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PopGAF |OT6| Beyonic is never coming out.
- Thread starter Artemisia
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To be fair though, The Sound of Girls Aloud still slays if you're looking for a pure hit of GA. Chemistry is where their albums started to get great too (not that their stuff before that is bad, just that Chemistry + Tangled Up + Out of Control are just a step above).
Ok, New York Times, I see this shade:
Kylie Minogue: Pop Star, Fashion Darling ... Who?
But it's actually a really good feature they did on her. She's going to do it big in the US this time, I can feel it. ;____;
Have a read, sistren.
I just want her to bring her main tour to the US. Just once. I can die happy if she ever does that. Kylie tours set the standard for Pop.
Kylie Minogue: Pop Star, Fashion Darling ... Who?
But it's actually a really good feature they did on her. She's going to do it big in the US this time, I can feel it. ;____;
Have a read, sistren.
I just want her to bring her main tour to the US. Just once. I can die happy if she ever does that. Kylie tours set the standard for Pop.
Excuse you? Have several seats.
The greatest pop girl group debut of all time. ALL TIME.
I know any Girls Aloud stan is going to hate the mention of these girls, but it's just true. There really are no words to describe how iconic this song is.
I don't think she'll ever breakthrough here
unless Calvin Harris does a song with her
Seen this. The guy's a fool.
Absolutely DISGUSTING. Remove thyself from any semblance of taste you may have had at any given point.
And I'm far from a GA stan.
Phonomezer
Banned
Just like Beyonce.
Obviously it's more recognizable, iconic, etc.
Doesn't mean it's better.
But I abhor Spice Girls, any boy band, and most pop music of the late 90s.
Kiiiii @ a lot of the things he praised about Bey being things Mimi put her stamp on years prior (she's queen of high tempo singing).
Although, I can't find an example of Mimi modulating like Bey does at the end of Love on Top. Not that she couldn't, but did she ever do that in a song?
Let me go watch this other video.
...what...is WRONG WITH YOU!?!?!?
Phonomezer
Banned
OMG - this lady is higher level stanning. She's about to start crying talking about "I Will Always Love You"...
Mariah, queen of high tempo singing? I'm actually struggling to think of something as fast-paced as Babs' Jingle Bells (or Piano Practicing, though that was taken off YT).
And I don't think Mariah has any songs where she modulates multiple times like Bey did. She might, though. She has a lot of songs in her catalog, and certainly has the range and technical ability to pull it off. This does remind me, though:
The first example, "Di fronte all'amore," might well be considered the mother of all pop arias. Though "You Don't Have to Say You Love Me (originally "Io che non vivo piu ei un ora senza te") was to become the biggest chart success of Dusty's career, her relatively unknown recording of "Di fronte all'amore" is an equally affecting model of the melodramatic pop aria genre. In terms of the two features previously mentioned - strategically placed modulations and the threat of vocal collapse - "Di fronte all'amore" displays their clearest, most concentrated, and most thrilling use. Literally packed with modulations, the song's first section (an AABA design) begins in Bb minor and circles back to it by 1:32 after traveling through three other key areas: to B minor at 0:27, to C minor at 0:50, and to F minor at 1:09. The Bb minor "middle eight" instrumental section (1:32 to 1:53) serves as a tonal bridge both closing off the first section and providing a launch for the second. Section two (BA) would seem to be reenacting the modulation sequence of section one, but the tonal scheme has been truncated (gasp!), and we lunge into F minor without first going through C minor. It looks like this: Bbm -> Bm -> Cm -> Fm -> Bbm -> Bm -> Fm (middle eight in italics). The overall effect of this large number of modulations within such a short time span is one of dangerously escalating tension and instability, with an element of extreme urgency added by part two's truncation. A spectacular congruence of dramatic elements occurs between 2:10 and 2:16: It is here that we leap over C minor, reach the highest point of the melody (c") on the word pero [but], and become aware that the voice has been driven by the modulations to the very end of its range and is starting to crack. The singer hurtles into the song's final line and highest notes, imploring, "non avere paura di me" [don't be afraid of me], with an orchestra playing at full volume and crashing timpani announcing an equally crashing silence at 2:38, directly before the cadential "di me." On this vocal precipice and with the singer's previously repressed emotions now on full sonic display, we are held at full throttle until the very end of the song.
So many modulations. Dusty. <3
Beverly Knight's Vocal Runs, Riffs, and Melismatic Phrases (Studio), if you haven't heard her before.
I haven't taken the time to explore her music, but she's on my list.
Beysus is now the only straight male popgafer confident in his sexuality
I'm working on that
Not really, no.
she ain't lying.
I get chills and teary every time I watch this
http://www.youtube.com/watch?v=0eGIo_SCrN8
the power, the control, the tone
Soulscribe
Member
We found love in a hopeless place
We found love in a hopeless place
We found love in a hopeless place
We found love in a hopeless place
We found love in a hopeless place
We found love in a hopeless place
We found love in a hopeless place
We found love in a hopeless place
We found love in a hopeless place
We found love in a hopeless place
We found love in a hopeless place
We found love in a hopeless place
Yasssss, my coins are begging to be offered.
This track is still giving me everything. STILL a contender for best dance track of the year.
But...I'm NOT convinced that this is the lead single. At least, not in this form. This is CLEARLY a remix of another song.
He said it was his "production" for Kylie, so maybe it is?
Supermanisdead
Member
Omg lol Zayn looking like a methhead. Poor botty, is he okay?
Ps. Love On Top slays now and forever. DmJ stays trying to take royalans crown for most pressed Stan.
Ps. Love On Top slays now and forever. DmJ stays trying to take royalans crown for most pressed Stan.
Cosmic Bus
pristine morning snow
I completely forgot Grooveshark existed, bless.
Bullshit.
Love on Top wears its repetition well because it's not lazily written chart fodder like WFL. How are you going to say WFL is equally repetitive when the damn chorus is one fucking sentence repeated over and over in the exact same way while Love on Top only repeats its chorus (that features more than a single line!) at the end with Beyoncé changing the key with each repetition?
Via Purifico
Banned
I have to agree with this, while the chorus is repetitive Beyoncé works it to make it much less repetitive with her key changes.
It makes the song much more easier to listen to than WFL.
Now, I completely agree that Wannabe is more iconic than Sound of the Underground, but I think that Sound of the Underground is a better song.
And I don't hate the mention of the Spice Girls, why would I? Only people who don't stan Gods Aloud seem to think that we would be bothered by the existence of the Spice Girls. There's space in the world for more than one amazing five-piece girl band
also, GA's discog shits on the Spice Girls' :eli:
Drag her for filth. Calling Love on Top as repetitive as a song that has a single lyric for a chorus AND reuses the same melody for chorus and verse? When exactly does one learn the difference between opinion and fact, around 3rd grade?
Soulscribe
Member
Given that the main attraction of the song is how effortlessly she SLAYS each octave as it rises in the last third, I think the repetition works in its favor and not against it.
Granted, the one line in WFL's chorus works in its favor only insofar that the whole song is meant to be a repetitive radio song with all hook and no substance. However, just because it's meant to be repetitive doesn't mean it's good repetitive.
But yet again #Navy provoking me to compare two artists that couldn't be more different, again. Rihanna and Beyonce have absolutely nothing in common musically, and I think if we were to compare Beyonce or Rihanna to anyone it would be Justin Timberlake and Britney Spears, respectively.
Granted, the one line in WFL's chorus works in its favor only insofar that the whole song is meant to be a repetitive radio song with all hook and no substance. However, just because it's meant to be repetitive doesn't mean it's good repetitive.
But yet again #Navy provoking me to compare two artists that couldn't be more different, again. Rihanna and Beyonce have absolutely nothing in common musically, and I think if we were to compare Beyonce or Rihanna to anyone it would be Justin Timberlake and Britney Spears, respectively.
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