To control the debate on the SEB 18X threads, I now create a thread in which all label-space and label-quality arguments can now be freely expressed without detracting from the slightly more SEB 18X-specific discussions (I.E, specific track qualities).
Current standings:
HRG: Recently improving, but not really making any specific HITS. (Maybe taking less risks?)
ABeatC and Time: These have not put out as high of quality material as they once may have before. Some hold the theory that these labels should be dropped; others, their number of tracks per SEB decreased.
I may have missed some things; otherwise, have at.
Label Status as of the Super Eurobeat 18X's
Theres way too much label bashing going around here... I'm actually a fan of all the labels. Yes SCP is amazing to me and I might not be the biggest HRG fan but still all the labels are fun and exciting. I could make a list of all the songs I love and while there may be more SCP than other labels, chances are all the labels will have multiple songs. I don't understand why theres so much label bashing and thoughts of booting labels off Super Eurobeat. If you don't like the song, criticize the song and move on. As for the producers of Eurobeat (all labels, SCP, Asia, A-Beat C, Time, Delta/Akyr, Sinclaire Style, Vibration, Dima, Blast!, Hi-NRG Attack, Fantasy) keep making the music that has made us a fan of the genre. You producers and writers are the reason why I turn on my computer and listen the the songs you made from morning to night.
You can hate me but you know you have quality issues =p
Well I still don't know how people take criticism but I at least find it nice to discuss about taste issues (though not that they will change much by time). When there's a place for constructive criticism or flat out complaints it can be a nice place for some discussion on occasion.
Though I have my doubts that people'll remember to direct the criticism to this topic ;D
Though I have my doubts that people'll remember to direct the criticism to this topic ;D
I think SCP, Go Go's Music and Delta have put out the most solid (i.e. original, well instrumentated, well sung) tracks recently.
I have to agree that A-Beat C has taken a step down in terms of overall quality recently.
I can't really pick a single track by A-Beat C from the 170s which I could describe as "killer".
Besides, I felt there was an overkill of certain artists (Powerful T and Annalise in particular) which made their tracks kind of boring and predictable.
TIME did have a few really good tracks, but then again, there was a bit too much of Elena Ferretti and Giordano Gambogi (not that I don't like them - they just got to sing quite a few really uninspired tracks).
Hi-NRG Attack has also gotten a little predictable by now, but the sheer power/cheesiness of these tracks still makes me enjoy most of them
I have to agree that A-Beat C has taken a step down in terms of overall quality recently.
I can't really pick a single track by A-Beat C from the 170s which I could describe as "killer".
Besides, I felt there was an overkill of certain artists (Powerful T and Annalise in particular) which made their tracks kind of boring and predictable.
TIME did have a few really good tracks, but then again, there was a bit too much of Elena Ferretti and Giordano Gambogi (not that I don't like them - they just got to sing quite a few really uninspired tracks).
Hi-NRG Attack has also gotten a little predictable by now, but the sheer power/cheesiness of these tracks still makes me enjoy most of them
As much as I probably say things about some labels or whatever, I like them all. Obviously, some more than others, but I do not hold hatred towards any particular label. Although, I focus more on artists than labels myself. (sometimes, if it isn't obvious through the alias or production, I'm not able to connect the song to the label.)
I dislike the direction A-BeatC is heading, personally. Though, I did end up enjoying a few songs from A-BeatC in the 170s.
HI-NRG Attack is hit or miss for me really.
GGM is fresh and new, it's great to hear a different perspective from the same artists. Although, I have a feeling Manuel's powerful car themed testosterone filled tracks will get old pretty fast if that trend continues... at least for me anyway.
Delta is weird. I didn't really enjoy them too much in the 170 (even less than I enjoyed A-BeatC) but I would hate to see them go.
Time... I actually really enjoyed a lot of the Time releases in the past 170s!
SCP really stood out for the best in the past 10 albums or so, and if 181 prooves anything, they will continue to be strong.
I probably missed a label (did I??? haha) but mad props to all them from the SEB series - peace out (im so tired hahahaa)
I dislike the direction A-BeatC is heading, personally. Though, I did end up enjoying a few songs from A-BeatC in the 170s.
HI-NRG Attack is hit or miss for me really.
GGM is fresh and new, it's great to hear a different perspective from the same artists. Although, I have a feeling Manuel's powerful car themed testosterone filled tracks will get old pretty fast if that trend continues... at least for me anyway.
Delta is weird. I didn't really enjoy them too much in the 170 (even less than I enjoyed A-BeatC) but I would hate to see them go.
Time... I actually really enjoyed a lot of the Time releases in the past 170s!
SCP really stood out for the best in the past 10 albums or so, and if 181 prooves anything, they will continue to be strong.
I probably missed a label (did I??? haha) but mad props to all them from the SEB series - peace out (im so tired hahahaa)
People sugarcoat SCP a bit too much here. Sure, they may produce killer hits sometimes, but they've also produced tracks that are really annoying and bland just like any other label.
Their female productions get on my nerves a lot, particularly some of the recent Christine tracks. "Summer Ski", an airy and dreamy track where Christine just sounds really bored, is definitely not the kind of direction I want her to take. She sounds really strange in "When 'U Smile" especially at the initiation of the chorus, which bugs me every single time, but the track is very slowly growing on me. I prefer it when she sings fun tracks effectively like "Viva La Noche", which was an instant hit to me.
I also preferred when the novelty Kiki & Fancy-esque tracks were released once every 10 albums rather than every second album; their overpowering tracks just becomes too much in excess. I'd prefer more Lisa Lion, Melissa White, Pamsy (her usual style, not like "Yo Yo Baby") or some more duet tracks in place of this.
I will be fair and say that their male productions can become quite repetitive, especially when Fastway is featured on what feels like 25 consecutive albums. Sometimes the male tracks are just plain ick (re: Mystic Love). Generally though, their male productions are what I prefer. I haven't caught on to the 'hype' that surrounds SCP here, and I probably never will. They just don't cut it for me wholly.
I'd write more on the other labels but can't be bothered right now.
Their female productions get on my nerves a lot, particularly some of the recent Christine tracks. "Summer Ski", an airy and dreamy track where Christine just sounds really bored, is definitely not the kind of direction I want her to take. She sounds really strange in "When 'U Smile" especially at the initiation of the chorus, which bugs me every single time, but the track is very slowly growing on me. I prefer it when she sings fun tracks effectively like "Viva La Noche", which was an instant hit to me.
I also preferred when the novelty Kiki & Fancy-esque tracks were released once every 10 albums rather than every second album; their overpowering tracks just becomes too much in excess. I'd prefer more Lisa Lion, Melissa White, Pamsy (her usual style, not like "Yo Yo Baby") or some more duet tracks in place of this.
I will be fair and say that their male productions can become quite repetitive, especially when Fastway is featured on what feels like 25 consecutive albums. Sometimes the male tracks are just plain ick (re: Mystic Love). Generally though, their male productions are what I prefer. I haven't caught on to the 'hype' that surrounds SCP here, and I probably never will. They just don't cut it for me wholly.
I'd write more on the other labels but can't be bothered right now.
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Cosmic_Bard
- Eurobeat Master
- Posts: 640
- Joined: 28 Mar 2005, 02:49
- Location: Toronto, ON, Canada
I think you, Jion, and Nine are all onto something I agree with, completely. ;DCosmic_Bard wrote:The currently existing labels ARE eurobeat. To cut any of them would be a travesty, they'd be sorely missed.
Anyone who talks to me knows I'm not 'into' Hi-NRG Attack's stuff, but if they were removed, I would miss their weird songs. They're a total hit or miss label for me.
And people always complain about TIME, but y'know, I think that without them the SEB series would miss a lot of its feel.
SCP, I would say the vast majority of the time, sounds great. Now that they're here, I strongly want them to *stay*.
Go Go's Music needs more releases to be fully judged, but I am quite fond of the label so far. Awesome sound~!
Before the 170's, Delta was a hit-or-miss with me. But now, I'm really into the label. I don't know exactly what occurred - new producers and writers? - but now it's amazing to my ears. Also, it would be a cardinal sin to remove Clara Moroni and Laurent Gelmetti from the line-up.
I share the same thoughts as many of you - ABeat C has taken a weird turn... one I'm not so fond of. I'm still making up my mind on their newer stuff, really. Hit or miss... But much like with Delta, removing them would be too weird for words.
Energy :: Mega NRG Man Fansite
My take on the labels:
Actually, y'know what I can say in ABeatC's defense, even for a small amount? Matt Land's Gunfire on SEB181 was really good, at least, I liked it. If they could keep THAT level of production alone, I think they'd be doing a lot better than their recent pieces. From what I hear from them, though, is a lot of "chord-based" sabis that make the song seem slow. Think about Red Code and California Dreamin'. Chords, at MOST 1/8th-notes, right? Now consider Deja Vu, Baby Make Up Your Mind, Express Love, Midnight Love. You'll find 16th notes and basically much "faster" bits than what we see in more recent productions. Maybe ABeatC has already learned that the chords are not taken to very well, and we're just getting the tail end of those productions in the most recent SEBs. Or maybe they'll catch this and get to work on it (I hope)!
I see a lot of hints taken from the fans in Hi-NRG Attack, but it comes at a cost. I can hear a lot of inspiration in Lovers in the Night from Midnight Lady, a song that I'm sure took us all by surprise. On the one hand, they seem to be stepping up their game and producing some seriously good material, but on the other, HRG is SUPPOSED to be the risky label, y'know? They're the ones that write songs about freaking COWS. And the American WEST. And RUSSIA (Yes, I know SAIFAM does it too)... and we LOVE them. Not that I disapprove of the recent entries (I happen to REALLY enjoy Back in Danger and Lovers In The Night~), I just see what's keeping them from making any particular SMASH hits like Ganguro and Caballero With Sombrero were.
SCP has a LOT of engineering for, and an ear turned to, the fans... and it shows. We all seem to love Go2 (in their more aggressive, "Initial-D", masculine forms-- not stuff like "Music Come On"), and SCP took that to note with NRG and Blood on Fire. However, with too much engineering comes a lack of soul; it becomes a bit more "generated" than "produced". Much like how SAIFAM comes across to me sometimes.
GGM, to be honest, doesn't sound all that different from mid-to-higher-quality ABeatC from previous years to me. Their best pieces sound like ABeatC on Energy Drinks (Gott'a love that Monster~)-- great, most of the time, but how does it distinguish itself from ABeatC, in terms of sound? Otherwise, good stuff. :3
Delta is showing signs of proffessional seniority, trying a few new things and looking back to the old ways too. They've put out a few songs I don't necessarily LIKE, but for some reason can really RESPECT. Abracadabra didn't really hit me across the head saying "I'M AMAZING!!!111ONE!", but I can hear the work put into it and the result made it clear. I'm also getting a tad more addicted to works like Chemical Love.
Time is a mixed bag for me. They seem to have more than one "sound", persay. On the one hand we have magic like "Speed Man"; on the other, junk like "Night Harmony". Faster, more "catchy" Time pieces tend to get my approval, and I notice the trend is not too different here in the boards and amongst other fans... then again, maybe Time is seeing something we don't?
Actually, y'know what I can say in ABeatC's defense, even for a small amount? Matt Land's Gunfire on SEB181 was really good, at least, I liked it. If they could keep THAT level of production alone, I think they'd be doing a lot better than their recent pieces. From what I hear from them, though, is a lot of "chord-based" sabis that make the song seem slow. Think about Red Code and California Dreamin'. Chords, at MOST 1/8th-notes, right? Now consider Deja Vu, Baby Make Up Your Mind, Express Love, Midnight Love. You'll find 16th notes and basically much "faster" bits than what we see in more recent productions. Maybe ABeatC has already learned that the chords are not taken to very well, and we're just getting the tail end of those productions in the most recent SEBs. Or maybe they'll catch this and get to work on it (I hope)!
I see a lot of hints taken from the fans in Hi-NRG Attack, but it comes at a cost. I can hear a lot of inspiration in Lovers in the Night from Midnight Lady, a song that I'm sure took us all by surprise. On the one hand, they seem to be stepping up their game and producing some seriously good material, but on the other, HRG is SUPPOSED to be the risky label, y'know? They're the ones that write songs about freaking COWS. And the American WEST. And RUSSIA (Yes, I know SAIFAM does it too)... and we LOVE them. Not that I disapprove of the recent entries (I happen to REALLY enjoy Back in Danger and Lovers In The Night~), I just see what's keeping them from making any particular SMASH hits like Ganguro and Caballero With Sombrero were.
SCP has a LOT of engineering for, and an ear turned to, the fans... and it shows. We all seem to love Go2 (in their more aggressive, "Initial-D", masculine forms-- not stuff like "Music Come On"), and SCP took that to note with NRG and Blood on Fire. However, with too much engineering comes a lack of soul; it becomes a bit more "generated" than "produced". Much like how SAIFAM comes across to me sometimes.
GGM, to be honest, doesn't sound all that different from mid-to-higher-quality ABeatC from previous years to me. Their best pieces sound like ABeatC on Energy Drinks (Gott'a love that Monster~)-- great, most of the time, but how does it distinguish itself from ABeatC, in terms of sound? Otherwise, good stuff. :3
Delta is showing signs of proffessional seniority, trying a few new things and looking back to the old ways too. They've put out a few songs I don't necessarily LIKE, but for some reason can really RESPECT. Abracadabra didn't really hit me across the head saying "I'M AMAZING!!!111ONE!", but I can hear the work put into it and the result made it clear. I'm also getting a tad more addicted to works like Chemical Love.
Time is a mixed bag for me. They seem to have more than one "sound", persay. On the one hand we have magic like "Speed Man"; on the other, junk like "Night Harmony". Faster, more "catchy" Time pieces tend to get my approval, and I notice the trend is not too different here in the boards and amongst other fans... then again, maybe Time is seeing something we don't?
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euro up north
- Eurobeat Fan
- Posts: 144
- Joined: 19 Jun 2004, 14:57
- Location: Umeå
A-Beat C: The need for so many A-Beat C tracks on one album seems unnecessary at this point, since their style closely relates to Go Go's Music, but lacks the additional punch and variety of that label. With the Dave & Domino breakup, many of the label's assets were driven away, although some have made some recent comebacks. Still, it seems that almost every Super Eurobeat compilation features a song by Dave Rodgers, Nuage, Powerful T., and/or Annalise, none of which have impressed me at all with any of their latest productions. Rodgers' "trancy" new production method has caused nothing but trouble for me, leaving most of the label's tracks spiritless and dull. They may continue to produce tracks, but unless they manage to take a drastic change in direction, they'll never again live up to the quality they had in the past, even during the 160's.
TIME: Even though TIME isn't my favorite label, they at least haven't lost their main focus. Most of their productions are really becoming a thing of the past, but they're still able to release some great stuff every once in a while. Lately, Christian De Leo has been competing against Giordano Gambogi for the title of TIME's leading male vocalist, which is a good thing for their variety (and he's released quite a few nice tracks to date as well), but Elena Ferretti still always ends up with the most female songs, and I can honestly say that her style (aside from a few standouts, namely Fever & Music and Para Para Girl) doesn't offer enough variety to be appearing pretty much constantly. Fewer tracks per SEB would be a breath of fresh air for me, but if the label stays on the right path, they'll definitely deserve to stick around.
Delta: Delta is currently my favorite label because they're always extremely diverse with their productions. Even though almost all of their female tracks are sung by Clara Moroni, this woman has excellent vocals and displays her rich talent in a variety of ways with the label. I hardly get sick of her even after listening to so many of her performances. Production-wise, Delta is one of the "lighter" labels, but they still pack enough of a punch to be memorable. Their variety of influences have ranged from disco (Victim, Inisde Your Heart), to old-school (Love And Rage, Shy Gun), to happy hardcore (Chemical Love, Frontal Impact), to Latin-esque (Mira La Luna, King Forever), to eurodance (Fly). Some of their most recent songs, such as Sweet Sixteen Girl and Popcorns & Sex, even sound as if they were produced by Saifam. I can enjoy almost anything they put out, since it's always new and fresh. If anything, I miss some of the label's older titles such as Dr. Love and D. Essex, but they're still doing excellently.
SCP: Still going strong, and showing no signs of dying out. They give the right share of tracks to all of their artists, release high-quality productions almost all of the time, and even treat us with a few surprises occasionally. Honestly, I can't criticize anything major about this label. I just hope AVEX doesn't neglect their Go 2 fans again as they did during the 170's (they could've easily inserted Play Loud and Purple Emotion somewhere during that decade in place of some of Ennio's lesser performances such as Crash Boom Burn Me Up).
Hi-NRG Attack: I'm a fan of this label because I find their sound to be energetic and smile-inducing. Even though their style has become repetitive overtime, they're slowly changing up their sound for the better. Their strongest remaining performers are still keeping up their excellent pace, and the label is beginning to stretch out to some new ideas. Although I do wonder, why isn't Tam Arrow working with Hi-NRG Attack anymore? His presence would definitely give a bit more variety to the dominant male vocalists (Frederico Rimonti and Nick Festari), both of whom sound quite similar for the most part.
Go Go's Music: They sound even better than A-Beat C did before they lost it. Their limited amount of space on each Super Eurobeat album is ridiculous. I'd rather give more room to them over A-Beat C because I'm sure fans are clamoring for more from this exciting new label, not a bunch of similar songs from the same overexposed vocalists.
TIME: Even though TIME isn't my favorite label, they at least haven't lost their main focus. Most of their productions are really becoming a thing of the past, but they're still able to release some great stuff every once in a while. Lately, Christian De Leo has been competing against Giordano Gambogi for the title of TIME's leading male vocalist, which is a good thing for their variety (and he's released quite a few nice tracks to date as well), but Elena Ferretti still always ends up with the most female songs, and I can honestly say that her style (aside from a few standouts, namely Fever & Music and Para Para Girl) doesn't offer enough variety to be appearing pretty much constantly. Fewer tracks per SEB would be a breath of fresh air for me, but if the label stays on the right path, they'll definitely deserve to stick around.
Delta: Delta is currently my favorite label because they're always extremely diverse with their productions. Even though almost all of their female tracks are sung by Clara Moroni, this woman has excellent vocals and displays her rich talent in a variety of ways with the label. I hardly get sick of her even after listening to so many of her performances. Production-wise, Delta is one of the "lighter" labels, but they still pack enough of a punch to be memorable. Their variety of influences have ranged from disco (Victim, Inisde Your Heart), to old-school (Love And Rage, Shy Gun), to happy hardcore (Chemical Love, Frontal Impact), to Latin-esque (Mira La Luna, King Forever), to eurodance (Fly). Some of their most recent songs, such as Sweet Sixteen Girl and Popcorns & Sex, even sound as if they were produced by Saifam. I can enjoy almost anything they put out, since it's always new and fresh. If anything, I miss some of the label's older titles such as Dr. Love and D. Essex, but they're still doing excellently.
SCP: Still going strong, and showing no signs of dying out. They give the right share of tracks to all of their artists, release high-quality productions almost all of the time, and even treat us with a few surprises occasionally. Honestly, I can't criticize anything major about this label. I just hope AVEX doesn't neglect their Go 2 fans again as they did during the 170's (they could've easily inserted Play Loud and Purple Emotion somewhere during that decade in place of some of Ennio's lesser performances such as Crash Boom Burn Me Up).
Hi-NRG Attack: I'm a fan of this label because I find their sound to be energetic and smile-inducing. Even though their style has become repetitive overtime, they're slowly changing up their sound for the better. Their strongest remaining performers are still keeping up their excellent pace, and the label is beginning to stretch out to some new ideas. Although I do wonder, why isn't Tam Arrow working with Hi-NRG Attack anymore? His presence would definitely give a bit more variety to the dominant male vocalists (Frederico Rimonti and Nick Festari), both of whom sound quite similar for the most part.
Go Go's Music: They sound even better than A-Beat C did before they lost it. Their limited amount of space on each Super Eurobeat album is ridiculous. I'd rather give more room to them over A-Beat C because I'm sure fans are clamoring for more from this exciting new label, not a bunch of similar songs from the same overexposed vocalists.
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drnrg
- Eurobeat Guru
- Posts: 6957
- Joined: 17 May 2005, 07:18
- Location: searching for missing Eurogrooves trax
Cool thread. I'll point out good points and bad from each label. Trying hard not to be BIAS. I list in order of preference allways.
TIME
I admit ever since the first beat on "Funny Dancer" blared out of my system, nothing can make me stray. Weather it's Dall Ora, Newfield, Pasquinni, Farina, Pernicci, Di Marcantonio,or Live Music Team, the sounds just sound magic when Produced at TIME. Thier current "Disco" Style shows some real innovation and more labels like DELTA and SCP are jumpming on that train. The Elena tracks are all special, because I pay attention to every accoustic piano key and note she sings...and they are all different. Weather it's her vocal tone, speed or even formula,wich I allready mention has changed with songs like "Dancing To The Moon" and "One Nite In Tokyo". The Male side of TIME is allways putting out hit after hit from the Mr M. macho style to Chris Stanton smoother style. My one & ONLY gripe would be some of the remakes(maybe 2-3) have not lived up to expectations or really didn't offer to much change from original. I would rather they totally reinvent the original with different vocals like "What Kinda Cure 2007" "Perfect Time 2007" or the MASTERPIECE "Heart Breaker 2007"
HRG Attack
Live Music Team has not changed thier formula since thier very first song, but that is exactly what makes them stand out so much for me. In every decade they have turned out hits. Weather it is High tempo vocals of thier female trax to the Macho/aggressiveness of Federicco to the now Wacky/chaotic sound of Festari. I forget who Rick Castle is, but I love style as well. Even with Claudio allready gone(I wish he would have stayed with them forever), thier productions like Danger In Chinatown, Moo Moo Dollars and Shadow Of Your Smile surely guarantee thier space on SEB. Really have nothing negative to say , only that I wish I could hear all those unrealesed songs that appear on thier catalogue.
DELTA
DELTA is next. I admit in the 150's ,I didn't really like the material they were releasing. A few were mega for me like "Toy Boy" and "Emotions", but the magoraity sounded somewhat "Lifeless". The 160's were a bit better, but sad, because it showcased some of the last Claudio and Nando songs, but now in the 170's ,they have becaome super spectacular for my taste, Especially the addition of Daniel(Yes Lebon, I said Daniel) and also the best DELTA for me by Rick Astly- IRON MAN. Now adays thier aren't any weak trax on the 170 and 180's looks to be MEGA from what I gather.
ABeatC
Allways will be specail for me the era when Gino and Gianni were singing. Todays male vocalist don't really grab me with thier really high vocals. Not Sexy or Macho for what a male vocal should sound to me(there are exceptions) Mega NRG Man leaving ABeatC just sucked, only leaving Mr. Pasquinni alone on vocal, so some of his songs are outstanding like his Version of "Disco Fire" but some miss the mark. Also Norma leaving is sad, because she was my favorite at ABEATC. It seems thier songs are iether liked or hated. I like "My Blue Sky"(very Normaesque), but do not like "Gun Fire" to me that sounds to rehashed. Then thier is Powerful T., he has some really good songs like "Glorious", but the majoraty are too fast to enjoy. Manuel is anotherone who is mostly miss to me, because I'm not too much into the hyped racing style.(there are exceptions) I most rather he did songs like the one you all hated "All The Best", because you could hear his tru vocal tone.
SCP
Last, but not last. I'm very torn by this label. To me they experiment too much and most of the TIME thier songs don't sound very Eurobeat. From thier Keyboard style to thier music. It feels like they try to fit in to the transy/dance style of club music(wich I hate). These songs are like "One Touch" or the Pamsy style. Then they try some Enio Rapping from what he does in his Hypertechno style. To me he should leave that style in that genre and concentrate on doing songs more like "Crash Boom Burn Me Up" and "Go Wild". I could actually come up with 10 great songs from SCP in the 170's, including the song you all hated "Mystic Love" wich has to be my favorite since "Shock Out". On 181 they have one great song "I'm Alive" which is in my top 3 of that cd, but then they have those two Goto songs that used Hypertechno experiments and sound wierd to me. I guess to explain to you guys when you hear an Elena track and feel it's not Eurobeat enuff to you, I feel the same way with alot os SCP transyesque trax.
GO GOs Music
Not last, but still too new for me to make an honest assesment. Some of thier artists are still jumping around from label to label. I would have to say it's kinda 50/50 for me now. 50% cutesy/happy style(Elena Gobbi) which I don't really like and 50% macho/rocky(Thomas Marin) sound which I love.
I guess the important thing is that Super Eurobeat has different sounding labels, so there is something for all fans of age and taste and from TIME to TIME even your least favorite label "Forks out" a song you concider SUPER MEGA:
[/b]
TIME
I admit ever since the first beat on "Funny Dancer" blared out of my system, nothing can make me stray. Weather it's Dall Ora, Newfield, Pasquinni, Farina, Pernicci, Di Marcantonio,or Live Music Team, the sounds just sound magic when Produced at TIME. Thier current "Disco" Style shows some real innovation and more labels like DELTA and SCP are jumpming on that train. The Elena tracks are all special, because I pay attention to every accoustic piano key and note she sings...and they are all different. Weather it's her vocal tone, speed or even formula,wich I allready mention has changed with songs like "Dancing To The Moon" and "One Nite In Tokyo". The Male side of TIME is allways putting out hit after hit from the Mr M. macho style to Chris Stanton smoother style. My one & ONLY gripe would be some of the remakes(maybe 2-3) have not lived up to expectations or really didn't offer to much change from original. I would rather they totally reinvent the original with different vocals like "What Kinda Cure 2007" "Perfect Time 2007" or the MASTERPIECE "Heart Breaker 2007"
HRG Attack
Live Music Team has not changed thier formula since thier very first song, but that is exactly what makes them stand out so much for me. In every decade they have turned out hits. Weather it is High tempo vocals of thier female trax to the Macho/aggressiveness of Federicco to the now Wacky/chaotic sound of Festari. I forget who Rick Castle is, but I love style as well. Even with Claudio allready gone(I wish he would have stayed with them forever), thier productions like Danger In Chinatown, Moo Moo Dollars and Shadow Of Your Smile surely guarantee thier space on SEB. Really have nothing negative to say , only that I wish I could hear all those unrealesed songs that appear on thier catalogue.
DELTA
DELTA is next. I admit in the 150's ,I didn't really like the material they were releasing. A few were mega for me like "Toy Boy" and "Emotions", but the magoraity sounded somewhat "Lifeless". The 160's were a bit better, but sad, because it showcased some of the last Claudio and Nando songs, but now in the 170's ,they have becaome super spectacular for my taste, Especially the addition of Daniel(Yes Lebon, I said Daniel) and also the best DELTA for me by Rick Astly- IRON MAN. Now adays thier aren't any weak trax on the 170 and 180's looks to be MEGA from what I gather.
ABeatC
Allways will be specail for me the era when Gino and Gianni were singing. Todays male vocalist don't really grab me with thier really high vocals. Not Sexy or Macho for what a male vocal should sound to me(there are exceptions) Mega NRG Man leaving ABeatC just sucked, only leaving Mr. Pasquinni alone on vocal, so some of his songs are outstanding like his Version of "Disco Fire" but some miss the mark. Also Norma leaving is sad, because she was my favorite at ABEATC. It seems thier songs are iether liked or hated. I like "My Blue Sky"(very Normaesque), but do not like "Gun Fire" to me that sounds to rehashed. Then thier is Powerful T., he has some really good songs like "Glorious", but the majoraty are too fast to enjoy. Manuel is anotherone who is mostly miss to me, because I'm not too much into the hyped racing style.(there are exceptions) I most rather he did songs like the one you all hated "All The Best", because you could hear his tru vocal tone.
SCP
Last, but not last. I'm very torn by this label. To me they experiment too much and most of the TIME thier songs don't sound very Eurobeat. From thier Keyboard style to thier music. It feels like they try to fit in to the transy/dance style of club music(wich I hate). These songs are like "One Touch" or the Pamsy style. Then they try some Enio Rapping from what he does in his Hypertechno style. To me he should leave that style in that genre and concentrate on doing songs more like "Crash Boom Burn Me Up" and "Go Wild". I could actually come up with 10 great songs from SCP in the 170's, including the song you all hated "Mystic Love" wich has to be my favorite since "Shock Out". On 181 they have one great song "I'm Alive" which is in my top 3 of that cd, but then they have those two Goto songs that used Hypertechno experiments and sound wierd to me. I guess to explain to you guys when you hear an Elena track and feel it's not Eurobeat enuff to you, I feel the same way with alot os SCP transyesque trax.
GO GOs Music
Not last, but still too new for me to make an honest assesment. Some of thier artists are still jumping around from label to label. I would have to say it's kinda 50/50 for me now. 50% cutesy/happy style(Elena Gobbi) which I don't really like and 50% macho/rocky(Thomas Marin) sound which I love.
I guess the important thing is that Super Eurobeat has different sounding labels, so there is something for all fans of age and taste and from TIME to TIME even your least favorite label "Forks out" a song you concider SUPER MEGA:
[/b]What Phil said applies to me as well. I do give certain labels more criticism than others, but well taste matters are subjective and as pointless as it often is, I do enjoy going through debates about these things (and I'm obviously not the only one). And having all of the current labels along is for the best, yet introducing a new series with different focus on other labels would still be awesome. Euromach/EBF/Maharaja (but yeah, we've been down this lane before)...
Well I'll just do a brief summary alphabetically or such:
A-Beat C
Well, A-Beat C was the main attraction in eurobeat for me for ages due to the superior productions and Elena Gobbi as a whole. The past year with a huge lack of Elena and other striking ABC titles has affected the situation a lot.
I do believe that A-Beat C still has a lot of potential, but the tracks just don't have the similar energy and punch anymore. Maybe this is a transition phase and it'll get better again in some time, can hope so at least.
Delta
Delta has always been good, they just have a rather variable way of producing stuff that I either love or hate. From their first performances to date, they have remained rather similar in a way. They have added new flavors and different styles to their productions, but there's still that same spark as in the very beginning. They've never really been my top label, but they always come close to the top.
Go Go's Music
Less than 10 songs and I've basically loved every one. Not much to really say, things are still developing, hopefully they are getting at least 1 track an album, preferably 2 or 3.
HI-NRG Attack
When I got into eurobeat it was mainly through Euromach albums, the albums I wanted to own as originals right after I heard one album fully. HRG was the main attraction, but slowly by time I've noticed that my taste has evolved a bit and I'm not anymore as surely in love with their productions as I was back in '03-04. Their production style has evolved for the better in my opinion, but I just keep hoping to have less pitched female vocalists and maybe the next White Is For You Black Is For Me (That I still find their best production).
SCP
Sugarcoating SCP is easy since they tend to produce completely different tracks for their artists and I mostly have loved all of them. This is probably the reason why I do value them as much as I do. Also what I do love about SCP is the customer service they offer. Evelina replies always promptly after you email them and I'd say that the label is most *out there* for fans to get acquinted with. The label that has noticed the importance of product placement and customer service the best imo.
TIME (notice capital letters ;C)
When Time get their best out, they really do rock the block. All I hope for their current situation is experiementing some more, and offering more space for other vocalists than just Elena F. I've never really been her biggest fan and hearing her on every single album (often more than once) does bug me quite a bit. Yet when they pitched her on Para Para Girl I wasn't one bit bothered, maybe they need to go down the HRG lane to please me more.
Oh and less Disco, I really feel that the way disco-flavors keep taking more space on SEB is only a bad thing. I said this the first time this style appeared back in the 150s and I still feel that way, but guess there's a market for it since the style seems to be rather solidly present.
Probably some very ancient disco eurobeat songs as well, but I'd say that this new wave of disco material somewhat began in the 150s. Who was first and who really started is probably kinda hard to know since the tracks aren't released as they're done. And who really was the inspiration... maybe something outside of eurobeat.
Well I'll just do a brief summary alphabetically or such:
A-Beat C
Well, A-Beat C was the main attraction in eurobeat for me for ages due to the superior productions and Elena Gobbi as a whole. The past year with a huge lack of Elena and other striking ABC titles has affected the situation a lot.
I do believe that A-Beat C still has a lot of potential, but the tracks just don't have the similar energy and punch anymore. Maybe this is a transition phase and it'll get better again in some time, can hope so at least.
Delta
Delta has always been good, they just have a rather variable way of producing stuff that I either love or hate. From their first performances to date, they have remained rather similar in a way. They have added new flavors and different styles to their productions, but there's still that same spark as in the very beginning. They've never really been my top label, but they always come close to the top.
Go Go's Music
Less than 10 songs and I've basically loved every one. Not much to really say, things are still developing, hopefully they are getting at least 1 track an album, preferably 2 or 3.
HI-NRG Attack
When I got into eurobeat it was mainly through Euromach albums, the albums I wanted to own as originals right after I heard one album fully. HRG was the main attraction, but slowly by time I've noticed that my taste has evolved a bit and I'm not anymore as surely in love with their productions as I was back in '03-04. Their production style has evolved for the better in my opinion, but I just keep hoping to have less pitched female vocalists and maybe the next White Is For You Black Is For Me (That I still find their best production).
SCP
Sugarcoating SCP is easy since they tend to produce completely different tracks for their artists and I mostly have loved all of them. This is probably the reason why I do value them as much as I do. Also what I do love about SCP is the customer service they offer. Evelina replies always promptly after you email them
and I'd say that the label is most *out there* for fans to get acquinted with. The label that has noticed the importance of product placement and customer service the best imo.TIME (notice capital letters ;C)
When Time get their best out, they really do rock the block. All I hope for their current situation is experiementing some more, and offering more space for other vocalists than just Elena F. I've never really been her biggest fan and hearing her on every single album (often more than once) does bug me quite a bit. Yet when they pitched her on Para Para Girl I wasn't one bit bothered, maybe they need to go down the HRG lane to please me more.
Oh and less Disco, I really feel that the way disco-flavors keep taking more space on SEB is only a bad thing. I said this the first time this style appeared back in the 150s and I still feel that way, but guess there's a market for it since the style seems to be rather solidly present.
Just a notice, but I think that SCP was technically the first one to start with the Discoesque material with Just Can't Get Enough on 151. Or at least the very clear first one I can think of.drnrg wrote:Thier current "Disco" Style shows some real innovation and more labels like DELTA and SCP are jumpming on that train.
Probably some very ancient disco eurobeat songs as well, but I'd say that this new wave of disco material somewhat began in the 150s. Who was first and who really started is probably kinda hard to know since the tracks aren't released as they're done. And who really was the inspiration... maybe something outside of eurobeat.
WHOOOAAAA hold it. Are you saying that Claudio Accatino is gone??? He was the other half! The balance that made Hi-NRG Attack so... HRG!drnrg wrote: HRG Attack
...Even with Claudio already gone(I wish he would have stayed with them forever)...DELTA
In regards to Tam Arrow, I can answer that: I'm not sure he's GONE, persay, but he HAS been busy... as Maximum Power, on Akyr. :3
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