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Post by Simba on May 9, 2011 6:44:17 GMT
I kinda agree I guess, while the actual notes of the do re mis are nice XD....maybe it'd have been better if she sang it A a a a a a a a a a.....XDbut still I love it, it's awesome XD it was very fast and brilliant, as martindn truly boasting Hayley's powers!
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Post by mihizawi on May 10, 2011 9:19:12 GMT
Well, as I said, I think Lezione di Musica will work best with those who like Classical Music, or who enjoy every detail of the music theyy are listening. Most of the audience will probably find it "just fun" and will dismiss it as something not too serious. But, to me, it's a masterpiece, yes, it's playful and fun, but it has so many perfect details, I may say it has something of Mozart's genial playfulness...
I don't see any problem in saying the notes that are sung, it'¡s all part of the game they are playing, it really honours the name Lezione di Musica, it is a masterclass.
Michal
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Post by afaninchicago on May 10, 2011 19:08:55 GMT
I actually think that Lezione di Musica is quite good for an introduction to Hayley, especially for those studying music. I played it for several people in my music class, including my professor, and they were all quite impressed. Interestingly enough, one of the people I played it for, a singer, said Hayley could use a little more breath support on her high notes. But she still like it.
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Post by Dennis S. on May 10, 2011 23:03:16 GMT
Personally, I consider Lezione as a vocalization song, as do re mi by themselves has no meaning.
A more complicated form of ah aah aaah if you will.
Think Flood and Jekyll, neither of them has any meaningful words.
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Post by Libby on May 11, 2011 3:46:24 GMT
I don't really even notice or pay attention to the "non-words" in Flood and Jekyll. All I notice is the perfectly beautiful vocals and the wonderful melody. 'Do-re-mi' may not be real words, but at least they are recognizable terms. So it isn't really the same thing.
The vocals in the do-re-mi parts are not the most amazing I've ever heard. Not very melodic, and not among Hayley's most amazing notes. She does sing them fast really well, I'll give her that.
Also, as I mentioned, I do like the vocal section in that song. Hayley does an amazing job with it. You're only paying attention to what I don't like about the song, and assuming I dislike the entire thing. I don't.
I will say, though, that it is my least favorite song on the album. Even without the do-re's I would still probably rate it last. That doesn't mean I don't like it at all. For the record, I have never disliked a Hayley song enough that I'd never listen to it, and that most certainly isn't the case now, either. It's just not my favorite type of song.
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Post by martindn on May 12, 2011 22:17:42 GMT
Well, Libby, we might agree about some things, but we are clearly never going to agree about this one. For me Here's to You is the weakest song on the album,it is just too repetitive for my taste, and Hayleys voice get drowned in something that sounds very like distortion, perhaps even clipping, at the end - it certainly is not recorded very well. Lezione is one of my top three, a very clever and unique idea, even if it does remind us of school music lessons - I guess it is supposed to.
There are certain songs on this album I suspect anyone other than Hayley would struggle to sing. Here's to You is not one of them (as I said, even I could sing it). I may well have heard Joan Baez's version in the past, may even have it on a record somewhere, and I doubt that Hayley's version is any better than Joan's.
Lezione is a song that Hayley makes her own, along with Once upon a Time, Metti una sera a cena and Amalia. I challenge anyone else ever to equal Hayley's renditions of them.
As a Hayley fan I love to hear her doing things that are unique to her, things that stretch her and show off her unique talent. That is the sort of thing I prefer to hear her sing. I like to hear her show me that she is the best singer I have ever heard. Here's to you does not show that, at least to my ears.
If I were trying to convince someone about Hayley, HTY s not a song I would choose to do so. Lezione I might well include however.
But Here's to You is still a good song. There are no bad tracks on this album. It just doesn't make me say "WOW!!"
Martin D
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Dave
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Post by Dave on May 13, 2011 1:54:42 GMT
For me Here's to You is the weakest song on the album,it is just too repetitive for my taste, and Hayleys voice get drowned in something that sounds very like distortion, perhaps even clipping, at the end - it certainly is not recorded very well.
But Here's to You is still a good song. There are no bad tracks on this album. It just doesn't make me say "WOW!!"Martin D Hello Martin D! I love this song and the way it's constructed, including the way Hayley's voice is gradually merged into the choir at the end, it's very different and in a nice way (for me). Part of its attraction is the gradual build-up as layers are added and even the late "audio limiting" I mentioned a while back isn't a problem for me because the added brass instruments give the impression of increasing volume right to the end. Incidentally, the verses slowly speed up all the way through, starting at 19 seconds a verse and getting down to 16.7 seconds near the end, it's done subtly and very cleverly!  There is no clipping on this album, including Here's To You. I just think there is so much going on at high volume in the last two verses of Here's To You that it is hard for domestic audio equipment to handle it perfectly, the waveform must be horrendously complex, but it's definitely good enough for me! So there's some limiting (not clipping) of the audio peaks near the end, and some compression of the overall dynamic range, presumeably because the producer thought the start would otherwise be too quiet. This kind of thing is done on most albums other than some core classical albums, and on pop albums it is usually done far more than on Paradiso and is accepted as normal. Paradiso seems to have been mixed halfway between a true classical album and a pop album and more classically I think than many other classical crossover albums. I have a comparison table of Hayley albums and a few others, if anyone is interested. But enough of the technical from me, I still love this album to pieces (including Here's To You!). Cheers, Dave |
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Post by Libby on May 13, 2011 5:24:57 GMT
I actually agree with a lot of what you said here (amazing, I know  ). See inside your message for my responses. There are certain songs on this album I suspect anyone other than Hayley would struggle to sing. Here's to You is not one of them (as I said, even I could sing it). Libby agrees. ... Once upon a Time, .... and Amalia. I challenge anyone else ever to equal Hayley's renditions of them. Libby definitely agrees! That is the sort of thing I prefer to hear her sing. I like to hear her show me that she is the best singer I have ever heard. Here's to you does not show that, at least to my ears. Libby agrees.If I were trying to convince someone about Hayley, HTY s not a song I would choose to do so. Libby agrees.But Here's to You is still a good song. There are no bad tracks on this album. It just doesn't make me say "WOW!!" Libby agrees.I just want to add that one day while playing the CD when my sister was around, she actually seemed to like Here's To You. She doesn't really sing; she's more of a dancer. So she dances around to music a lot. She danced around to Here's To You. To me that's a sign she liked it! Oh, and I sing along. Yes, I sing along to Here's to You! I must say I do like having a song like that to sing along to with Hayley. It's kind of a good warm-up song. In fact, I might use it to get me warmed up for the harder songs on the CD! i.postimg.cc/9fYxy370/smilie-big-grin.gif |
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Post by Simba on May 13, 2011 6:54:49 GMT
Lol my sis danced to Here's to you too XD....(infact I did myself!) It's one of my fav. songs, probably the most rhythmic of hayley songs ever, especially with the last trumpet thing having a very original composition!
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Post by grant on May 13, 2011 19:22:37 GMT
Hi Dave I love this song and the way it's constructed, including the way Hayley's voice is gradually merged into the choir at the end, it's very different and in a nice way (for me). Part of its attraction is the gradual build-up as layers are added and even the late "audio limiting" I mentioned a while back isn't a problem for me because the added brass instruments give the impression of increasing volume right to the end.
Incidentally, the verses slowly speed up all the way through, starting at 19 seconds a verse and getting down to 16.7 seconds near the end, it's done subtly and very cleverly! I'm definitely with you on this one!  "Here's To You" is one of my favourite tracks on this album - hadn't realised that it gets quicker as it goes along - that's cool! I also think that there are very few singers that could actually make it so 'listenable'. I found several versions of Joan Baez' version on Youtube last night and it isn't a patch on Hayley's version. I have always liked Joan's voice but the orchestration isn't a patch on Ennio's creation for Paradiso and, very disappointingly, it fades out at the end!  On a live version performed in Paris, it appears to be a bit of a cult thing as Joan "Laa Laa's the last two verses with the audience joining in. Best wishes Grant |
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Post by Libby on May 14, 2011 4:09:31 GMT
I'm not saying this is a problem, or anything, just something I've noticed: In Amalia Por Amor, the fact that she is singing in a small space with hard walls around her seems quite evident in some parts. I don't know how to explain it, but it just sounds like her voice is hitting against hard walls. I realize that is the type of space people usually record in, but didn't think you were supposed to tell. I don't know if that makes any sense, anyway. I might just be imagining it. I especially notice it when I listen on my computer or mp3 player. Not so much on a stereo system.
I'm not saying this affects the quality of the song, because it's so wonderful! I was just wondering if anyone else noticed this, or if this is anything unusual, or what.
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Dave
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Post by Dave on May 14, 2011 15:10:51 GMT
Hello Libby, If you mean the lack of reverb, afaninchicago mentioned it in post #40, and I don't for a moment doubt it but it's not something that is noticeable to me. However, if it is done like that, I think it will have been deliberate - perhaps to help to give an "edgy" feel to Hayley's voice for a song that's very different from anything else on the album (and perhaps ever, for Hayley). That's my guess anyway. And whatever it is, it seems to have worked, judging by most of the comments in the Favourite Tracks thread.  Cheers, Dave |
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Post by Jillian on May 15, 2011 2:07:00 GMT
Hello Libby, If you mean the lack of reverb, afaninchicago mentioned it in post #40, and I don't for a moment doubt it but it's not something that is noticeable to me. However, if it is done like that, I think it will have been deliberate - perhaps to help to give an "edgy" feel to Hayley's voice for a song that's very different from anything else on the album (and perhaps ever, for Hayley). That's my guess anyway. And whatever it is, it seems to have worked, judging by most of the comments in the Favourite Tracks thread. Cheers, Dave Hi Dave, The first impression I got when listening to Amalia was that the 'sound' was designed to make it seem vintage and 'old school' if that makes any sense... Like something from time gone by that would have been on a big record on a gramaphone... Cheers, Jillian |
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Post by martindn on May 15, 2011 16:33:28 GMT
Hello Libby, If you mean the lack of reverb, afaninchicago mentioned it in post #40, and I don't for a moment doubt it but it's not something that is noticeable to me. However, if it is done like that, I think it will have been deliberate - perhaps to help to give an "edgy" feel to Hayley's voice for a song that's very different from anything else on the album (and perhaps ever, for Hayley). That's my guess anyway. And whatever it is, it seems to have worked, judging by most of the comments in the Favourite Tracks thread. Cheers, Dave Hi Dave, The first impression I got when listening to Amalia was that the 'sound' was designed to make it seem vintage and 'old school' if that makes any sense... Like something from time gone by that would have been on a big record on a gramaphone... Cheers, Jillian Well, considering that this is a tribute to Amalia Rodriguez, who started her recording career in the 1940s. Of course her early records would have been on old style 78s (made from shellac, they predated vinyl). Perhaps that is the reason for that effect Jillian. Of course the sond quality on Paradiso is far better than was possible on those old 78s. Martin D |
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Post by Dave on May 15, 2011 17:54:20 GMT
Hi Dave, The first impression I got when listening to Amalia was that the 'sound' was designed to make it seem vintage and 'old school' if that makes any sense... Like something from time gone by that would have been on a big record on a gramaphone... Cheers, Jillian Well, considering that this is a tribute to Amalia Rodriguez, who started her recording career in the 1940s. Of course her early records would have been on old style 78s (made from shellac, they predated vinyl). Perhaps that is the reason for that effect Jillian. Of course the sond quality on Paradiso is far better than was possible on those old 78s. Martin D Hi Martin D Jillian Libby and everyone, Yes indeed, and I think we are getting close to the reason for what some have mentioned as this unusual or unexpected sound on 'Amália' - a tribute to the Queen of Fado (yes I've been reading up on her!). But whatever the exact reason, I think it will definitely have been a deliberate artistic decision by the producer (and we know who that is!).  I find some of Amália's music to be most enjoyable, I can see why she was so famous and popular in Portugal and some other Countries. Cheers, Dave |
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"Here's To You" is one of my favourite tracks on this album - hadn't realised that it gets quicker as it goes along - that's cool! I also think that there are very few singers that could actually make it so 'listenable'.
On a live version performed in Paris, it appears to be a bit of a cult thing as Joan "Laa Laa's the last two verses with the audience joining in.
