikely that I'll be coming back to this song very much in the future.
11. TONIGHT TONIGHT / KEVIN JOHNSON: (9+)
Well, if Luca Torchiani replacing Marco Rancati for the Daniel alias on My Gasoline was any indication, the sudden comeback of Davide Budriesi (who temporarily disappeared as soon as Daniel made his debut) makes it seem even more apparent that he's also completely replacing Rancati's role as Delta's lead male. This was not something I was looking forward to, as Daniel's aggressive, more eurobeat-oriented style is far more appealing to me than Kevin Johnson's mainstream pop approach (the only real standouts for me throughout his career are I Love You, Lonely, and Never Give Up In The Name Of Love), but to my surprise, Kevin's first release of his comeback is quite a nice treat. The song is unique in that it draws several nostalgia factors to the early 90's, in which eurodance was the big dance craze at the time and galloping basslines were very popular in italo/early eurobeat productions. Those elements all work excellently here, and the song itself surely isn't too far behind. Kevin's vocals aren't my favorite, but they fit this track very smoothly. The song itself becomes a little repetitive, especially with the 6-minute + duration, but it's still a really pleasant track that holds its own in enough ways to keep me interested in it for a while.
12. UNBELIEVABLE / ANNALISE FEAT. DAVE RODGERS: (5½)
This track is quite a tremendous letdown after a few of the strong showings from A-Beat C on the most recent compilations. Duets like this are almost consistently poor imo, and this is definitely not an exception. I like I Believe In You and Red Hot Zip by Dave & Domino as well as Car Of Your Dreams by Dave & Nuage, but otherwise A-Beat C has definitely not shown any of their strengths through these types of collab performances. Unless they're produced with tremendous substance, they usually just don't work and come off sounding incredibly boring. About the only thing here that caught my attention was the peculiar usage of 24th (?) synth notes that break up all the mushy blandness found otherwise. The synthline has no hooks in it, the vocal melody is dreadfully flat and dull, and the chorus just drifts by without kindling even a lick of excitement. This isn't "beautiful", this isn't "stunning", this is just plain, flat-out BORING. If there's anything positive that I can say about it, it's that at least the beat and production sound decent enough and aren't a regression back to the horrid 176-186 era of A-Beat C. GGM clearly won the male + female collaboration award for this album.
13. WAIT FOR YOU (DANCEFLOOR NIGHT MIX) / ACE: (10++++)
Oh boy, is this epic! For a change, Ace appears with a euro-ballad style in order to showcase his richer, more emotional side as a person, and with this Elliot Yamin cover, the results are completely stunning. The delivery of this song feels incredible professional; Christian's masterful vocalwork puts forth all of his talent to its very fullest and simply goes beyond any general expectations that I've ever had for eurobeat. The beat and synths are prominently powerful, yet sincere enough to compliment Christian's vocals. The song is opened and finished with outstanding presentation in literally every single aspect possible. Elliot Yamin's original song was good, but something about this version ultimately feels immensely superior, more touching, and a lot stronger. Simply one of the best male SCP performances ever to date, and definitely a fantastic track to conclude the 2008 season of Super Eurobeat.
TOP 3 SONGS:
1. Wait For You (Dancefloor Night Mix) / Ace
2. Hey Boy / Apple
3. Food Fighter / Irene
BOTTOM (2) SONGS:
1. Unbelievable / Annalise feat. D. Rodgers
2. A Simply Melody / Valery Scott
HM (TIE):
- Nack 5 / Domino & Kaioh
- Euronight / Eurogroove
- Pagal / Mara Nell
FINAL SCORE: (9½)
Well, I gotta say that Super Eurobeat Vol. 192 was quite a commendable release. Not only do the included tracks correspond better to the CD's theme, the performances in general were beyond impressive. Even though there are a couple of tracks that I could've easily done without, the immense strength of the standout numbers here more than makes up for their shortcomings. There are numerous tracks here that I could definitely see myself frequently listening to for months to come, and unless Avex manages to pull on an ever better selection of tracks, I can already say that this release is already a major contender for the honor of being my favorite CD of the 190's decade. Here's hoping for the fantastic level to continue for several releases (although I'm not really looking forward to 193 at the moment)!
1. NACK 5 / DOMINO & KAIOH: (10+)
After one of the shortest eurobeat intro's ever, yet another track of Go Go's Music gold is unleashed to open the CD (excluding the megamix). Just abvout everyone here seemed to be hyped up about this song, and while I never really gave it an entire chance until I got the release, I can already say that this is easily one of the best presentations the label has done so far. The sounds are lusty and catchy as usual, but by far the driving force of this track would be the stunning vocalwork throughout. Federico's voice has really matured a lot for the better; the last time he made an appearance on SEB (in the incredibly bizarre Welcome To The Beach, with Nuage), he still sounded really young and gritty, but now I can already tell that he's soon to become one of my favorite males from GGM; whereas Leo River definitely takes the role of Fastway for the lineup, Federico is the answer to Ace. His vocal tone here is very smooth, melodic, and still not without that necessary punch to keep up with the powerful eurobeat synths that support him. Plus, he's already been in two duets so far, and we all know how much SCP loves to pair up Ace with the numerous women at their disposal. But back to the song itself, the combination and manipulation between Federico and Domino is sheer perfect; the two are singing simultaniously during the impressive a-melody and solidly drive the song forth after the sabi strikes in, and things are only kept more interesting as the a-melo progresses into the b and c-melo's that continue to mix up the vocalwork with amazing effect, the backup synths still going incredibly strong. There isn't a singe moment in this track that feels out-of-place, and being the lead-off number on a party-themed compilation, it's sure to be fun for a very, very long time. A fantastic GGM opener, and definitely one that I expect to be playing a lot more than Hurry Up, Hurry Up (which is cute, but not too longlasting).
2. HEY BOY / APPLE: (10+++)
Oh, wow! If Nack 5 was enough of a huge surprise for me, the level of excitement is even more prominent with the first of EuroGrooves two debut tracks. What I originally anticipated to be a fairly average performance by Elena Ferretti really turned out to be quite the opposite. I set my expectations extremely high for this new label succeeding TIME, and they surely weren't in any vain. If SEB 179 was one of the best albums for Sergio Dall'Ora, then Hey Boy follows the same, successful pathway while raising the bar even higher. The super full-on production is present again and shines as usual, but what really blew me away this time was the amount of creativity and imagination injected into the entire package. Beyond the massively captivating intro sequence, the main synthline is strong and solid, neither too repetitive nor overdone. The fun really kicks in, however, by the time the track reaches the verse, which is handled far differently than the usual faire, but more than undoubtedly for the better. Both the verse and the phrase after it put a lot of emphasis on the musical connotation between the vocal melody and the quirky sound effects in the backdrop; everything going on is well-mixed to sound infectiously catchy while still driving the track in full-throttle and not becoming overly redundant. The chorus is great heritage to everything I've come to know about Dall'Ora's classic style and perfectly peaks the presentation after a tremendous buildup throughout the previous phrases. This incredible package is full of surprises from start to finish and is easily one of the strongest releases of the 190's decade thus far, surpassing even the likes of Runaway for me. An outstanding start for the EuroGrooves label on Super Eurobeat; if Dall'Ora hopefully continues this excellent level throughout the rest of the decade, then I won't be any hesitant to pin down EuroGrooves as my top label by a longshot.
3. 1 2 3 4 LIVE ON DANCE FLOOR / MEGAN: (9+)
Those intro's just keep getting weirder and weirder with every new release Mr. Leonardi puts out. If Roberta's wild yelling in Flame & Fire and the African-style chant in Looking For Lovers were bizarre enough, then I REALLY don't know what to say about this. That guy's voice just seems so out-of-place for some reason; maybe it's his incredibly casual American accent that seems goofy being in a Leonardi eurobeat track, or perhaps it's just the cheesy instrumentation surrounding him (though it's not particularly bad - I like the muted synthline right before the sabi comes in). Moving on from that, despite my increasing urge for a new male track from SinclaireStyle, I was once again very pleasantly surprised by this track. The shrill synthline still isn't the best, but the vocal melody here is far more unique and far more compelling than the bland Looking For Lovers. The male backup adds excellent reinforcement to Roberta's vocals during the verse, and the chorus structure is infectiously remarkable. I love the delighted feel that this track gives, and unlike the previous Leonardi presentation, this is probably gonna stay a a favorite of mine for quite a while.
4. HARAJUKU NIGHTS / ALPHATOWN: (8½)
Not a whole lot to comment on here; if you know what to expect from Mauro Farina, this song isn't gonna shake things up very much. Unlike the surprisingly dark previous Alphatown release Many Times, Harajuku Nights is a jumpy, mildly energetic presentation that works fairly well thanks to the nicely-rounded melodic structure and fun-to-sing-to lyrics. Just ignoring the fact that this is the sixth consecutive song by the same vocalist Avex has released from Saifam, this is still a pretty usual track for the label and gets old kind of fast, but it's definitely not a poor song in any way. I wouldn't really call it a standout when compared alongside the impressive level of previous showings, but it's still quite satisfying as is.
5. PARA GIRL (DOMINO GIRL'S POP MIX) / DOMINO: (9)
Especially after the removal of SEB 190 from mu-mo.net, the release of Para Girl on a regular album is a great idea for those who still want to buy it in CD form or haven't already picked it up yet. That's a good thing, since it's a solid track and sounds better imo than Call Me (though I never even picked that song up). The key stand-out factor here is definitely that cute sabi melody, juicing up the adrenaline quite a bit and continuing the party theme of the album marvelously. Unfortunately, the vocal melody isn't horrendously interesting, although that's a common weakness in many of Domino's happier songs (not that they aren't still good, though). The verse sounds catchy enough, but the chorus doesn't have any peaks that grab my attention and pretty much just stalls my attention until that awesome sabi hook kicks back in. Either way, this song still does just about everything it should and keeps the excitement level going strong.
6. FOOD FIGHTER / IRENE: (10+++)
Wow, SCP sure has started to put a lot of emphasis on Irene ever since the massive success of Love Is The Name Of Love. I'm starting to wonder what happened to older, neglected females, especially Melissa White, but for the time-being, that's not a bad thing at all. I simply can't get enough of this song; it's such incredibly wacky fun that definitely draws a lot of heritage to Euromach. Speedy, excited, and cute, this track just completely reminds me of my love for this type of eurobeat that I listened to constantly about a year ago. I love Irene; as noted also with her previous song on 188, she's like an aggressive male artist embodied as a cute, innocent girl, which she even suggests in this track ("...you think I'm a little girly; all the man, baby I can be, it's like a delicious treat"). She takes no chances at all and doesn't let anything get in the way of her throughout this incredibly energetic track that's so addicting that I can listen to it several times without losing any interest. I love every bit of it, and I'll definitely be repeating it for a long time.
7. SEF DELUXE / TRI-STAR: (9-)
A song that completely washed over me when I initially heard it, due to the slightly poor mastering of the vocals, which suffer "The One For Me" syndrome (they're too quiet to notice without paying close attention). However, repeated listens have caused the song to grow on me a lot, picking up its complex note structure and truly noticing its aesthetic traits. The synthline is very catchy, and the sounds are effective, if slightly overpowering. It's overall another great song to continue the album's strong level, but it's still not quite the best on this album.
8. EURONIGHT / EUROGROOVE: (10+)
If the previous EuroGrooves track was beyond groundbreaking, then this is definitely not far behind at all. Hey Boy represented pretty much everything that I love and want from Sergio Dall'Ora's female productions, and Euronight models everything that impresses me about his male performances. The vocalists here are a promising newcomer, as well as the well-known Lorenzo Campani, who's probably the best choice they could've made, as his vocals are always delivered with by far the most fuel and energy of anyone from the more-recent lineup of male TIME vocalists. The opening is structured outstandingly, introducing the funky-blues-styled chord progression appropriately before Campani's vocals come striking in to peak the interest level, building up perfectly to the adrenaline-pumping synthline explodes into action. The track progesses to drive with an iron fist, without leaving any signs of suddenly slowing down. Once again, the melodic hooks are representative of what I've come to know about Dall'Ora's music, but the track is built so dynamically and creates so much excitement that it comes off sounding like a fresh package with plenty of surprises. Absolutely stunning.
9. PAGAL / MARA NELL: (10+)
Well, I sure don't understand all the dislike for this track, not at all. At least SEF Deluxe backs up my dear Melody popularity-wise. Nonetheless, while I enjoy that song, this track is the true HRG for me on this CD. Like the previous song, Melody's vocals are not pitched to unlistenable levels, but this time I was able to notice and fall in love with the song immediately. The whole song is just perfectly right in-your-face, with extremely heavy synths, but also a very strong vocal melody that stands out over the backup just the right amount. The musical construction of this track is just incredibly attractive and catchy, and the song overall reminds me a lot of Hi-NRG Attack's fantastic female performances from the Eurobeat Flash era (which also featured an only mildly-pitched Melody as the vocalist in many tracks). This song is easily the best release from Hi-NRG Attack in a very long time for me, and I have strong hopes that the label will continue down this direction for many albums to come.
10. A SIMPLY MELODY / VALERY SCOTT: (7-)
I don't exactly know what to make out of this song, and I especially don't see why Avex decided to include it when it's already 9 years old and even previously featured on a different compilation ages ago, Farm Records or not. They could've just as well gone with something a lot more up-to-date and suitable to the album's party theme like Saturday Night Fever / Milk & Coffea or even instead the awesome party-joint Delta track Dance To The Music / Za-Za (only availible on Eurobeat Masters and not yet promoted by Avex in any way). A Simply Melody is completely a bittersweet listening experience for me; at times, it sounds fairly cute and catchy, but there's just something about it that really seems to draw me away from it. The fact that it's old isn't really the main problem for me, as I'm an avid fan of older eurobeat songs and I loved Give Me Another Chance / Susy on SEB 167, but the presentation of this track is just obsurdly creepy. The melodic structure feels somewhat childish, the lyrics even moreso, and the vocals during the chorus are way too high-pitched and shrill for my listening tastes. The mish-mash feeling between cute + catchy yet also strangely scary at the same time just doesn't leave me with a straight feeling, and overall it's unlikely that I'll be coming back to this song very much in the future.
11. TONIGHT TONIGHT / KEVIN JOHNSON: (9+)
Well, if Luca Torchiani replacing Marco Rancati for the Daniel alias on My Gasoline was any indication, the sudden comeback of Davide Budriesi (who temporarily disappeared as soon as Daniel made his debut) makes it seem even more apparent that he's also completely replacing Rancati's role as Delta's lead male. This was not something I was looking forward to, as Daniel's aggressive, more eurobeat-oriented style is far more appealing to me than Kevin Johnson's mainstream pop approach (the only real standouts for me throughout his career are I Love You, Lonely, and Never Give Up In The Name Of Love), but to my surprise, Kevin's first release of his comeback is quite a nice treat. The song is unique in that it draws several nostalgia factors to the early 90's, in which eurodance was the big dance craze at the time and galloping basslines were very popular in italo/early eurobeat productions. Those elements all work excellently here, and the song itself surely isn't too far behind. Kevin's vocals aren't my favorite, but they fit this track very smoothly. The song itself becomes a little repetitive, especially with the 6-minute + duration, but it's still a really pleasant track that holds its own in enough ways to keep me interested in it for a while.
12. UNBELIEVABLE / ANNALISE FEAT. DAVE RODGERS: (5½)
This track is quite a tremendous letdown after a few of the strong showings from A-Beat C on the most recent compilations. Duets like this are almost consistently poor imo, and this is definitely not an exception. I like I Believe In You and Red Hot Zip by Dave & Domino as well as Car Of Your Dreams by Dave & Nuage, but otherwise A-Beat C has definitely not shown any of their strengths through these types of collab performances. Unless they're produced with tremendous substance, they usually just don't work and come off sounding incredibly boring. About the only thing here that caught my attention was the peculiar usage of 24th (?) synth notes that break up all the mushy blandness found otherwise. The synthline has no hooks in it, the vocal melody is dreadfully flat and dull, and the chorus just drifts by without kindling even a lick of excitement. This isn't "beautiful", this isn't "stunning", this is just plain, flat-out BORING. If there's anything positive that I can say about it, it's that at least the beat and production sound decent enough and aren't a regression back to the horrid 176-186 era of A-Beat C. GGM clearly won the male + female collaboration award for this album.
13. WAIT FOR YOU (DANCEFLOOR NIGHT MIX) / ACE: (10++++)
Oh boy, is this epic! For a change, Ace appears with a euro-ballad style in order to showcase his richer, more emotional side as a person, and with this Elliot Yamin cover, the results are completely stunning. The delivery of this song feels incredible professional; Christian's masterful vocalwork puts forth all of his talent to its very fullest and simply goes beyond any general expectations that I've ever had for eurobeat. The beat and synths are prominently powerful, yet sincere enough to compliment Christian's vocals. The song is opened and finished with outstanding presentation in literally every single aspect possible. Elliot Yamin's original song was good, but something about this version ultimately feels immensely superior, more touching, and a lot stronger. Simply one of the best male SCP performances ever to date, and definitely a fantastic track to conclude the 2008 season of Super Eurobeat.
TOP 3 SONGS:
1. Wait For You (Dancefloor Night Mix) / Ace
2. Hey Boy / Apple
3. Food Fighter / Irene
BOTTOM (2) SONGS:
1. Unbelievable / Annalise feat. D. Rodgers
2. A Simply Melody / Valery Scott
HM (TIE):
- Nack 5 / Domino & Kaioh
- Euronight / Eurogroove
- Pagal / Mara Nell
FINAL SCORE: (9½)
Well, I gotta say that Super Eurobeat Vol. 192 was quite a commendable release. Not only do the included tracks correspond better to the CD's theme, the performances in general were beyond impressive. Even though there are a couple of tracks that I could've easily done without, the immense strength of the standout numbers here more than makes up for their shortcomings. There are numerous tracks here that I could definitely see myself frequently listening to for months to come, and unless Avex manages to pull on an ever better selection of tracks, I can already say that this release is already a major contender for the honor of being my favorite CD of the 190's decade. Here's hoping for the fantastic level to continue for several releases (although I'm not really looking forward to 193 at the moment)!
#Infinity wrote:13. WAIT FOR YOU (DANCEFLOOR NIGHT MIX) / ACE: (10++++)
Oh boy, is this epic! For a change, Ace appears with a euro-ballad style in order to showcase his richer, more emotional side as a person, and with this Elliot Yamin cover, the results are completely stunning. The delivery of this song feels incredible professional; Christian's masterful vocalwork puts forth all of his talent to its very fullest and simply goes beyond any general expectations that I've ever had for eurobeat. The beat and synths are prominently powerful, yet sincere enough to compliment Christian's vocals. The song is opened and finished with outstanding presentation in literally every single aspect possible. Elliot Yamin's original song was good, but something about this version ultimately feels immensely superior, more touching, and a lot stronger. Simply one of the best male SCP performances ever to date, and definitely a fantastic track to conclude the 2008 season of Super Eurobeat.
Quoted for truth
You can hate me but you know you have quality issues =p
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drnrg
- Eurobeat Guru
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- Location: searching for missing Eurogrooves trax
cheeseman
#infinity
It could just be him, but he also uses a very heavy Italian accent in the verses. Something that Lorenzo doesn't ususally have. Very interesting concept on how his vocals change that drastiacally tone- wiseI think it's just Lorenzo Campani doing the lead vocals in Euronight. Luca Torchiani sings his Paul Harris songs (I mean the recent ones, such as Mira La Luna, Fever and Quiero L'Amor) in a similar, deep style, very different to his Mark Astley songs.
I think Giordano Gambogi did some of the backing vocals, though. I can clearly hear him in the line "so wonder, baby".
#infinity
Very cool review #infinty. I think you and I are the ones that liked this cd the best...and also the ones that praised the Eurogrooves trax the most.FINAL SCORE: (9½)
Well, I gotta say that Super Eurobeat Vol. 192 was quite a commendable release. Not only do the included tracks correspond better to the CD's theme, the performances in general were beyond impressive. Even though there are a couple of tracks that I could've easily done without, the immense strength of the standout numbers here more than makes up for their shortcomings. There are numerous tracks here that I could definitely see myself frequently listening to for months to come, and unless Avex manages to pull on an ever better selection of tracks, I can already say that this release is already a major contender for the honor of being my favorite CD of the 190's decade. Here's hoping for the fantastic level to continue for several releases (although I'm not really looking forward
Add me to that list - Eurogrooves really impressed me on this CD, more than I thought they would. Both tracks show and raw power and energy that you don't always find nowadays.drnrg wrote:Very cool review #infinty. I think you and I are the ones that liked this cd the best...and also the ones that praised the Eurogrooves trax the most.
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Will154
- Bazooka Bellydancer
- Posts: 326
- Joined: 29 Sep 2007, 16:48
- Location: Montreal,Quebec
- Contact:
Add me to that list too ! 
The EuroGrooves tracks are really awesome , especially ''Hey boy'' from Apple (Oh , how does this not suprise me ? XD). Though i have to say its quite special hearing a song with pitch up Elena Feretti vocals on it. But the song has so much NRG ~!!! Finally a new Elena Feretti track to satisfy all her fans. The best song of the album IMO. Oh , and also when she says ''a big explosion'' that's kind of funny too... XD
Euronight from Eurogroove is good also. It's really a catchy ''Chris Stanton'' style Eurobeat track and that's what i like about it. The synths are really awesome and the vocals are the the best choice possible for this kind of track.
If EuroGrooves continues like this , they will become my favorite label after the ''old'' TIME tracks ! Which is a hard position to get XD
The EuroGrooves tracks are really awesome , especially ''Hey boy'' from Apple (Oh , how does this not suprise me ? XD). Though i have to say its quite special hearing a song with pitch up Elena Feretti vocals on it. But the song has so much NRG ~!!! Finally a new Elena Feretti track to satisfy all her fans. The best song of the album IMO. Oh , and also when she says ''a big explosion'' that's kind of funny too... XD
Euronight from Eurogroove is good also. It's really a catchy ''Chris Stanton'' style Eurobeat track and that's what i like about it. The synths are really awesome and the vocals are the the best choice possible for this kind of track.
If EuroGrooves continues like this , they will become my favorite label after the ''old'' TIME tracks ! Which is a hard position to get XD
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drnrg
- Eurobeat Guru
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the_ditz
hehe, nice turn out for Eurogrooves. Anyone else wanna add themselves to the list?
Will154Add me to that list - Eurogrooves really impressed me on this CD, more than I thought they would. Both tracks show and raw power and energy that you don't always find nowadays.
Add me to that list too !
hehe, nice turn out for Eurogrooves. Anyone else wanna add themselves to the list?
I wasn't so keen on Hey Boy, but Euronight was enough to impress me! Add me to 'dat list. :3
A lot's changed in the decade and a half I've been here.
Full-time eurobeat producer, full-time musician, part-time Vtuber. #JessaIsReal2021
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Full-time eurobeat producer, full-time musician, part-time Vtuber. #JessaIsReal2021
Join me on an Odyssey.
Just because I didn't give the Eurogrooves productions 10/10 doesn't mean I didn't enjoy those tracks any less than #Infinity. Like I said in my past reviews, I seldom give out the highest rating possible to any production.drnrg wrote:Very cool review #infinty. I think you and I are the ones that liked this cd the best...and also the ones that praised the Eurogrooves trax the most.
Either way, 192 sounds even more terrible the more I listen to it. It's the second worst SEB I've listened to of all time, behind 167, which may even topple it down the line.
The more I listen to it, the more I'm dissapointed with Eurogrooves and Pagal. The other songs hold up find but those three songs just do nothing for me.Jay wrote:Just because I didn't give the Eurogrooves productions 10/10 doesn't mean I didn't enjoy those tracks any less than #Infinity. Like I said in my past reviews, I seldom give out the highest rating possible to any production.drnrg wrote:Very cool review #infinty. I think you and I are the ones that liked this cd the best...and also the ones that praised the Eurogrooves trax the most.
Either way, 192 sounds even more terrible the more I listen to it. It's the second worst SEB I've listened to of all time, behind 167, which may even topple it down the line.
You can hate me but you know you have quality issues =p
The two Eurogrooves tracks are still impressing me big time. I am honestly enjoying this album more as a whole than 191 - there's just the right balance of slow, mellow tracks and fast energy-fuelled anthems! Of course, the album would have been even better with Pamsy...here's hoping for Hello or Livin' In The Night 2009 on 193Jion wrote:The more I listen to it, the more I'm dissapointed with Eurogrooves and Pagal. The other songs hold up find but those three songs just do nothing for me.Jay wrote:Just because I didn't give the Eurogrooves productions 10/10 doesn't mean I didn't enjoy those tracks any less than #Infinity. Like I said in my past reviews, I seldom give out the highest rating possible to any production.drnrg wrote:Very cool review #infinty. I think you and I are the ones that liked this cd the best...and also the ones that praised the Eurogrooves trax the most.
Either way, 192 sounds even more terrible the more I listen to it. It's the second worst SEB I've listened to of all time, behind 167, which may even topple it down the line.
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