Posts Tagged ‘cover version’

h1

only boy (in the world).

November 13, 2010
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h1

about high fashion.

October 1, 2009

Just a quick track-by-track run-through of all the songs on my High Fashion mixtape!  I hope you enjoy it and this fleshes out the stories behind the music for you all 🙂

High Fashion

The photos for this mixtape were actually the last thing to get done! I had a lot of ideas for it, but basically it involved playing dressup and taking lots of fun fun pictures of me pouting in designer accessories and too much lip balm and radiating attitude! Trust me, some of the pictures were horrendous, but I was pleased that I got some decent ones that I chose to use.  In contrast to the Quiet Storm artwork, which incorporates a lot of dark blues, purples and blacks with white type and layered translucent textures (evocative of the intimate, nocturnal atmosphere embodied by the album), the artwork for the mixtape is very bright, very immediate (no gloss or photoshopping!) and very tongue in cheek – I do not dress that ostentatiously in real life!!!  But it was a lot of fun 🙂

Official Boy

This song was recorded a year ago – obviously, it’s a cover of Cassie’s song “Official Girl”… I seem to be the only one who loved that song!  I was obsessed with that song at the time because I could relate – I was semi-dating somebody but didn’t know where I stood. (It turned out to be nowhere.)  So I got the instrumental and decided to rerecord my version – in the process, I learned a lot about creating vocal layers and harmonies and counter-melodies, and I appreciated how densely the original song is constructed.  I also wrote my own rap, which was really fun.  I really liked Cassie’s latest material, as I did a cover of this song and “Touch Me” samples another Cassie song, “Nobody But You”.

Touch Me (see post!)

Hook Boy (Remix)

This song uses the instrumental of Day26’s “Imma Put It On Her”, continuing the love for Bad Boy artists.  I have always been impressed by Diddy’s production skills and most of the Bad Boy tracks that have come out over the last 12 years have had really solid music and production.  It’s a remix of the song “Hook Boy” on Quiet Storm, and so I changed up the melody and some of the lyrics somewhat, but the basic skeleton of the song remains the same, though this remix has a more celebratory, uptempo feel to it, relishing being in the club and being with the one you love.

Get Me Home (Interlude)

I liked the harmonies on this one, but I have an interlude called “Focused” on the album where I did a superior job of a similar type of harmony, so I removed this track from the album and kept it for the mixtape.

Jump Off (Part I) (Snippet)

The original version of a song which is on the album (appropriately called “Jump Off (Part II)”), this is a very straight-up R&B ballad, no frills.  The lyrics have been kept more or less identical between the two songs, but Part II has a much more R&B, nocturnal feel which I fell in love with and which suited the feel of the album as a whole much more.  I might finish this version eventually, because I think it has potential, but I kinda left it by the wayside in favour of Part II, which is one of my favourite tracks on Quiet Storm, and very lyrically honest.

Don’t Look Now (Game Over)

This song was written after I was seeing somebody who just suddenly disappeared with the excuse that “I need space”… BULLSHIT mayne!!!   I decided to channel my irritation positively, and this record was a cutting, dance-type response to that whole situation.  I like the lyrics in it, which pay a nod to “Bad Girl” and “Pretty Boy” by the now sadly defunct Danity Kane, as well as Beyoncé’s “Irreplaceable”.  My favourite lyric is “dangerous and brokenhearted”, and I briefly considered that as an album title.  I love the ring of it, but ultimately there is something about the song that meant it couldn’t hang with the rest of the tracks that made the album, so ultimately it got relegated to the mixtape!

Pronunciation (Interlude)

This was just a big big laugh… it sets the scene for the next song, “Armani Earrings”, which is a track on Quiet Storm that I just had so much fun writing, as it really epitomises swagger!  The idea came from the “learn Italian” tapes they play in the bathrooms at Frankie & Benny’s restaurants, and working in The Perfume Shop and getting irritated at how many designers names got mangled by customers on a regular basis.  So this interlude is a play on all of those things, as well as a lead-in to the next track.

Armani Earrings

… you’re gonna have to wait for the story behind this one!!!  Just enjoy it for now 🙂

Can’t Play A Playa

Originally I was so excited about this track, with the military gunshot-style intro and the catchy hook… but somewhere along the line, although I tried out a lot of different ideas such as having a rap in the middle of the song instead of at the bridge, and multiple hooks and stuff, I felt it lost the sparkle and drive I was aiming for the song to have, so I didn’t feel it was strong enough to make the album.  I like the song, but I just couldn’t execute it the way I wanted to so I kept it back for the mixtape.

Wild Heart

During my time at Oxford uni, I became friends online with a guy who got into trying to write and produce his own songs.  He sent me this track that he’d written and produced (the production is a slightly different style to anything I’ve done, though the song itself I like), and asked me to resing it.  I went a bit crazy with it, attacking it with different melodies and ad-libs, and when I sent it back he was like “WOW you have CHANGED it!!!” I really liked the way it turned out, but I think he was somewhat taken aback… I never really considered this song for the album, especially as my only input into it was changing some of the melodies, harmonies and structuring, but I like it nonetheless so I thought that there was no harm in putting it on High Fashion.

Role Model

The first element of this song that I had was the bassline, and then I just started adding lyrics to it.  I remember half of it was written in my head on a car journey with my parents, and the minute we got back in the door I rushed upstairs and spent an hour creating the song.  I like the sung chorus element, because it really expressed how I don’t feel that I fit easily into many categories that people try to pigeon-hole me into.  In terms of the music I listen to, my educational background and my sexuality (among other things), I don’t really feel that what is widely portrayed in the cinema really represents me, and I wanted to put across the fact that just because there is a stereotype for these things doesn’t mean that everybody necessarily fits them.  Although it’s not my finest hour rapping (and I like to think that the rhymes on “Armani Earrings” demonstrate how much I’ve improved), the lyrical subject matter is very true and I am positive I am not the only young person who feels misrepresented.  You have to be who you are, for the sake of who you are.

Broke WIthout Remedy

I was listening to Erykah Badu’s most recent album New Amerykah and wanted to do a song which was a bit more unstructured and organic sounding, so I hit up Garageband and started playing with samples. This is the result! I was near the end of my university degree at Oxford, and I was kinda frustrated because I didn’t know where I was going next and I was in a lot of debt and I was just like “what happened? I thought this degree would solve all my problems and it’s just left me with more!”  With my new uni course and being so happy and that being beyond me, the perspective I now have of Oxford is perhaps more balanced and I can appreciate the quality of degree and the good friends that I got from there, but at the time of writing / singing the song, I was feeling quite down.  Towards the end, my voice cracks and I kept it in as evidence of too much cigarettes + emotional despair = raw vocals!

I Want To Know What Love Is (see post!)

High Fashion (Acapella) (Outro)

Another little acapella taster of the “High Fashion” track on my album.  The Intro uses some of the backing music, and the outro uses the first verse and chorus of the song.  Although I’m not 100% happy about ending the album with 2 acapellas in a row, I definitely thought that these last two songs both deserved to be on the mixtape and both fit at the end.

So there you are!  Once again, you can download the mixtape HERE and I really hope you enjoy it! 🙂

h1

hypocritical much?

August 29, 2009

Okay, I realise that I’m in serious danger of stanning for Mariah Carey before the album even drops, and I posted about her only yesterday.  But reading certain blogs and forums, which I know are only opinions often by a lot of small minded people or people who are blatantly paid to support certain artists, I can’t help but feel that there is some injustice going on.

Mariah Carey releases a cover song, “I Want To Know What Love Is”.  According to some, she is whispering too much through the song because she has lost her voice and can never get it back.  Others say that she is shrieking and howling and squeaking like an animal.  Which is it?  Either you are shrieking and howling, or you have lost your voice – it can’t be both.  I personally think that her voice is damaged somewhat, and isn’t the same as it was as she first came out. I acknowledge that, and then I say that she is still the best female vocalist around today.  This is part of the hypocrisy I am perceiving; people want to down Mariah Carey for lip-synching a few times, but when she does sing live, they criticise her for a whispery voice not like on the record / oversinging her song with too many histrionic outbursts / not being able to sing and dance at the same time.  What do people want?  Nobody is perfect, but Mariah Carey is possibly the closest that we have.  I would like to warn Beyoncé, who is the most prominently successful young singer / songwriter / dancer / entertainer of the new era – THIS IS YOUR FUTURE. Hate no matter what you do, and the majority of people’s opinions on your album is dictated by how much media support / criticism it gains.  It was decided by the media before the album even dropped that The Emancipation Of Mimi would be a smash hit / “comeback”.  It was decided by the media before the album even dropped that E=MC² would not live up to The Emancipation Of Mimi either in terms of sales or in terms of quality.  I happen to prefer E=MC² because I think the songs are slightly stronger, whereas I tend to skip a few of them on Mimi. I don’t have a problem with people disagreeing, but I’m just tired of stans putting one artist down for no decent reason, and criticising an album when they probably haven’t even listened to it.  If you have an opinion, please back it up.  I may not agree with you, but at least I will respect you.

So people are dogging Mariah Carey because she decided to cover a song.  Um, “Without You” was also a cover, but nobody had a problem with her version of that 16 years ago?  Also, Whitney Houston’s “I Will Always Love You” was a fantastic song that was a cover version of Dolly Parton’s original. I don’t hear anyone having a problem with that song.  In fact, let’s talk about Whitney Houston.  I nearly did this yesterday, but I managed to restrain myself; after reading some of the frankly retarded opinions posted on Lil’ Kim Zone, I can no longer hold my tongue.  Whitney Houston’s new album is okay.  I like some of the songs (“Salute” is my favourite), I think others are atrocious.  Mostly, I like the ballads and dislike the uptempos.  That’s fine, you can’t win ’em all, and I know that other people are really enjoying her record.  Her voice sounds good, but undeniably not how it did before (she doesn’t belt, she riffs too much).  These are criticisms which, funnily enough, have been levelled at Mariah Carey.  Okay.  Whitney Houston’s new single “Million Dollar Bill” has peaked in the mid-70s on the Billboard Chart.  Mariah Carey’s song has stayed within the Top 20 of that chart for the past 5-6 weeks.  So don’t tell me that Mariah Carey is pushing her album back because she is scared of Whitney Houston; don’t tell me that her career is ‘flopping’.  If you want me to quote stats, I can do: “Obsessed” has had her highest chart debut in 11 years, and its digital sales currently stand at 526,000.  Whitney Houston’s newest song has sold 32,000 copies, which is about 6% of what Mariah’s single has sold.  Who should be scared?

Let’s talk about songwriting.  As far as I am aware, Whitney Houston has only written one song in her catalogue – the massively successful “Whatchulookinat” (that is sarcasm, by the way).  Mariah Carey writes 90% of all her material – and not only is she involved in writing lyrics, but she also has a hand in creating and producing the music.  Of course, because Mariah Carey’s newest song is a cover version, there have been snide comments about her not being able to hire a decent team of songwriters to write a hit for her.  In actuality, this is something Mariah Carey has never done; she has never hired anybody to write her material.  Songs such as “Vision Of Love”, “Dreamlover”, “Hero”, “Fantasy”, “One Sweet Day”, “Always Be My Baby”, “Heartbreaker”, “We Belong Together”, “Don’t Forget About Us”, “Touch My Body” all have songwriting credits to Mariah Carey. By the way, all those songs went to #1 on the Billboard Hot 100, and “One Sweet Day” and “We Belong Together” jointly hold the record for the longest stretch at #1, which is 16 weeks.  I enjoy Mariah Carey’s music, whether it charts highly or not.  I loved her Glitter album when her career was at a real low point, and I still think that “Lead The Way” and “Never Too Far” are two of her best songs and vocal performances to date.  I think that Charmbracelet was a more heartfelt and personal album than The Emancipation Of Mimi, despite Mimi selling 5 times what Charmbracelet sold.  I am able to have an opinion on the music which is separate from how much it sells, because what’s important to me is whether I like the damn songs and vocals and music, not how successful it is.  Just because an artist isn’t constantly at the top of the charts has nothing to do with their artistic merit.  However, it’s come to the point where I am quoting these statistics because certain foolish people are trying to down Mariah Carey too much, and it’s just ridiculous to me, not to mention utterly hypocritical.

Whitney Houston doesn’t write her songs.  I don’t think that this matters, because a great singer doesn’t have to be a great songwriter (as Aaliyah said); if they can interpret material well, that is equivalent to making the song their own.  As I said before, Houston did this with “I Will Always Love You”.  But if people want to talk about songwriting prowess, Mariah Carey wins hands down.  Sales-wise, both currently and in terms of their entire careers, Mariah Carey is ahead of Whitney Houston.  (Barbra Streisand is the biggest selling female artist of all time.)  If people want to talk about Mariah Carey not being able to sing live, then please hold your tongue until Whitney Houston sings her new single live.  I have yet to hear or see her performing “Million Dollar Bill” live, and I have yet to hear or see any announcement that she is going to be doing this in the near future.  Until she does this, can we stop criticising Mariah’s live performances, because whether her voice is damaged or not, the facts are that she is singing live and Whitney is not, so you can’t compare the two.

People say they have lost respect for Mariah Carey because she doesn’t dress her age (she is 39, and I see many women 10 years older than her walking around Bristol in far less, but anyway), she has had plastic surgery, she cavorts with too many rappers and doesn’t sing the way she used to.  A small point: on I Look To You, two of Whitney Houston’s songs were produced by Akon, and he features on one.  A larger point:  Whitney Houston was a drug addict for possibly a decade or more; she raised a daughter while addicted to drugs, and god knows what else her daughter has been exposed to during Houston’s drug addiction, marriage and divorce to Bobby Brown.  Mariah Carey has never done drugs, or even been reported to do drugs (yet… wait for it!); the worst vice she has is for a couple of glasses of champagne or wine.  Mariah Carey didn’t raise a family under the glare of the media nor while taking cocaine.  The worst that Mariah Carey has done is wear a few (debatably) ill-fitting dresses.  I think that Houston and Carey are both even in terms of diva behaviour (reported, not usually substantiated, by the way) and in terms of their ability to spend money on things which appear frivolous to you and me.  In my opinion (I keep repeating this) NONE OF THIS AFFECTS THEIR ABILITY TO SING OR MAKE MUSIC.  But since so many people seem to go on about Mariah’s imperfections whilst forgetting about Whitney, I just wanted to do a comparison to put everything into perspective.  Mariah Carey is the more successful artist in terms of sales, charts and airplay; she writes her own material whilst Houston has a team of accomplished songwriters to do so for her; Mariah Carey has never done drugs nor raised a child whilst on drugs; Whitney Houston has had a more successful film career (again, I am nothing if not fair) and dresses more conservatively.

I can’t stand the hypocrisy of people, both ill-informed stans of other artists and biased media acting on a propaganda brief.  When Michael Jackson died, people conveniently forgot about his repeated child-abuse trials, and overlooked his excessive plastic surgery.  Radio hadn’t played his records for years, and suddenly you can’t go a day without hearing “Man In The Mirror” or “I Just Can’t Stop Loving You”, songs which radio stations in Bristol have never played.  I am pleased that in his death, his music has been made more accessible to so many people, and is finally being honoured, even if it is a little too late.  He was a truly legendary and fantastic performer.  But I don’t see how we can suddenly excuse Michael Jackson and Whitney Houston for their faults (in both cases, they have done things which are not only massively ill-advised, inconsiderate of young people, but also illegal), yet take Mariah Carey to task for wearing short skirts & low-cut dresses or for not sounding 100% perfect when she sings live or for choosing to do a cover version of a song.

I’ll say it once more: an artist’s sales, personal life, dress sense, media scandals and choice of partner / collaborator / pet should not influence whether you like their music or not.  I own albums by Carey, Houston and Jackson, and none of what has happened in the past year (his death, Houston’s “comeback”, Eminem’s annoyance with Carey) has remotely affected my enjoyment of their music.  Like what you like, because you like it. But if you really want to go there, and want to compare stats, then let’s compare stats.  The only thing I can think of is that some people are jealous, because Mariah Carey really does seem to have it all (even though she is not perfect and her voice is not quite what it used to be; I’m not deaf.) – the body, the voice, the talent, the money, the husband, the songwriting credits behind her songs. So if you can’t say something nice, don’t say anything at all – don’t hate; appreciate.