At first I kinda liked that song, but now it seems to watered down and her vocals are way to hyped for that mid 90's sound. I ay no more unless it's truly going to be a 90's sound track.normal vocals and all.Gorgia_v wrote:
Nope, I adore the track ♥. It's so freaking groovy and I wish Gatti did more tracks in that style. It probably has a lot to do with the fact that it's Sinclaire produced though.
Super Eurobeat 201
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drnrg
- Eurobeat Guru
- Posts: 6957
- Joined: 17 May 2005, 07:18
- Location: searching for missing Eurogrooves trax
Densetsu13
I think the vocals are the only minor thing about this song. She'd better sing as she did on Hot Confession, Lesson To Love or Feverdrnrg wrote:At first I kinda liked that song, but now it seems to watered down and her vocals are way to hyped for that mid 90's sound. I ay no more unless it's truly going to be a 90's sound track.normal vocals and all.
But still I think it is one of the best songs of the album.Alright, here are my reviews for Super Eurobeat 201. I wanted to write them up sooner, but I wasn't sure whether or not I'd be commenting on it in SEPH - that episode still hasn't been recorded yet, but I didn't want to wait too long, so I figured I'd at least post my impressions here.
1. Dave Rodgers feat. Futura - Super Eurobeat (Gold Mix Version): (10)
This song has had excellent replay value since I first bought it weeks ago. The track is smoothly laid out from start to finish - the little guitar trinkle is a nice wake up call, and the minor key continues to hold my attention as the main beat jumps in. The synth hook sets the floor for the rest of the track and introduces a grander feel that reminds us of everything that Dave Rodgers is all about. The sabi nicely trades off between the synth hits and "Super Euro" and "Euro Beat" vocal shouts, while the verse continues to build up the progressive excitement that ultimately really shines during the chorus. The frequent shouts of letters that spell "Super Eurobeat" are notably reminiscient of Domino, yet they somehow seem to integrate well into Dave's harder, manlier style quite nicely as well. Pasquini's vocals are strong and well-delivered, although Futura isn't particularly noticeable in this verison of the song. While I wouldn't rank this quite as high as masterpieces such as Dance In My Town, Super Eurobeat definitely achieves everything it's supposed to and is an excellent start to the album.
2. Yo Shine - Power Of My Love: (10)
The first thing I really noticed about this song is that the production is remarkably updated since the last time SCP made an appearance on the series. The beat is heavily-compressed and the synths are a nice change from the usual style that works well but hasn't changed much in a while. But the production is only the icing to what is quite a delicious cake. Linda Ongarelli (finally, we know her real identity!) has really established herself as the current queen of eurobeat after her amazing presentations on the Eurobeat Blast! compilations, and this song continues her successful streak even further. Once again, her vocal performance is absolutely outstanding, as she has to handle a broadly dynamic melody that would be very difficult for most people to sing, yet she completely nails it from start to finish, hitting every note with confidence and style. For once, the tempo has been brought down a few notches, and while that isn't something SCP hasn't done before, this track really hits the nail on the head with this idea. The extra kick in the backdrop accurately compliments the tremendous energy of the vocals, and the arrangements are structured very smoothly to flow well. It's evident, based on this commendable track, that SCP is quite serious about the new century of SEB. If I were to introduce just one song from SEB to a casual listener, this could very well be it; without a doubt, it's exactly the type of track that I think should represent the direction of the series if it wants to gain plenty of new listeners, especially outside of Japan.
3. Fastway - Rock Beatin' Wild: (9)
Again, the production in this song is a notable step up from earlier SCP releases. While this song doesn't exactly have the most variable melodic structure, it still comes together very tightly. The guitars and hard-hitting synths lean this song more towards Go 2 than most other Fastway tracks, but you can tell that Ennio is still ready to live up to that, even without Ace by his side. He sounds especially pumped up throughout the chorus, shouting the tune with passionatte enthusiam and energy. Overall, an intense head-banger that will surely satisfy the fix of fans of masculine eurobeat.
4. Mirka - 10,000 Lovers: (5½)
I really don't get this tend of throwing songs that are several years old onto SEB, as they feel really out of place in contrast to the brand new material surrounding them. Manga Super Robot (2001) was at least a nice, punchy little track, but A Simply Melody (1999) was just creepy and even less appropriate for the album it was featured on. And now we get a song that was made in 1993. That's seventeen years ago! To make matters worse, this time period was probably one of the worst ever for Leonardi, and this is no exception. I dislike this song mainly because the vocal effects are so overdone that it feels like the offbeat percussion stands out more than does the melody. When I can hardly even comprehend what the vocalist is saying or pick up the tune, the song falls completely flat and I'm left really cold. The watery beats don't help, either (the lyrics are kind of corny, too - "ten thousand lovers in one"?). I can easilly tell where the updated samples are in this track, which also happen to be the only redeeming factor of this song to me, aside from the okay synthline. This is one of the rare tracks that I usually skip when it begins to play.
5. Manuel - Nightrain: (9)
GGM focused more on Leo River during the 190's, but thankfully Manuel is back after a short break, and he still sounds as fresh as ever. The synthline for this is spot-on catchy, with a melody that flows quite well even though it's not easy to directly follow. The verse is super-hot and Manuel sounds as enthused as ever, comfortably stylizing every note he hits. I also like how the b-melody's lyrics change the second time - something that you very rarely find in a eurobeat song. The chorus, however, is the one major criticism I have about this song. It comes off sounding rather disonant and the tune does is not very coherent. If it weren't for the slip-up here, this would easily be one of the best tracks on the whole CD, but it's still a solid performance that I'd definitely listen to again.
6. Tipsy & Tipsy - Never Ending Love (The Factory Team Eurobeat Remix): (7-)
This is really just another okay, nothing special Saifam production that they probably made just for money, not enjoyment. The original song wasn't even that great in the first place, so covering it isn't going to improve it much. Saifam do great when they stick to intense synths and infectious hooks, but none of that is present in this boring, melancholy track. The excessive vocal layers are another major gripe I have - it sounds like a big choir is trying to make a huge deal out of a song that doesn't really go anyhwere and will probably be forgotten about just like that. Another one that I skip most of the time.
7. Queen 26 - You Are My Wonder: (10)
I have the same story as Panu with this one. Sure, it didn't really blow me away from the samples, but in its full context, it just shines like a jewel. Morris Capaldi's slick production alone makes this a worthwhile listen, but it's all of the little things that blend to create this incredibly well-rounded presentation. Elisa sounds marvelously fluent in both Italian and English, and here her vocals are as well-tuned and soothing as ever. The main melody hits a lot of notes that flow together beautifully, and the synthline does what it should even though it's fairly minimalistic. This is another instance in which a song "just works", and I somehow can't really fault anything about it.
8. Mr. Moog - Say Goodbye: (9-)
Although this isn't the first time Claudio Magnani has worked with Dima (his last song before going on a hiatus, T-RRex, was published by Akyr but produced by Davide Di Marcantonio), it definitely sets him in-stone as part of he label. Say Goodbye is definitely a continuation of the experimental direction at Dima Music, which is a good thing. Although he sounded great at other labels, I find Magnani particularly well-suited as a vocalist for Dima, thanks to his quirky yet energetic delivery. This song is quite innovative because it applies Dima's incredibly harmonious style with a slower, old school house vibe. I do feel like it's missing something, to be quite honest, as it doesn't quite hit jackpot level for me, but it's nonetheless another quality track that SEB 201 has to offer.
9. Claudia Vip - In Your Car: (8-)
I really don't have a lot to say about this track. It's really your everyday HRG female presentation - a little more upbeat than usual, but otherwise not particularly remarkable. It's pretty monotone and doesn't offer a whole lot of variation between phrases, so it's hard to pick out standout sections. It's decent for what it is, but it's still pretty much just all the usual that you can expect from the label.
10. K. De Leo - Wonderlover: (8+)
Another fairly generic track that sounds good but doesn't really offer anything that the label hasn't done before. I like this one a little more, just because the melodic structure is more interesting and differentiates a bit between phrases (the b-melody is my favorite). It's still a somewhat redundant track with rehashy lyrics, but I'd still happily listen to it.
11. Nathalie - Live It Up!: (10+)
Well, ho boy, though it's obviously not a song that i'd recommend to everyone, this track really stuck out to me a lot. What really caught my attention here is that it's easily the most aggressive, energetic production by Andrea Leonardi since his return to Super Eurobeat, and it's not even sung by a male vocalist. From the heavily-compressed onbeat, to the vigorously intense synthwork regarding both the main sabi and the backdrops, to the almost-orchestral sound of the melodic progression, this is a truly exciting piece that would surely heat things up in any dance club. Nathalie's vocals are distinctly feminine, yet full of attitude at the same time, proving that female-led tracks can be just as powerful as male-led ones (it's really quite a nice change to have the aggressive tracks sung by girls instead of boys, to be honest). Pun not intended, this song truly lives up to its name and has just as much punch as a mid-to-late 1990's Leonardi production, but with a futuristic spark that makes it suit the year 2010.
12. Ken Blast - When The Sun Goes Down: (9½)
Is it not just the coolest thing that a well-known member of the EBP boards is now an official eurobeat artist on an Avex-published release? It's really no wonder to me that Newfield volunteered to hire Travis to sing for his label, because after releasing several of his own works, Travis has proved himself to be an amazing musician, both as a vocalist and a songwriter. I gotta be honest, this song didn't do a whole lot for me at first; I initially found it to be rather safe, as if it were missing something. But it's grown on me a lot since. The obvious highlight is that lively synth, grasping my attention with full force. The vocal melody is a bit milder, which is probably why I didn't take to it immediately. However, as I began to follow Travis' vocals more closely, I realized how much emotion was truly exerted into this piece. The verse and chorus showcase the more beautiful, serious aspect of the track, while the synthline represents the more aggressive side. The piano solo is a nice addition, too, and I especially got a kick once Clara Moroni's backup vocals dropped in not too long after - having her in the same song as Travis is awesome! I was ultimately really pleased by this performance, and I really hope Newfield continues to feature Travis in his future productions.
13. Girl Next Door - Runners High (Dima Remix): (9+)
Even though you can't understand the lyrics one bit without being fluent in Japanese, the musical aspect of this eurobeat remix more than compensates for that. The intro has a really cool gimmick - after the song warms up with a small piano segment, the synths drop in, constructed in a way that causes the track to feel like it isn't in a straight 4/4 progression, featuring some large backdrop syncopation that accompanies the busy vocal melody before a few hits to truly get the track moving. Even though the vocal melody is always the most complex layer when they're present, you can always notice how well the background synths accompany it, making the song as a whole far more than just an everyday remix. You take an average j-pop tune and have Dima remix it, and the result is quite a treat.
14. Dave Rodgers - Wild Reputation (Rock Mix): (9)
I quite enjoy this version of Wild Reputation for some reason, but I really didn't take to it at first. Both the original song plus its 2005 remake are masterpieces of their genre, so comparing them to this completely new context is a little awkward. Honestly, I prefer the older versions of the song, but for what this is, it's actually pretty cool. What this has that its counterparts lack is a complex backdrop structure, particularly during the verse and bridge. Melodically, this remix is a bit disonant in parts, whereas that was not the case before. Still, the quirky changes allow me to view the song from a completely different perspective and still enjoy it; it just takes a bit of time to get used to.
TOP 3 SONGS:
1. Nathalie - Live It Up!
2. Yo Shine - Power Of My Love
3. Dave Rodgers feat. Futura - Super Eurobeat
BOTTOM 3 SONGS:
1. Mirka - 10,000 Lovers
2. Tipsy & Tipsy - Never Ending Love (The Factory Team Eurobeat Remix)
3. Claudia Vip - In Your Car
Honorable Mention:
- Queen 26 - You Are My Wonder
FINAL SCORE: (9)
Overall, not a bad start to a brand new decade of Super Eurobeat, I must say. It may have a couple tracks rather worth skipping, but most of what it has to offer is quite strong and memorable. SEB 202 sounds like it could be an even better release, based on the samples, but either way, this is definitely an album that I recommend checking out.
1. Dave Rodgers feat. Futura - Super Eurobeat (Gold Mix Version): (10)
This song has had excellent replay value since I first bought it weeks ago. The track is smoothly laid out from start to finish - the little guitar trinkle is a nice wake up call, and the minor key continues to hold my attention as the main beat jumps in. The synth hook sets the floor for the rest of the track and introduces a grander feel that reminds us of everything that Dave Rodgers is all about. The sabi nicely trades off between the synth hits and "Super Euro" and "Euro Beat" vocal shouts, while the verse continues to build up the progressive excitement that ultimately really shines during the chorus. The frequent shouts of letters that spell "Super Eurobeat" are notably reminiscient of Domino, yet they somehow seem to integrate well into Dave's harder, manlier style quite nicely as well. Pasquini's vocals are strong and well-delivered, although Futura isn't particularly noticeable in this verison of the song. While I wouldn't rank this quite as high as masterpieces such as Dance In My Town, Super Eurobeat definitely achieves everything it's supposed to and is an excellent start to the album.
2. Yo Shine - Power Of My Love: (10)
The first thing I really noticed about this song is that the production is remarkably updated since the last time SCP made an appearance on the series. The beat is heavily-compressed and the synths are a nice change from the usual style that works well but hasn't changed much in a while. But the production is only the icing to what is quite a delicious cake. Linda Ongarelli (finally, we know her real identity!) has really established herself as the current queen of eurobeat after her amazing presentations on the Eurobeat Blast! compilations, and this song continues her successful streak even further. Once again, her vocal performance is absolutely outstanding, as she has to handle a broadly dynamic melody that would be very difficult for most people to sing, yet she completely nails it from start to finish, hitting every note with confidence and style. For once, the tempo has been brought down a few notches, and while that isn't something SCP hasn't done before, this track really hits the nail on the head with this idea. The extra kick in the backdrop accurately compliments the tremendous energy of the vocals, and the arrangements are structured very smoothly to flow well. It's evident, based on this commendable track, that SCP is quite serious about the new century of SEB. If I were to introduce just one song from SEB to a casual listener, this could very well be it; without a doubt, it's exactly the type of track that I think should represent the direction of the series if it wants to gain plenty of new listeners, especially outside of Japan.
3. Fastway - Rock Beatin' Wild: (9)
Again, the production in this song is a notable step up from earlier SCP releases. While this song doesn't exactly have the most variable melodic structure, it still comes together very tightly. The guitars and hard-hitting synths lean this song more towards Go 2 than most other Fastway tracks, but you can tell that Ennio is still ready to live up to that, even without Ace by his side. He sounds especially pumped up throughout the chorus, shouting the tune with passionatte enthusiam and energy. Overall, an intense head-banger that will surely satisfy the fix of fans of masculine eurobeat.
4. Mirka - 10,000 Lovers: (5½)
I really don't get this tend of throwing songs that are several years old onto SEB, as they feel really out of place in contrast to the brand new material surrounding them. Manga Super Robot (2001) was at least a nice, punchy little track, but A Simply Melody (1999) was just creepy and even less appropriate for the album it was featured on. And now we get a song that was made in 1993. That's seventeen years ago! To make matters worse, this time period was probably one of the worst ever for Leonardi, and this is no exception. I dislike this song mainly because the vocal effects are so overdone that it feels like the offbeat percussion stands out more than does the melody. When I can hardly even comprehend what the vocalist is saying or pick up the tune, the song falls completely flat and I'm left really cold. The watery beats don't help, either (the lyrics are kind of corny, too - "ten thousand lovers in one"?). I can easilly tell where the updated samples are in this track, which also happen to be the only redeeming factor of this song to me, aside from the okay synthline. This is one of the rare tracks that I usually skip when it begins to play.
5. Manuel - Nightrain: (9)
GGM focused more on Leo River during the 190's, but thankfully Manuel is back after a short break, and he still sounds as fresh as ever. The synthline for this is spot-on catchy, with a melody that flows quite well even though it's not easy to directly follow. The verse is super-hot and Manuel sounds as enthused as ever, comfortably stylizing every note he hits. I also like how the b-melody's lyrics change the second time - something that you very rarely find in a eurobeat song. The chorus, however, is the one major criticism I have about this song. It comes off sounding rather disonant and the tune does is not very coherent. If it weren't for the slip-up here, this would easily be one of the best tracks on the whole CD, but it's still a solid performance that I'd definitely listen to again.
6. Tipsy & Tipsy - Never Ending Love (The Factory Team Eurobeat Remix): (7-)
This is really just another okay, nothing special Saifam production that they probably made just for money, not enjoyment. The original song wasn't even that great in the first place, so covering it isn't going to improve it much. Saifam do great when they stick to intense synths and infectious hooks, but none of that is present in this boring, melancholy track. The excessive vocal layers are another major gripe I have - it sounds like a big choir is trying to make a huge deal out of a song that doesn't really go anyhwere and will probably be forgotten about just like that. Another one that I skip most of the time.
7. Queen 26 - You Are My Wonder: (10)
I have the same story as Panu with this one. Sure, it didn't really blow me away from the samples, but in its full context, it just shines like a jewel. Morris Capaldi's slick production alone makes this a worthwhile listen, but it's all of the little things that blend to create this incredibly well-rounded presentation. Elisa sounds marvelously fluent in both Italian and English, and here her vocals are as well-tuned and soothing as ever. The main melody hits a lot of notes that flow together beautifully, and the synthline does what it should even though it's fairly minimalistic. This is another instance in which a song "just works", and I somehow can't really fault anything about it.
8. Mr. Moog - Say Goodbye: (9-)
Although this isn't the first time Claudio Magnani has worked with Dima (his last song before going on a hiatus, T-RRex, was published by Akyr but produced by Davide Di Marcantonio), it definitely sets him in-stone as part of he label. Say Goodbye is definitely a continuation of the experimental direction at Dima Music, which is a good thing. Although he sounded great at other labels, I find Magnani particularly well-suited as a vocalist for Dima, thanks to his quirky yet energetic delivery. This song is quite innovative because it applies Dima's incredibly harmonious style with a slower, old school house vibe. I do feel like it's missing something, to be quite honest, as it doesn't quite hit jackpot level for me, but it's nonetheless another quality track that SEB 201 has to offer.
9. Claudia Vip - In Your Car: (8-)
I really don't have a lot to say about this track. It's really your everyday HRG female presentation - a little more upbeat than usual, but otherwise not particularly remarkable. It's pretty monotone and doesn't offer a whole lot of variation between phrases, so it's hard to pick out standout sections. It's decent for what it is, but it's still pretty much just all the usual that you can expect from the label.
10. K. De Leo - Wonderlover: (8+)
Another fairly generic track that sounds good but doesn't really offer anything that the label hasn't done before. I like this one a little more, just because the melodic structure is more interesting and differentiates a bit between phrases (the b-melody is my favorite). It's still a somewhat redundant track with rehashy lyrics, but I'd still happily listen to it.
11. Nathalie - Live It Up!: (10+)
Well, ho boy, though it's obviously not a song that i'd recommend to everyone, this track really stuck out to me a lot. What really caught my attention here is that it's easily the most aggressive, energetic production by Andrea Leonardi since his return to Super Eurobeat, and it's not even sung by a male vocalist. From the heavily-compressed onbeat, to the vigorously intense synthwork regarding both the main sabi and the backdrops, to the almost-orchestral sound of the melodic progression, this is a truly exciting piece that would surely heat things up in any dance club. Nathalie's vocals are distinctly feminine, yet full of attitude at the same time, proving that female-led tracks can be just as powerful as male-led ones (it's really quite a nice change to have the aggressive tracks sung by girls instead of boys, to be honest). Pun not intended, this song truly lives up to its name and has just as much punch as a mid-to-late 1990's Leonardi production, but with a futuristic spark that makes it suit the year 2010.
12. Ken Blast - When The Sun Goes Down: (9½)
Is it not just the coolest thing that a well-known member of the EBP boards is now an official eurobeat artist on an Avex-published release? It's really no wonder to me that Newfield volunteered to hire Travis to sing for his label, because after releasing several of his own works, Travis has proved himself to be an amazing musician, both as a vocalist and a songwriter. I gotta be honest, this song didn't do a whole lot for me at first; I initially found it to be rather safe, as if it were missing something. But it's grown on me a lot since. The obvious highlight is that lively synth, grasping my attention with full force. The vocal melody is a bit milder, which is probably why I didn't take to it immediately. However, as I began to follow Travis' vocals more closely, I realized how much emotion was truly exerted into this piece. The verse and chorus showcase the more beautiful, serious aspect of the track, while the synthline represents the more aggressive side. The piano solo is a nice addition, too, and I especially got a kick once Clara Moroni's backup vocals dropped in not too long after - having her in the same song as Travis is awesome! I was ultimately really pleased by this performance, and I really hope Newfield continues to feature Travis in his future productions.
13. Girl Next Door - Runners High (Dima Remix): (9+)
Even though you can't understand the lyrics one bit without being fluent in Japanese, the musical aspect of this eurobeat remix more than compensates for that. The intro has a really cool gimmick - after the song warms up with a small piano segment, the synths drop in, constructed in a way that causes the track to feel like it isn't in a straight 4/4 progression, featuring some large backdrop syncopation that accompanies the busy vocal melody before a few hits to truly get the track moving. Even though the vocal melody is always the most complex layer when they're present, you can always notice how well the background synths accompany it, making the song as a whole far more than just an everyday remix. You take an average j-pop tune and have Dima remix it, and the result is quite a treat.
14. Dave Rodgers - Wild Reputation (Rock Mix): (9)
I quite enjoy this version of Wild Reputation for some reason, but I really didn't take to it at first. Both the original song plus its 2005 remake are masterpieces of their genre, so comparing them to this completely new context is a little awkward. Honestly, I prefer the older versions of the song, but for what this is, it's actually pretty cool. What this has that its counterparts lack is a complex backdrop structure, particularly during the verse and bridge. Melodically, this remix is a bit disonant in parts, whereas that was not the case before. Still, the quirky changes allow me to view the song from a completely different perspective and still enjoy it; it just takes a bit of time to get used to.
TOP 3 SONGS:
1. Nathalie - Live It Up!
2. Yo Shine - Power Of My Love
3. Dave Rodgers feat. Futura - Super Eurobeat
BOTTOM 3 SONGS:
1. Mirka - 10,000 Lovers
2. Tipsy & Tipsy - Never Ending Love (The Factory Team Eurobeat Remix)
3. Claudia Vip - In Your Car
Honorable Mention:
- Queen 26 - You Are My Wonder
FINAL SCORE: (9)
Overall, not a bad start to a brand new decade of Super Eurobeat, I must say. It may have a couple tracks rather worth skipping, but most of what it has to offer is quite strong and memorable. SEB 202 sounds like it could be an even better release, based on the samples, but either way, this is definitely an album that I recommend checking out.
-
drnrg
- Eurobeat Guru
- Posts: 6957
- Joined: 17 May 2005, 07:18
- Location: searching for missing Eurogrooves trax
#Infinity
I'd say this is one of your fav cds ever!SEB 201 review
FINAL SCORE: (9)
Dima has definately come a long way, concidering he started out as a vocalist at TIME.Although this isn't the first time Claudio Magnani has worked with Dima (his last song before going on a hiatus, T-RRex, was published by Akyr but produced by Davide Di Marcantonio), it definitely sets him in-stone as part of he label. Say Goodbye is definitely a continuation of the experimental direction at Dima Music, which is a good thing. Although he sounded great at other labels, I find Magnani particularly well-suited as a vocalist for Dima, thanks to his quirky yet energetic delivery. This song is quite innovative because it applies Dima's incredibly harmonious style with a slower, old school house vibe. I do feel like it's missing something, to be quite honest, as it doesn't quite hit jackpot level for me, but it's nonetheless another quality track that SEB 201 has to offer.
How could you introduce somebody to the genre with that song? It doesn't sound representative of eurobeat at all (I'm not saying the song isn't eurobeat, but it's not like anything else I've heard). If I wanted to introduce somebody to the genre with one song, I'd pick something that just works and sticks to the usual formula so people know what to expect.#Infinity wrote:2. Yo Shine - Power Of My Love: (10)
. . . If I were to introduce just one song from SEB to a casual listener, this could very well be it; without a doubt, it's exactly the type of track that I think should represent the direction of the series if it wants to gain plenty of new listeners, especially outside of Japan.
I've noticed that 'Nightrain' seems to be getting a good rap but I still don't see what's so special about it.
I'm bound to be chased out of the forums with torches and pitchforks by the GGM fanboys by saying this, but I think Sandro Oliva has lost his spark. Oliva's songs don't have that much variety in tempo, kind of like HRG, and as a result nearly every song seems to have the same "mood." But if we go back in time, pick a couple of songs made by Oliva from the 140s, 150s or 160s and you'll see there's lots of variety. Meh. I don't know.
Nightrain was made by Manuel himself. The GoGo's team only made very few parts of that song.Jay wrote: I've noticed that 'Nightrain' seems to be getting a good rap but I still don't see what's so special about it.
I'm bound to be chased out of the forums with torches and pitchforks by the GGM fanboys by saying this, but I think Sandro Oliva has lost his spark.
The reason I'd show this song is because it doesn't deviate too much stylistically from certain music that is popular in the States, such as Lady Gaga. American listeners hate anything that sounds too different, so I really don't think they would understand the appeal if I showed them something like Dave Rodgers' Super Eurobeat. Honestly, there are a lot of other songs that I think would be good picks (any eurobeat song by The Snake, for example, because they have an obvious rock feel to their songs, or maybe even You Are My Wonder, another song on this release), but I imagine that overseas listeners might need to hear something a little more downtempo before they're warmed up for the usual 150-160 bpm range - after all, eurobeat wasn't fast from the beginning in Japan, either.Jay wrote:How could you introduce somebody to the genre with that song? It doesn't sound representative of eurobeat at all (I'm not saying the song isn't eurobeat, but it's not like anything else I've heard). If I wanted to introduce somebody to the genre with one song, I'd pick something that just works and sticks to the usual formula so people know what to expect.
Sorry to double-post, but I just noticed something very alarming about When The Sun Goes Down: it borrows the exact same melody from Where The Wolves Sing, another piece by Travis. The only differences are new lyrics and updated production. I guess the main idea was that WTWS was sort of a "beta" version of WTSGD? Either way, I guess that's appropriate enough - taking a previously underground production and turning it into an official SEB presentation - I just kind of hope that you also create some truly original pieces in the future if Newfield continues to use you, Travis.
It wasn't so much a "beta"; Newfield was just interested in stronger lyrics than I had already written. And, don't worry— new materials are ALWAYS in the works. ;3#Infinity wrote:Sorry to double-post, but I just noticed something very alarming about When The Sun Goes Down: it borrows the exact same melody from Where The Wolves Sing, another piece by Travis. The only differences are new lyrics and updated production. I guess the main idea was that WTWS was sort of a "beta" version of WTSGD? Either way, I guess that's appropriate enough - taking a previously underground production and turning it into an official SEB presentation - I just kind of hope that you also create some truly original pieces in the future if Newfield continues to use you, Travis.
Disagreed that he's lost his spark, agreed at the lack of variety.Jay wrote: I've noticed that 'Nightrain' seems to be getting a good rap but I still don't see what's so special about it.
I'm bound to be chased out of the forums with torches and pitchforks by the GGM fanboys by saying this, but I think Sandro Oliva has lost his spark. Oliva's songs don't have that much variety...
It's been a complaint of mine for some time; barring a few slight variations between lyrics and chords, almost EVERY. SINGLE. GGM SONG. has the same sounds/instruments (they may or may not have distorted guitars), the same structure, etc. In fact, they have, occasional modifications notwithstanding, used the EXACT SAME SYNTH RIFF SOUND since Super Eurobeat 175.
175. That was, what, three years ago?!? Longer? HRG can boast of infinitely more variety since then (be that for the better or the worse).
This isn't to discredit Oliva or any of the GGM staff; they are all great writers and producers and whatnot in their own rights (I happen to enjoy Nightrain a lot, for instance). Just... look at it this way: If you give 5 musical masterminds a single, cheap CASIO keyboard, they can play all sorts of fantastic music out of it, but it will be VERY tiring and even annoying for too long. GGM... needs to lose their "CASIO", metaphorically.
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.
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ryosuke63
- Bazooka Bellydancer
- Posts: 244
- Joined: 20 Feb 2009, 07:38
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Come to think of it EVERYTHING was better with A-Beat C back in the early 90s.drnrg wrote:I persdonally think Sandro Oliva was better at AbeatC. Esp. when he co wrote songs for Gino Caria and Gianni Corraini. Come to think of it ,so was Bratt.
Time too.
...actually all eurobeat was better in the 90s. XD
Ahhrg finaly !! xD I have to more than agree with that statement. The best eurobeat sound ever in my opinion is Olivia @ ABeatC , but i think he was teamed up with Dave most of the time ? Anyways i would love Neo @ GGM as well if they could bring out that old sound i love.drnrg wrote:I persdonally think Sandro Oliva was better at AbeatC. Esp. when he co wrote songs for Gino Caria and Gianni Corraini. Come to think of it ,so was Bratt.
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