Some tracks surprised me here to say the least
Super Eurobeat 189
After reading my post and this definition on wikipedia, I think instead of calling the intro a riff, it would be more appropriate to call it a hookJion wrote:There tends to be much confusion (I was included in this not too long ago) about how the song structure is so lets try and fix this up.
Opening - The instrumental section that builds up to the intro
INtro (Riff) - The instrumental "chorus" so to say
A-Melo (Verse 1) - The first first set of singing
B-Melo (The bridge) - The second part of singing that is usually repeated the second time around
Sabi (Chorus) - Nuff said
C-Melo (Verse 2) - The second first set of singing
D-Melo (Second bridge) - Very rare in Eurobeat but it does exist (see Go 2 feat. Christine - Blood On Fire or Betty feat. Annalise - The One For Me for an example)
A usual eurobeat song is usually structured as such (Following the structure for most radio edit songs)
Opening
Intro (Riff)
A-Melo (Verse 1)
B-Melo (Bridge)
Sabi (Chorus)
Intro (Riff)
C-Melo (Verse 2)
B-Melo (Bridge)
Sabi (Chorus)
Intro (Riff)
B-Melo (Bridge)
Sabi (Chorus)
Intro (Riff)
End
http://en.wikipedia.org/wiki/Hook_(music)
I went back to this after watching the Go 2 videos and them callling the chorus a refrain instead. They don't use any of the a-melo, b-melo craziness.
You can hate me but you know you have quality issues =p
My review...
01 PEOPLE OF THE WORLD / GO GO GIRLS (Go-Go's Music) [05:09]
Grade: 10++
The first words that come to mind when I hear this track are feel-good, summer and party!! From the very first few notes, to the clapping during the intro and the "stadium" atmosphere contained within the song, this could easily be the highlight of a massive open-air summer Eurobeat concert! Elena Gobbi is in fine voice and it's good to hear her infectious style once again. I really love GGM's synths and strong bass beat as it really gives the track that added energy to take it to the next level. In the melodies, we have that quirky chord progression that make Go Go Girls so unique. We've had to wait a whole 30 albums for a new Go Go Girls track, but I'm happy to say they most definitely did not disappoint!! A blazing start to the album!
02 BALALAIKA VODKA & ROCK 'n ROLL / MAD COW AND THE TVERSKAYA STR. GIRLS (Hi-NRG Attack) [04:30]
Grade: 7
Yes, the Hi-NRG Attack studios are at it once again. If you listen to this track thinking "hey, haven't I heard this somewhere once before" then just think Bazookistan and Vodka from the same label and you're more or less there. Now, don't get me wrong, those two tracks are awesome and I wouldn't ever diss them, but Balalaika Vodka & Rock 'n Roll is different in the sense that it sounds a bit desperate - like someone that has run out of ideas and they're trying deperately to modify their old ones to relive past successes. The frantic "hit" synths are ever present, and the random drunk Italian man makes a return just before the first hook, but really the only part of this song that sounds new to me is the inclusion of a 2nd chorus (the section that goes "steppa-steppa, steppa-steppa"). This is an idea that Hi-NRG Attack should expand further to the rest of their tracks if they are to continue having success with these frantic Russian/drink-themed tracks.
03 MY LONELY NIGHT / JIMMY DIAMOND (Delta) [06:44]
Grade: 8
Now to see if Delta really have lost their edge as I felt from the samples. The bouncing beat during the intro builds the tension nicely and there is a nice sense of anticipation in the pain chord progression after that. The hook kicks in, and a certain amount of this tension and excitement is lost - it sounds light and fluffy with not a massive amount of substance to it. However, melodically it is pretty sound. I liked the fact that Delta have actually used the extra time they have now to mix up the order of the song elements, as we have intro > hook > chorus > hook here, which surprised me. Perhaps it's the style of Jimmy's vocals that don't really grab me as much as Mark Astley or Luke, but I just can't seem to fully enjoy the vocal parts of this track as they lack power and presence to a certain degree. Overall, I still believe this track is a step back in time from Delta's powerful modern style evident on Eurobeat Masters vol. 17, but I'm sure this track will grow on me a bit more as the beat and production are at least interesting.
04 FROM HEARTACHE TO HEAVEN / MOMO (SCP) [05:20]
Grade: 10
I wasn't looking forward to this track, as I was sure it would just be a rehash of Love Is A Pretender (during the vocal sections) and One Touch (during the hooks), but happily I have been proved wrong. Momo's vocals sound tuneful, light yet mature - like Pamsy but a few years older. The production effectively supports this light and floaty feel with plenty of reverb and synths echoing tunefully on all levels. The verse came as a real surprise to me, as it effectively blends a classic pop-style melody with Eurobeat - an irresistable combination for me. The chorus makes more sense after hearing the complete build-up to it, but I could still hear Pamsy desperately trying to sing Love Is A Pretender in the background and so that still disappointments me slightly. However, this song in full version is all about Momo's vocals delivering a beautiful and accomplished performance, and I can't take that away from her.
05 ANNALISE - FEEL IT IN YOUR HEART (A-Beat C) [04:45]
Grade: 9
So how does this track start? Yep, you've guessed it - another fairly non-descript sequence of A-Beat C layers that eventually come together at the start of the main hook. This intro isn't as bad as A Perfect Hero for complete disconnection, but I still feel we could have some vocals or just some sort of theme to tie it into the main song. Anyway, moving on - I'm still loving the tone and energy of this synth hook. It remains light and playful, but at least has the drive and power to stand out, unlike many other A-Beat C female tracks of late. The vocal melody through the verse into the bridge and eventually linking to the chorus sounds thankfully quite unique, and Annalise shows off an impressive vocal range. The chorus is a classic Eurobeat hands-up anthem, and the vocals really take over from the synths here to hold the whole song together. I can imagine this in a nightclub actually. Overall, this is easily one of the best A-Beat C tracks of the 180's.
06 FLAME AND FIRE / TORA (SinclaireStyle) [05:00]
Grade: 8+
Critics of Sinclaire's synth choices over the past few albums won't exactly be changing their opinions of him with this track, and he is still producing tracks that sound a few years behind all the other labels, however on the plus side the strength of the beats and the bass seems to have been given a boost. The intro to this track makes me think of a hyper-techno style, but this is quickly dispelled when the hook kicks in. The vocal melody is fairly typical of Sinclaire's style (no pun intended) - quite high in the vocal range, with plenty of repitition. The synths in the hook sound like they were recorded underwater, which gives a totally unique sound. Again, there are parts of this track that could be made for a larger stage than a simple club - the crowd effects and Tora's shouts trying to pump the audience up are clearly aimed at a large concert situation. One other thing I like about SinclaireStyle's productions is the fact that you can hear various parts of the song in many different guises - vocals only, no beat, beat only - this is a quirky feature that many Eurobeat tracks used to have but you don't find it much nowadays. Anyway, final impression - not as endearing as Move On Now Baby but definitely a strong showing nonetheless.
07 HEARTBREAK / DANNY ROCK (Asia/Saifam) [05:17]
Grade: 9-
The suspense builds through the intro in a similar vein to My Lonely Night, but this time with a more effective beat breakdown. The muffled kicks portray a beating heart, and there is an air of anguish as the layers build slowly. Suddenly, the synths from the late 160's burst into life and the signature Saifam bass rings out. The hook perhaps isn't the most unique that the label has put out in modern times, but the theme of anguish and pain is continued. I like the "woah-oh-oh" strands that run throughout the hooks, and Farina sounds quite vulnerable at the start of the verse. The vocal lines are fairly typical of most Saifam tracks, with a nice interplay between female backing vocals from time to time to break up the male dominance. There is also a nice guitar counter-melody that dips into the structure occasionally that also provides a nice base for the refrain of the verse. Don't be too hasty to dismiss this track as clone of Loveline as you should find that with a few more listens, this track can stand alone perhaps as the strongest Saifam track of the 180's. It doesn't quite reach the heights of Diabolik, but it certainly keeps this album's energy levels running high.
08 BAD BOY / RICK CASTLE (Hi-NRG Attack) [04:24]
Grade: 10+++
This track emphasises what Hi-NRG Attack can truly do when they aren't drawn into the silly world that they are (perhaps sadly) famed for. The beat is present from the start with a steady vocal riff, and perhaps most surprisingly, these elements are joined by a high-octane guitar line from the 5th measure. This gives the song a real sense of purpose and you know that this is no ordinary, run-of-the-mill HRG track. The distorted, underwater effects on the first instance of the chorus is a little odd, and it perhaps wasn't the best choice to lead into the hook, but I can excuse it as the synth sweetly sings over the powerful guitars through the main hook, which is melodic and tuneful. The verse is spiked with sweet synth bursts and guitar slams, and the vocal melody is steady. The bridge into the chorus has a bed of pure power thanks to the deep guitar chords and Rick's gentle vocal style gives a nice contrast to this powerful base. The chorus is the star of the whole track - from the classic progression of the sequential rising melody to the squeaky backing vocals that fight to break through Rick's smooth lead vocals only at the very end, everything runs blissfully towards the hook with no stops. I believe this is one of the best "mellow" Hi-NRG Attack tracks (i.e. no vodka, no Russians and no grunting) in years and it is easily one of the highlights of the entire album.
09 DANCE DANCE / CHERRY (Delta) [05:27]
Grade: 7+
A pretty explosive start to this track sadly isn't telling the full story. While the intro has angsty guitar samples and scattered beats making me think of recent Cherry tracks like the awesome Yes I Will and Rebel Yell, I am sorry to say that the production on this one has taken a step back in time to Delta in the 150's, which definitely isn't a good move for them in my eyes. The synths sound light and they lack the substance of recent Delta tracks, and the beat is nothing but a way of keeping everything constant - there is no power or presence to it at all. For all this negativity, I will say that Cherry still puts on a good performance, and the vocal melodies are still enjoyable. I strongly believe that with updated production more in the style of Yes I Will, I would enjoy this track infinitely more than I do currently. Sadly, this track doesn't live up to the artist and it sounds a little tired and weak.
10 BABY TAKE ME HIGH / NUAGE (A-Beat C) [04:41]
Grade: 8
Another odd intro from A-Beat C to be honest. Lots of bleeps and thuds jostle for room, before the ugly vocal effect comes in. Finally, as the beat drops 8 measures before the main hook, things do start getting back on track with the introduction of the ever-popular bell synth. There are some odd synth choices in this one I reckon - the bubbling, high-pitched one halfway through the hook seems to clash with the style of the mellow, gentle bell. Anyway, onto the vocals - Nuage's style is as pure as ever, but the melody seems a bit too deliberate and forced and doesn't really flow well. The chorus is probably the cutest and most secure part of the song, and I can hear little SCP-inspired nuances here and there with the effects after the first line. Overall, this track isn't going to get Nuage any new fans, but it's quite pleasant when it gets going even though it never reaches the heights of her classic hits.
11 SPIRIT GO WILD / THE SNAKE (SCP) [05:02]
Grade: 10++++
Oh wow!! Now this track not only benefits from a stellar position - after the gentle and inoffensive Nuage - but it also has such an awesome guitar presence from start to finish. You can't help but be caught up in the adrenaline that it produces! The main hook contains a marvellous harmonic fusion of guitar and synth to give one of the strongest, most powerful hook-lines of the 180's in my opinion. Sure, it's not complex or musically challenging, but it certainly proves that simplicity can sometimes be the best way! The Snake's assured and confident vocals soar blissfully over the signature SCP beats and that amazing guitar backing that is present throughout, and by the time we reach the epic chorus, I'm in no doubt that Spirit Go Wild has actually achieved the seemingly impossible feat of being even better than Queen of Mean. It's slower, but that allows the vocals to truly shine and the guitars can be more creative during the interludes. The melodies are cranked up to the max as well to ensure The Snake have succeeded in building their profile throughout to 180's to end the decade as the premier SCP act going into the 190's. An awesome track on all levels!!!
12 STORMBRINGER / DREAM FIGHTERS (Dima Music) [05:24]
Grade: 9-
I love having Dima back on SEB - it's like hearing an old friend making a comeback for 1 track on each album, and Stormbringer continues the ever-popular traditions of deep bass beats, direct synths and guitars that have given Dima such success for years now. The menacing distorted vocals during the intro hinted at something more sinister than the song we actually have, but I'm certainly not complaining. The pure vocals soar easily throughout the track with no weak points. The piano comes into use here like in Tsundere night, but I must say I don't really think it works as well here as it leaves things sounding a little out-of-tune during the verse. I can't honestly say much more about this track - it does more or less what I expected it too, and maybe in the 190's it's time for Dima to show a bit more creativity, but for now this song will surely keep his loyal fanbase happy.
13 YOU GIVE ME MORE / PHIL & LINDA (Time) [05:28]
Grade: 6+
I honestly can't fully understand the fuss surrounding this track. To me, it's just another Phil & Linda disco-style middle-of-the-road track, only this time with a few extra BPMs and more synths. The muffled intro really doesn't do a lot for me at all - it's just not a style that I can ever fully take to with great enthusiasm. The chorus is pleasant and has a nice tone to it, but I think I'd have to agree with Jion and say that the hook sounds surprisingly lacking in some elements. I needed to hear more high-end percussion (more hats, a tambourine - something to break the bass-heavy backing) and the synth could definitely use a bit more reverb to take away the jagged direct feel that it has. The verse really doesn't do anything for me at all, and Phil sounds on the whole a little bored if I'm honest. Definitely not a good way to finish this CD for me, although considering everything I've said here I will end on a positive note and say that I leaves their previous duets for dead.
TOP 3:
SPIRIT GO WILD / THE SNAKE
BAD BOY / RICK CASTLE
PEOPLE OF THE WORLD / GO GO GIRLS
HONOURABLE MENTION:
FROM HEARTACHE TO HEAVEN / MOMO
BOTTOM 3:
YOU GIVE ME MORE / PHIL & LINDA
BALALAIKA VODKA & ROCK 'n ROLL / MAD COW AND THE TVERSKAYA STR. GIRLS
DANCE DANCE / CHERRY
Final comments: I ADORE THE SNAKE!!! They just continue to bound effortlessly from strength to strength and they, along with the very promising newcomer Momo, have helped restore my confidence in my favourite label, SCP. Delta has disappointed me the most if I'm honest, as their tracks hear sounded a bit half-hearted and a definite step backwards in terms of quality from the standouts of the 180's for them (SUPER RIDER and YES I WILL). A-Beat C show tentative signs of recovery, and Hi-NRG Attack pull a massive hit out of the bag in the shape of BAD BOY by Rick Castle - sadly, they completely drop the ball again with Mad Cow!! SinclaireStyle continues making progress as they try to find their feet in SEB once more, and the more experienced-sounding Saifam and Dima put in confident yet safe performances also. From the sounds of YOU GIVE ME MORE, I definitely think giving Dall'ora less airtime is a shrewd move to keep the SEB series powerful and fresh-sounding. Overall, a good album, but not quite reaching the superstar heights of 187, 188 or 184 for me.
01 PEOPLE OF THE WORLD / GO GO GIRLS (Go-Go's Music) [05:09]
Grade: 10++
The first words that come to mind when I hear this track are feel-good, summer and party!! From the very first few notes, to the clapping during the intro and the "stadium" atmosphere contained within the song, this could easily be the highlight of a massive open-air summer Eurobeat concert! Elena Gobbi is in fine voice and it's good to hear her infectious style once again. I really love GGM's synths and strong bass beat as it really gives the track that added energy to take it to the next level. In the melodies, we have that quirky chord progression that make Go Go Girls so unique. We've had to wait a whole 30 albums for a new Go Go Girls track, but I'm happy to say they most definitely did not disappoint!! A blazing start to the album!
02 BALALAIKA VODKA & ROCK 'n ROLL / MAD COW AND THE TVERSKAYA STR. GIRLS (Hi-NRG Attack) [04:30]
Grade: 7
Yes, the Hi-NRG Attack studios are at it once again. If you listen to this track thinking "hey, haven't I heard this somewhere once before" then just think Bazookistan and Vodka from the same label and you're more or less there. Now, don't get me wrong, those two tracks are awesome and I wouldn't ever diss them, but Balalaika Vodka & Rock 'n Roll is different in the sense that it sounds a bit desperate - like someone that has run out of ideas and they're trying deperately to modify their old ones to relive past successes. The frantic "hit" synths are ever present, and the random drunk Italian man makes a return just before the first hook, but really the only part of this song that sounds new to me is the inclusion of a 2nd chorus (the section that goes "steppa-steppa, steppa-steppa"). This is an idea that Hi-NRG Attack should expand further to the rest of their tracks if they are to continue having success with these frantic Russian/drink-themed tracks.
03 MY LONELY NIGHT / JIMMY DIAMOND (Delta) [06:44]
Grade: 8
Now to see if Delta really have lost their edge as I felt from the samples. The bouncing beat during the intro builds the tension nicely and there is a nice sense of anticipation in the pain chord progression after that. The hook kicks in, and a certain amount of this tension and excitement is lost - it sounds light and fluffy with not a massive amount of substance to it. However, melodically it is pretty sound. I liked the fact that Delta have actually used the extra time they have now to mix up the order of the song elements, as we have intro > hook > chorus > hook here, which surprised me. Perhaps it's the style of Jimmy's vocals that don't really grab me as much as Mark Astley or Luke, but I just can't seem to fully enjoy the vocal parts of this track as they lack power and presence to a certain degree. Overall, I still believe this track is a step back in time from Delta's powerful modern style evident on Eurobeat Masters vol. 17, but I'm sure this track will grow on me a bit more as the beat and production are at least interesting.
04 FROM HEARTACHE TO HEAVEN / MOMO (SCP) [05:20]
Grade: 10
I wasn't looking forward to this track, as I was sure it would just be a rehash of Love Is A Pretender (during the vocal sections) and One Touch (during the hooks), but happily I have been proved wrong. Momo's vocals sound tuneful, light yet mature - like Pamsy but a few years older. The production effectively supports this light and floaty feel with plenty of reverb and synths echoing tunefully on all levels. The verse came as a real surprise to me, as it effectively blends a classic pop-style melody with Eurobeat - an irresistable combination for me. The chorus makes more sense after hearing the complete build-up to it, but I could still hear Pamsy desperately trying to sing Love Is A Pretender in the background and so that still disappointments me slightly. However, this song in full version is all about Momo's vocals delivering a beautiful and accomplished performance, and I can't take that away from her.
05 ANNALISE - FEEL IT IN YOUR HEART (A-Beat C) [04:45]
Grade: 9
So how does this track start? Yep, you've guessed it - another fairly non-descript sequence of A-Beat C layers that eventually come together at the start of the main hook. This intro isn't as bad as A Perfect Hero for complete disconnection, but I still feel we could have some vocals or just some sort of theme to tie it into the main song. Anyway, moving on - I'm still loving the tone and energy of this synth hook. It remains light and playful, but at least has the drive and power to stand out, unlike many other A-Beat C female tracks of late. The vocal melody through the verse into the bridge and eventually linking to the chorus sounds thankfully quite unique, and Annalise shows off an impressive vocal range. The chorus is a classic Eurobeat hands-up anthem, and the vocals really take over from the synths here to hold the whole song together. I can imagine this in a nightclub actually. Overall, this is easily one of the best A-Beat C tracks of the 180's.
06 FLAME AND FIRE / TORA (SinclaireStyle) [05:00]
Grade: 8+
Critics of Sinclaire's synth choices over the past few albums won't exactly be changing their opinions of him with this track, and he is still producing tracks that sound a few years behind all the other labels, however on the plus side the strength of the beats and the bass seems to have been given a boost. The intro to this track makes me think of a hyper-techno style, but this is quickly dispelled when the hook kicks in. The vocal melody is fairly typical of Sinclaire's style (no pun intended) - quite high in the vocal range, with plenty of repitition. The synths in the hook sound like they were recorded underwater, which gives a totally unique sound. Again, there are parts of this track that could be made for a larger stage than a simple club - the crowd effects and Tora's shouts trying to pump the audience up are clearly aimed at a large concert situation. One other thing I like about SinclaireStyle's productions is the fact that you can hear various parts of the song in many different guises - vocals only, no beat, beat only - this is a quirky feature that many Eurobeat tracks used to have but you don't find it much nowadays. Anyway, final impression - not as endearing as Move On Now Baby but definitely a strong showing nonetheless.
07 HEARTBREAK / DANNY ROCK (Asia/Saifam) [05:17]
Grade: 9-
The suspense builds through the intro in a similar vein to My Lonely Night, but this time with a more effective beat breakdown. The muffled kicks portray a beating heart, and there is an air of anguish as the layers build slowly. Suddenly, the synths from the late 160's burst into life and the signature Saifam bass rings out. The hook perhaps isn't the most unique that the label has put out in modern times, but the theme of anguish and pain is continued. I like the "woah-oh-oh" strands that run throughout the hooks, and Farina sounds quite vulnerable at the start of the verse. The vocal lines are fairly typical of most Saifam tracks, with a nice interplay between female backing vocals from time to time to break up the male dominance. There is also a nice guitar counter-melody that dips into the structure occasionally that also provides a nice base for the refrain of the verse. Don't be too hasty to dismiss this track as clone of Loveline as you should find that with a few more listens, this track can stand alone perhaps as the strongest Saifam track of the 180's. It doesn't quite reach the heights of Diabolik, but it certainly keeps this album's energy levels running high.
08 BAD BOY / RICK CASTLE (Hi-NRG Attack) [04:24]
Grade: 10+++
This track emphasises what Hi-NRG Attack can truly do when they aren't drawn into the silly world that they are (perhaps sadly) famed for. The beat is present from the start with a steady vocal riff, and perhaps most surprisingly, these elements are joined by a high-octane guitar line from the 5th measure. This gives the song a real sense of purpose and you know that this is no ordinary, run-of-the-mill HRG track. The distorted, underwater effects on the first instance of the chorus is a little odd, and it perhaps wasn't the best choice to lead into the hook, but I can excuse it as the synth sweetly sings over the powerful guitars through the main hook, which is melodic and tuneful. The verse is spiked with sweet synth bursts and guitar slams, and the vocal melody is steady. The bridge into the chorus has a bed of pure power thanks to the deep guitar chords and Rick's gentle vocal style gives a nice contrast to this powerful base. The chorus is the star of the whole track - from the classic progression of the sequential rising melody to the squeaky backing vocals that fight to break through Rick's smooth lead vocals only at the very end, everything runs blissfully towards the hook with no stops. I believe this is one of the best "mellow" Hi-NRG Attack tracks (i.e. no vodka, no Russians and no grunting) in years and it is easily one of the highlights of the entire album.
09 DANCE DANCE / CHERRY (Delta) [05:27]
Grade: 7+
A pretty explosive start to this track sadly isn't telling the full story. While the intro has angsty guitar samples and scattered beats making me think of recent Cherry tracks like the awesome Yes I Will and Rebel Yell, I am sorry to say that the production on this one has taken a step back in time to Delta in the 150's, which definitely isn't a good move for them in my eyes. The synths sound light and they lack the substance of recent Delta tracks, and the beat is nothing but a way of keeping everything constant - there is no power or presence to it at all. For all this negativity, I will say that Cherry still puts on a good performance, and the vocal melodies are still enjoyable. I strongly believe that with updated production more in the style of Yes I Will, I would enjoy this track infinitely more than I do currently. Sadly, this track doesn't live up to the artist and it sounds a little tired and weak.
10 BABY TAKE ME HIGH / NUAGE (A-Beat C) [04:41]
Grade: 8
Another odd intro from A-Beat C to be honest. Lots of bleeps and thuds jostle for room, before the ugly vocal effect comes in. Finally, as the beat drops 8 measures before the main hook, things do start getting back on track with the introduction of the ever-popular bell synth. There are some odd synth choices in this one I reckon - the bubbling, high-pitched one halfway through the hook seems to clash with the style of the mellow, gentle bell. Anyway, onto the vocals - Nuage's style is as pure as ever, but the melody seems a bit too deliberate and forced and doesn't really flow well. The chorus is probably the cutest and most secure part of the song, and I can hear little SCP-inspired nuances here and there with the effects after the first line. Overall, this track isn't going to get Nuage any new fans, but it's quite pleasant when it gets going even though it never reaches the heights of her classic hits.
11 SPIRIT GO WILD / THE SNAKE (SCP) [05:02]
Grade: 10++++
Oh wow!! Now this track not only benefits from a stellar position - after the gentle and inoffensive Nuage - but it also has such an awesome guitar presence from start to finish. You can't help but be caught up in the adrenaline that it produces! The main hook contains a marvellous harmonic fusion of guitar and synth to give one of the strongest, most powerful hook-lines of the 180's in my opinion. Sure, it's not complex or musically challenging, but it certainly proves that simplicity can sometimes be the best way! The Snake's assured and confident vocals soar blissfully over the signature SCP beats and that amazing guitar backing that is present throughout, and by the time we reach the epic chorus, I'm in no doubt that Spirit Go Wild has actually achieved the seemingly impossible feat of being even better than Queen of Mean. It's slower, but that allows the vocals to truly shine and the guitars can be more creative during the interludes. The melodies are cranked up to the max as well to ensure The Snake have succeeded in building their profile throughout to 180's to end the decade as the premier SCP act going into the 190's. An awesome track on all levels!!!
12 STORMBRINGER / DREAM FIGHTERS (Dima Music) [05:24]
Grade: 9-
I love having Dima back on SEB - it's like hearing an old friend making a comeback for 1 track on each album, and Stormbringer continues the ever-popular traditions of deep bass beats, direct synths and guitars that have given Dima such success for years now. The menacing distorted vocals during the intro hinted at something more sinister than the song we actually have, but I'm certainly not complaining. The pure vocals soar easily throughout the track with no weak points. The piano comes into use here like in Tsundere night, but I must say I don't really think it works as well here as it leaves things sounding a little out-of-tune during the verse. I can't honestly say much more about this track - it does more or less what I expected it too, and maybe in the 190's it's time for Dima to show a bit more creativity, but for now this song will surely keep his loyal fanbase happy.
13 YOU GIVE ME MORE / PHIL & LINDA (Time) [05:28]
Grade: 6+
I honestly can't fully understand the fuss surrounding this track. To me, it's just another Phil & Linda disco-style middle-of-the-road track, only this time with a few extra BPMs and more synths. The muffled intro really doesn't do a lot for me at all - it's just not a style that I can ever fully take to with great enthusiasm. The chorus is pleasant and has a nice tone to it, but I think I'd have to agree with Jion and say that the hook sounds surprisingly lacking in some elements. I needed to hear more high-end percussion (more hats, a tambourine - something to break the bass-heavy backing) and the synth could definitely use a bit more reverb to take away the jagged direct feel that it has. The verse really doesn't do anything for me at all, and Phil sounds on the whole a little bored if I'm honest. Definitely not a good way to finish this CD for me, although considering everything I've said here I will end on a positive note and say that I leaves their previous duets for dead.
TOP 3:
SPIRIT GO WILD / THE SNAKE
BAD BOY / RICK CASTLE
PEOPLE OF THE WORLD / GO GO GIRLS
HONOURABLE MENTION:
FROM HEARTACHE TO HEAVEN / MOMO
BOTTOM 3:
YOU GIVE ME MORE / PHIL & LINDA
BALALAIKA VODKA & ROCK 'n ROLL / MAD COW AND THE TVERSKAYA STR. GIRLS
DANCE DANCE / CHERRY
Final comments: I ADORE THE SNAKE!!! They just continue to bound effortlessly from strength to strength and they, along with the very promising newcomer Momo, have helped restore my confidence in my favourite label, SCP. Delta has disappointed me the most if I'm honest, as their tracks hear sounded a bit half-hearted and a definite step backwards in terms of quality from the standouts of the 180's for them (SUPER RIDER and YES I WILL). A-Beat C show tentative signs of recovery, and Hi-NRG Attack pull a massive hit out of the bag in the shape of BAD BOY by Rick Castle - sadly, they completely drop the ball again with Mad Cow!! SinclaireStyle continues making progress as they try to find their feet in SEB once more, and the more experienced-sounding Saifam and Dima put in confident yet safe performances also. From the sounds of YOU GIVE ME MORE, I definitely think giving Dall'ora less airtime is a shrewd move to keep the SEB series powerful and fresh-sounding. Overall, a good album, but not quite reaching the superstar heights of 187, 188 or 184 for me.
Last edited by the_ditz on 06 Jul 2008, 15:28, edited 1 time in total.
~ MY REVIEW ~
1. PEOPLE OF THE WORLD / GO GO GIRLS: (10-)
It's been a grand 3 years since the last new Go Go Girls release, so the expectations for this track are beyond enormous, and with GGM being the label (this is the first time they've opened a Super Eurobeat compilation, interestingly enough), the pressure for a megahit is even greater. But is People Of The World worth the 3-year wait after all? I'd say so - while not exceedingly goofy or fast-paced as the group's other tracks ala My Sweet Banana, it's stray towards the usual, futuristic-trancy style of GGM is just as, if not more effective than the type of material we've gotten used to from them. I for one am not a massive Go Go Girls fan, but changing up their style to compete with modern trends makes their comeback a very pleasant surprise. The synths are of super high-quality yet again, the lyrics are entertaining, and the melody is very powerful and prominent. Not as much of a thrill ride as Do You Wanna Dance (their best song imo), but a great way to open the CD.
2. BALALAIKA, VODKA, & ROCK'N ROLL / MAD COW & THE TVERSKAYA STR. GIRLS: (10)
We haven't seen any Russian-themed productions from Hi-NRG Attack in a long time, so I was really quite excited for this song, as I absolutely love most of the previous Mad Cow Russian faires. My hopes were not in doubt - Balalaika, Vodka, & Rock'N Roll continues this legacy, but with the updated soundworlds now in-place, it's definitely a step up from its predecessors. All the fun that drew me in before is back, but with extra punch. The melody may sound a bit sloppy at first, but it sinks in fairly quickly, making this song an easy standout. The strong level of Hi-NRG Attack's performances continues.
3. MY LONELY NIGHT / JIMMY DIAMOND: (9½)
With Claudio Magnani out of the picture, the original Mad Max is definitely a more-than-welcome artist to take his place. I was worried that this song wouldn't be pulled off well at first, but it turned out to be quite a solid track all-around, even if it's nearly 7 minutes long. This track has all the best ingredients to fit - spot-on production, catchy hooks, and aggressive vocals that fit its classic feel. Like last time, I think the volume of Jimmy Diamond's vocals could've been turned up a bit higher, but it's not a big deal. Overall, this is an infectiously effective package that I could easily find myself listening to a lot in the near future.
4. FROM HEARTACHE TO HEAVEN / MOMO: (10)
While this is largely a rehash of Love Is A Pretender, I happen to enjoy it a bit more. The changes may be subtle, but they somehow cause the package to stand out better. The new vocalist is a nice change of pace - her rich voice sounds excellent throughout and does justice to the powerful melodic progression, which is a bit "purer" to my ears than LIAP, yet is just as effective. The instrumental hook is also more of a preferred, smooth eurobeat synth rather than a trancier one, and it drives the song more approporiately imo. Both songs are colorful and magnificent, but the alterations of the newcomer's version are all well-implemented enough that it really stands out.
5. FEEL IT IN YOUR HEART / ANNALISE: (6½)
Time drags on, and I still have yet to find a new Annalise song that grabs my attention as much as Try Me or With Your Photograph. Feel It In Your Heart is yet another very average production that does nothing to change the poor level that Rodgers has been undergoing. Synth quality is again limp and watery, and Annalise's vocals do nothing to make up for that. It's not a downright horrible song because the melody is fairly decent, but it just doesn't stack up to the super competitive level of SEB's other labels and their performances.
6. FLAME AND FIRE / TORA: (10)
Haha, I love this song's intro! ^_^ Roberta sounds like she's really trying to draw you into this track. Seriously, everything about this is awesome. Leonardi's production methods have massively juiced up since his last years at Delta, and it's displayed perfectly here. Flame And Fire is a colorful fusion between the elements of trance and hyper techno, applied to a eurobeat turf. Roberta's quirky, flavorful vocal is always feminine, yet hard-edged and aggressive to fit the energetic pace, which is why I always love them. This song grew on me a lot since my first listen - the chorus didn't strike me at first, but enough listens have caused it to settle in and sound really catchy. The synth is definitely a highlight of this track - it reminds me a lot of Betty Blue's Burning In The Night, except with the punch of SinclaireStyle. All-in-all, a very prominent standout that manages to captivate my attention into never wanting to put it down.
7. HEARTBREAK / DANNY ROCK: (8½)
This song is a bit of a grower. It's very similar to Loveline, but isn't as aggressive. At first, I thought it just sounded very average, but I've slowly come to enjoy its colder, more emotional feel. The melody is still great in general, and I do enjoy Mauro Farina's vocals, even though he's been terribly overexposed as of late. The synth, however, just doesn't spark any emotions and ends up sounding very dull; Loveline's synth is one of Saifam's best, up with those of Bandolero and Hate And Love. It's a nice track to play in the long-run, but it's still not new or interesting enough to stand out like Farina's last 2 appearances.
8. BAD BOY / RICK CASTLE: (10)
This just might be it - the first huge milestone track for Rick Castle. While Hi-NRG Attack usually treats him with their "softer" material, Bad Boy is opposite - it's just as energetic as anything you can expect from Franz Tornado, but with Girbauldo's melodic edge. The song itself isn't really a step out of typical eurobeat standards, but seeing that Hi-NRG Attack has never seen anything like this before, it manages to leave a huge impact over me. The usual ingredients to a eurobeat hit are present, but the powerful backgrounds cause them to sound even catchier. A fantastic song with an almost guaranteed spot on The Best Of Super Eurobeat 2008.
9. DANCE DANCE / CHERRY: (9+)
As repetitive as this sounded based on the sample, the full cut does not disappoint my original expectations for it. Again, Dance Dance is a blast to Delta's roots in many ways - the song is very catchy thanks to the fast drive, quirky synths, and awesome vocals. Similar to Dance To The Music by Za-Za, it isn't really prominent melodically, but the top-notch production attributes (the synth being the highlight) and creative lyrics (let the beat become your lover!) make it yet another great performance by Clara Moroni.
10. BABY TAKE ME HIGH / NUAGE: (9-)
After a very bizarre intro, Baby Take Me High transforms into a track that is reminiscient of Nuage's older style. The vocal melody is mega-cute and definitely the strongest part of this song; if Hey Hey was a bit forgettable and plain, Baby Take Me High is in the vain of what made me love Nuage in the first place. I do think that more should've been done with the synth, as it feels overly safe, as if Rodgers were afraid of creating something messy that would ruin the song, and doesn't do any justice to the strong vocal phrases. Other than that, I quite enjoy this.
11. SPIRIT GO WILD / THE SNAKE: (10)
After the brilliant Queen Of Mean, I was worried that Spirit Go Wild would be a step down from The Snake's other tracks, but they've once again surprised me with yet another in-your-face energy anthem that brilliantly showcases the magic of fusing rock elements into eurobeat music, only this time, we're treated to something a bit slower, more along the lines of Burn Into The Beat by Nick Mansell. It may not be raging at a fast pace, but it works just as effectively - a wise move in proving how variable they can be. The guitars are charged with a lot more prominence during the instrumental hook, thanks to the backup synths, and sounds more like a proper eurobeat track without leaving behind The Snake's innovative rock style. The vocals are impressive and take full advantage of the track's fiery presence. While it's rather difficult to top the likes of Queen Of Mean, Spirit Go Wild is another fantastic offering from SCP's most promising new title and does everything it needs to continue their growing legacy.
12. STORMBRINGER / DREAM FIGHTERS: (9½)
Having Davide Di Marcantonio's special touch back on Super Eurobeat is more than welcome. His persistent style nails everything good about eurobeat and manages to sound extremely aggressive yet touchingly beautiful at the same time. He doesn't experiment much beyond his own boundaries, but what he pulls off just about always manages to sound effective ultimately. Stormbringer has a very full-on sound that is heritage of the material that we've seen from Vibration for years, but with modern instruments that allow it to compete with the rest of the CD. The explosive synth hook is full of punch and journeys excellently into the more soulful, yet still powerful vocal melody. The chorus on its own is pretty standard for Dima, but the surrounding attributes cause it to stand out. Not the next Super Dragon (Dima's best song EVER imo), but a great way to continue the magic of Dima Music.
13. YOU GIVE ME MORE / PHIL & LINDA: (10+++)
Easily the most unexpected appearance of the CD. Ending an entire decade of Super Eurobeat with Phil & Linda sounds like an odd move, considering that I have not particularly enjoyed previous disco faires from TIME, but does the fact that it's put into such a major position not promise something truly exciting? I was hoping for something far surpassing my initial expectations with this song...and I was amazed. While these disco-inspired tracks have usually come off as boring or out-of-place for me, You Give Me More actually takes advantage of the unique style and not only puts it into excellent use, but also makes it feel a lot more suitable as a Super Eurobeat performance. As far as the song itself goes, everything is just absolutely great - the blend of the voices between of Filippo Perbellini (whose lead vocals I absolutely love - they're smooth, rich, and powerful and suit the song perfectly) and Elena Ferretti (who fits the track excellently and provides strong backup) is genuinely fantastic, and the sounds + melodic progressions are definitely a trace beyond the standard eurobeat formula, taking a unique flare of house and jazz, and making them fit the climatic structure of eurobeat excellently. The synth hook is pulled off quite nicely, and the increased bpm from previous disco faires gives it the same punch and drive as any eurobeat song, allowing the superb ingredients to stand out incredibly. Overall, this is definitely a song unlike anything else I've ever heard, but it takes the original concept of disco-eque eurobeat and patches up everything that didn't work beforehand and allows me to really fall in love with it.
FINAL SCORE: (9½)
Overall, a very nice way to end an excellent decade of Super Eurobeat! While not quite the masterpiece that was 187, this installment has presented us with a large variety of songs from titles that I generally love, and the level is extremely high from start to finish. Some tracks utterly surprised me, especially those from Momo and Phil & Linda in particular, and even the songs from titles whom I were worried would fall ended up sounding excellent. 191 will definitely have a lot to live up to after the last 3 releases in the series, and I commend all 9 labels for their outstanding performances that I'll surely be keeping for quite a while.
TOP 3 SONGS:
1. YOU GIVE ME MORE / PHIL & LINDA
2. FLAME AND FIRE / TORA
3. BAD BOY / RICK CASTLE
BOTTOM 3 SONGS:
1. FEEL IT IN YOUR HEART / ANNALISE
2. HEATBREAK / DANNY ROCK
3. BABY TAKE ME HIGH / NUAGE
HONORABLE MENTION:
- SPIRIT GO WILD / THE SNAKE
1. PEOPLE OF THE WORLD / GO GO GIRLS: (10-)
It's been a grand 3 years since the last new Go Go Girls release, so the expectations for this track are beyond enormous, and with GGM being the label (this is the first time they've opened a Super Eurobeat compilation, interestingly enough), the pressure for a megahit is even greater. But is People Of The World worth the 3-year wait after all? I'd say so - while not exceedingly goofy or fast-paced as the group's other tracks ala My Sweet Banana, it's stray towards the usual, futuristic-trancy style of GGM is just as, if not more effective than the type of material we've gotten used to from them. I for one am not a massive Go Go Girls fan, but changing up their style to compete with modern trends makes their comeback a very pleasant surprise. The synths are of super high-quality yet again, the lyrics are entertaining, and the melody is very powerful and prominent. Not as much of a thrill ride as Do You Wanna Dance (their best song imo), but a great way to open the CD.
2. BALALAIKA, VODKA, & ROCK'N ROLL / MAD COW & THE TVERSKAYA STR. GIRLS: (10)
We haven't seen any Russian-themed productions from Hi-NRG Attack in a long time, so I was really quite excited for this song, as I absolutely love most of the previous Mad Cow Russian faires. My hopes were not in doubt - Balalaika, Vodka, & Rock'N Roll continues this legacy, but with the updated soundworlds now in-place, it's definitely a step up from its predecessors. All the fun that drew me in before is back, but with extra punch. The melody may sound a bit sloppy at first, but it sinks in fairly quickly, making this song an easy standout. The strong level of Hi-NRG Attack's performances continues.
3. MY LONELY NIGHT / JIMMY DIAMOND: (9½)
With Claudio Magnani out of the picture, the original Mad Max is definitely a more-than-welcome artist to take his place. I was worried that this song wouldn't be pulled off well at first, but it turned out to be quite a solid track all-around, even if it's nearly 7 minutes long. This track has all the best ingredients to fit - spot-on production, catchy hooks, and aggressive vocals that fit its classic feel. Like last time, I think the volume of Jimmy Diamond's vocals could've been turned up a bit higher, but it's not a big deal. Overall, this is an infectiously effective package that I could easily find myself listening to a lot in the near future.
4. FROM HEARTACHE TO HEAVEN / MOMO: (10)
While this is largely a rehash of Love Is A Pretender, I happen to enjoy it a bit more. The changes may be subtle, but they somehow cause the package to stand out better. The new vocalist is a nice change of pace - her rich voice sounds excellent throughout and does justice to the powerful melodic progression, which is a bit "purer" to my ears than LIAP, yet is just as effective. The instrumental hook is also more of a preferred, smooth eurobeat synth rather than a trancier one, and it drives the song more approporiately imo. Both songs are colorful and magnificent, but the alterations of the newcomer's version are all well-implemented enough that it really stands out.
5. FEEL IT IN YOUR HEART / ANNALISE: (6½)
Time drags on, and I still have yet to find a new Annalise song that grabs my attention as much as Try Me or With Your Photograph. Feel It In Your Heart is yet another very average production that does nothing to change the poor level that Rodgers has been undergoing. Synth quality is again limp and watery, and Annalise's vocals do nothing to make up for that. It's not a downright horrible song because the melody is fairly decent, but it just doesn't stack up to the super competitive level of SEB's other labels and their performances.
6. FLAME AND FIRE / TORA: (10)
Haha, I love this song's intro! ^_^ Roberta sounds like she's really trying to draw you into this track. Seriously, everything about this is awesome. Leonardi's production methods have massively juiced up since his last years at Delta, and it's displayed perfectly here. Flame And Fire is a colorful fusion between the elements of trance and hyper techno, applied to a eurobeat turf. Roberta's quirky, flavorful vocal is always feminine, yet hard-edged and aggressive to fit the energetic pace, which is why I always love them. This song grew on me a lot since my first listen - the chorus didn't strike me at first, but enough listens have caused it to settle in and sound really catchy. The synth is definitely a highlight of this track - it reminds me a lot of Betty Blue's Burning In The Night, except with the punch of SinclaireStyle. All-in-all, a very prominent standout that manages to captivate my attention into never wanting to put it down.
7. HEARTBREAK / DANNY ROCK: (8½)
This song is a bit of a grower. It's very similar to Loveline, but isn't as aggressive. At first, I thought it just sounded very average, but I've slowly come to enjoy its colder, more emotional feel. The melody is still great in general, and I do enjoy Mauro Farina's vocals, even though he's been terribly overexposed as of late. The synth, however, just doesn't spark any emotions and ends up sounding very dull; Loveline's synth is one of Saifam's best, up with those of Bandolero and Hate And Love. It's a nice track to play in the long-run, but it's still not new or interesting enough to stand out like Farina's last 2 appearances.
8. BAD BOY / RICK CASTLE: (10)
This just might be it - the first huge milestone track for Rick Castle. While Hi-NRG Attack usually treats him with their "softer" material, Bad Boy is opposite - it's just as energetic as anything you can expect from Franz Tornado, but with Girbauldo's melodic edge. The song itself isn't really a step out of typical eurobeat standards, but seeing that Hi-NRG Attack has never seen anything like this before, it manages to leave a huge impact over me. The usual ingredients to a eurobeat hit are present, but the powerful backgrounds cause them to sound even catchier. A fantastic song with an almost guaranteed spot on The Best Of Super Eurobeat 2008.
9. DANCE DANCE / CHERRY: (9+)
As repetitive as this sounded based on the sample, the full cut does not disappoint my original expectations for it. Again, Dance Dance is a blast to Delta's roots in many ways - the song is very catchy thanks to the fast drive, quirky synths, and awesome vocals. Similar to Dance To The Music by Za-Za, it isn't really prominent melodically, but the top-notch production attributes (the synth being the highlight) and creative lyrics (let the beat become your lover!) make it yet another great performance by Clara Moroni.
10. BABY TAKE ME HIGH / NUAGE: (9-)
After a very bizarre intro, Baby Take Me High transforms into a track that is reminiscient of Nuage's older style. The vocal melody is mega-cute and definitely the strongest part of this song; if Hey Hey was a bit forgettable and plain, Baby Take Me High is in the vain of what made me love Nuage in the first place. I do think that more should've been done with the synth, as it feels overly safe, as if Rodgers were afraid of creating something messy that would ruin the song, and doesn't do any justice to the strong vocal phrases. Other than that, I quite enjoy this.
11. SPIRIT GO WILD / THE SNAKE: (10)
After the brilliant Queen Of Mean, I was worried that Spirit Go Wild would be a step down from The Snake's other tracks, but they've once again surprised me with yet another in-your-face energy anthem that brilliantly showcases the magic of fusing rock elements into eurobeat music, only this time, we're treated to something a bit slower, more along the lines of Burn Into The Beat by Nick Mansell. It may not be raging at a fast pace, but it works just as effectively - a wise move in proving how variable they can be. The guitars are charged with a lot more prominence during the instrumental hook, thanks to the backup synths, and sounds more like a proper eurobeat track without leaving behind The Snake's innovative rock style. The vocals are impressive and take full advantage of the track's fiery presence. While it's rather difficult to top the likes of Queen Of Mean, Spirit Go Wild is another fantastic offering from SCP's most promising new title and does everything it needs to continue their growing legacy.
12. STORMBRINGER / DREAM FIGHTERS: (9½)
Having Davide Di Marcantonio's special touch back on Super Eurobeat is more than welcome. His persistent style nails everything good about eurobeat and manages to sound extremely aggressive yet touchingly beautiful at the same time. He doesn't experiment much beyond his own boundaries, but what he pulls off just about always manages to sound effective ultimately. Stormbringer has a very full-on sound that is heritage of the material that we've seen from Vibration for years, but with modern instruments that allow it to compete with the rest of the CD. The explosive synth hook is full of punch and journeys excellently into the more soulful, yet still powerful vocal melody. The chorus on its own is pretty standard for Dima, but the surrounding attributes cause it to stand out. Not the next Super Dragon (Dima's best song EVER imo), but a great way to continue the magic of Dima Music.
13. YOU GIVE ME MORE / PHIL & LINDA: (10+++)
Easily the most unexpected appearance of the CD. Ending an entire decade of Super Eurobeat with Phil & Linda sounds like an odd move, considering that I have not particularly enjoyed previous disco faires from TIME, but does the fact that it's put into such a major position not promise something truly exciting? I was hoping for something far surpassing my initial expectations with this song...and I was amazed. While these disco-inspired tracks have usually come off as boring or out-of-place for me, You Give Me More actually takes advantage of the unique style and not only puts it into excellent use, but also makes it feel a lot more suitable as a Super Eurobeat performance. As far as the song itself goes, everything is just absolutely great - the blend of the voices between of Filippo Perbellini (whose lead vocals I absolutely love - they're smooth, rich, and powerful and suit the song perfectly) and Elena Ferretti (who fits the track excellently and provides strong backup) is genuinely fantastic, and the sounds + melodic progressions are definitely a trace beyond the standard eurobeat formula, taking a unique flare of house and jazz, and making them fit the climatic structure of eurobeat excellently. The synth hook is pulled off quite nicely, and the increased bpm from previous disco faires gives it the same punch and drive as any eurobeat song, allowing the superb ingredients to stand out incredibly. Overall, this is definitely a song unlike anything else I've ever heard, but it takes the original concept of disco-eque eurobeat and patches up everything that didn't work beforehand and allows me to really fall in love with it.
FINAL SCORE: (9½)
Overall, a very nice way to end an excellent decade of Super Eurobeat! While not quite the masterpiece that was 187, this installment has presented us with a large variety of songs from titles that I generally love, and the level is extremely high from start to finish. Some tracks utterly surprised me, especially those from Momo and Phil & Linda in particular, and even the songs from titles whom I were worried would fall ended up sounding excellent. 191 will definitely have a lot to live up to after the last 3 releases in the series, and I commend all 9 labels for their outstanding performances that I'll surely be keeping for quite a while.
TOP 3 SONGS:
1. YOU GIVE ME MORE / PHIL & LINDA
2. FLAME AND FIRE / TORA
3. BAD BOY / RICK CASTLE
BOTTOM 3 SONGS:
1. FEEL IT IN YOUR HEART / ANNALISE
2. HEATBREAK / DANNY ROCK
3. BABY TAKE ME HIGH / NUAGE
HONORABLE MENTION:
- SPIRIT GO WILD / THE SNAKE
Last edited by #Infinity on 05 Jul 2008, 03:50, edited 1 time in total.
Alright, I bought the Phil & Linda track for now to see what the hype was about since my CD hasn't arrived yet.
You Give Me More is decent overall, but the riff just feels so empty and lifeless that I can't help but feel a little irked whenever I listen to it. And for a disco-eurobeat track, it's perhaps a few BPMs too fast. Maybe it'll grow on me, but it's not an instant hit like "A Perfect Hero" was for me. Everything else works nicely though.
You Give Me More is decent overall, but the riff just feels so empty and lifeless that I can't help but feel a little irked whenever I listen to it. And for a disco-eurobeat track, it's perhaps a few BPMs too fast. Maybe it'll grow on me, but it's not an instant hit like "A Perfect Hero" was for me. Everything else works nicely though.
Actually, y'know what's weird? I'm really. REALLY starting to like Flame And Fire. It's not a TOTALLY different experience from Sinclairestyle, but I do notice some different things, and it's actually a pretty nice song. Sinclaire does have a perchance for finding great vocalists and producing songs that are, at the VERY worst, still listenable.
...it's a small step up, though I stand firm on my soundworld critiques. Also, I'm VERY surprised that Sinclaire isn't milking the Niko cash-cow NEARLY as much as I expected-- believe it or not, I'd rather enjoy a surge of Niko songs, as the recent SS entries have been very girly/feminine, in some cases even bubbly. Let's get some d00ds in there!
...it's a small step up, though I stand firm on my soundworld critiques. Also, I'm VERY surprised that Sinclaire isn't milking the Niko cash-cow NEARLY as much as I expected-- believe it or not, I'd rather enjoy a surge of Niko songs, as the recent SS entries have been very girly/feminine, in some cases even bubbly. Let's get some d00ds in there!
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
Join me on an Odyssey.
Full-time eurobeat producer, full-time musician, part-time Vtuber. #JessaIsReal2021
Join me on an Odyssey.
-
drnrg
- Eurobeat Guru
- Posts: 6957
- Joined: 17 May 2005, 07:18
- Location: searching for missing Eurogrooves trax
Jay
I'm pretty sure Phil & Linda will blow my socks off and 5 stars for the continued praises towards "A Perfect Hero" with it's magnificant intro
Waits impatientlyAlright, I bought the Phil & Linda track for now to see what the hype was about since my CD hasn't arrived yet.
You Give Me More is decent overall, but the riff just feels so empty and lifeless that I can't help but feel a little irked whenever I listen to it. And for a disco-eurobeat track, it's perhaps a few BPMs too fast. Maybe it'll grow on me, but it's not an instant hit like "A Perfect Hero" was for me. Everything else works nicely though.
I'm pretty sure Phil & Linda will blow my socks off and 5 stars for the continued praises towards "A Perfect Hero" with it's magnificant intro
Maybe next time we'll get the first new D.Essex song since Leonardi founded his new label?zoupzuop2 wrote:...it's a small step up, though I stand firm on my soundworld critiques. Also, I'm VERY surprised that Sinclaire isn't milking the Niko cash-cow NEARLY as much as I expected-- believe it or not, I'd rather enjoy a surge of Niko songs, as the recent SS entries have been very girly/feminine, in some cases even bubbly. Let's get some d00ds in there!
Oh GOD yes. Many many, prease.#Infinity wrote:Maybe next time we'll get the first new D.Essex song since Leonardi founded his new label?zoupzuop2 wrote:...it's a small step up, though I stand firm on my soundworld critiques. Also, I'm VERY surprised that Sinclaire isn't milking the Niko cash-cow NEARLY as much as I expected-- believe it or not, I'd rather enjoy a surge of Niko songs, as the recent SS entries have been very girly/feminine, in some cases even bubbly. Let's get some d00ds in there!
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
Join me on an Odyssey.
Full-time eurobeat producer, full-time musician, part-time Vtuber. #JessaIsReal2021
Join me on an Odyssey.
-
drnrg
- Eurobeat Guru
- Posts: 6957
- Joined: 17 May 2005, 07:18
- Location: searching for missing Eurogrooves trax
the_ditz
Sorry, but I just had to come out and say...
Less AirTIME? Sounds like a nasty and sinister way of saying remove Dall Ora of the series completely? Sorry buddy you are way off track there. Not only do you sound like you are spokes person for everyone, but if "I'm A Perect Hero" isn't the defination of POWERFUL, then they should give that word a whole new description.
From the sounds of YOU GIVE ME MORE, I definitely think giving Dall'ora less airtime is a shrewd move to keep the SEB series powerful and fresh-sounding.
Sorry, but I just had to come out and say...
Less AirTIME? Sounds like a nasty and sinister way of saying remove Dall Ora of the series completely? Sorry buddy you are way off track there. Not only do you sound like you are spokes person for everyone, but if "I'm A Perect Hero" isn't the defination of POWERFUL, then they should give that word a whole new description.
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