65 replies to this topic

[Bellamy]

Celine 登上了 BillBoard 杂志 10 月 13 日的封面，这期杂志从 10 月 5 日开始发售。Celine 在其中谈到了她的新专辑。

 bb_cover.gif   16.14K   7 downloads

[xiefeng005]

熟悉的照片。。。。。。。。。。。

[cilin]

小的来，缪大的么？

[Bellamy]

有人买了就会有扫描了。

[summercold]

It's great!!!相信会对celine的新专集的有很大的帮助 tc的成绩会不会在bb上有迅速上升的迹象呢哈~~

[godlv]

为啥不用最近的照片腻

[ryandion25]

这张照片似乎以前见过。

[Bellamy]

独家献上全文：

nystrele, on Oct 6 2007, 04:22 AM, said:

here is the billboard article!!

Quote

EXCLUSIVE CELINE DION
Says Goodbye To Vegas And hello To An edgy New Album Ready for Takeoff
BY CHUCK TAYLOR

It’s the fourth standing ovation of the evening, as Celine Dion soars through another of her signature hits. The reverent audience inside Las Vegas’ Colosseum at Caesars Palace—many of whom have planned their entire vacations around these 90 minutes—appears to be in awe. And even though she has lived this moment for some 700 nights since launching her “A New Day” residency at the resort in March 2003, Dion still appears stunned by the reception. She looks studiously upon the 4,000 fans, bows gracefully, then raises her arm to share the moment with the troupe of 70 dancers and musicians who fill the stage with her.  “A New Day” is credited with helping catapult the town’s reputation as a destination for A-level talent. She has sold 3 million tickets there, according to Billboard Boxscore—and grossed $370.4 million through mid-September 2007. But come Dec. 15, Dion will have left the building.

“People were still questioning us after one week, two months, the first year,” Dion says. “Now we can say we’ve changed something. It’s hard to leave behind, because we started a family with everyone involved in the show. But it’s time for something else.” Enter “Taking Chances,” Dion’s first English-language album in three years. Due Nov. 13 via Columbia, the set signals a sonic left turn for Dion. In a career often trademarked by hits that soar, the AC immortal here more often roars, accompanied by an abundance of guitars and an overall tempo that is brisker, with a deliberate rock tint.

Dion collaborated with a number of producers new to her stable, including Ne-Yo, Ben Moody, Linda Perry, Emanuel Kiriakou and Tricky (see story, page 29), along with stalwarts John Shanks, Kara DioGuardi, Kristian Lundin, Anders Bagge, Peer Astrom, Aldo Nova and Chris Neil. Now, Dion is ready to show the world how she has grown—as a singer, an entertainer and a woman. “It’s not a new Celine,” she says. “There was no deliberate plan after five years to do something else. But I’m like everyone. I’m 39 now. I don’t look like I did 10 years ago, I dress differently—and I don’t sing the same. I have more edge and felt like doing something different.” Still, Dion has been away for a while, and there’s no doubt it took some adjusting on the part of her label when it came to her change in musical direction. But so far, radio looks to be along for the ride.

THE NEXT CHAPTER
While no one would question if Dion decided to fan herself leisurely in the Caribbean for a year or two after “A New Day,” the singer is primed for her next chapter amid a 25-year career marked by relentless ambition. Since her first project in 1982, the French Canadian has sold more than 185 million albums to become the best-selling female artist in history, according to her label. She has won five Grammy Awards, including the 1997 album of the year for “Falling Into You,” which sold 25 million copies worldwide.

Dion’s personal life has also played a role in her livelihood: In 1994, she married manager René Angelil, and in 2001, their son René Charles was born—a primary factor in the decision to put down roots in Vegas. So with “A New Day” winding down, the wheels began turning for “Taking Chances” last December, when her well-tread A&R team of Sony BMG Canada senior VP of A&R Vito Luprano and Columbia senior VP of A&R operations John Doelp started fielding more than 300 songs for the project.

“We met with Celine and René, and she made it clear that she’s at a point where she has nothing to prove—she wants to evolve and to push the envelope—but in the process, have fun,” Doelp says. Luprano notes that Dion is involved in every step of the process and readily knows what she likes. “She has to feel a connection. When a song feels right, she starts acting it out, as if stepping into a role,” he says. “She talks about how she envisions it being produced . . . ‘More guitars here,’ ‘Funky bass there,’ ‘Change the tempo.’ ”

Throughout July and the first half of August, Dion took time off from her show to record at the Studio in the Palms in Las Vegas. And while there is a greater edge to many of the tracks, which might surprise those who believe they have the singer pegged, nowhere does she compromise her essence in an effort to be hip, shocking, overtly contemporary—anything that she’s not. Dion offers a candid view of her perceived reputation, suggesting that as she was building her career, perhaps she was steered in a direction that kept her stylistically staid.

“When people sent me all those romantic songs to make people feel better or to cry, I went there because I had to prove myself,” she says. “Those songs are great and made me who I am today. It wasn’t a mistake, but I didn’t have a lot of choices. Do you think I wanted to hold those long notes forever and kill myself onstage every night? But everybody always sent the hardest songs to sing to me: ‘If somebody can hit those notes, it’s Celine Dion.’ And I can do it; I can hit them, baby. “Now maybe we’re all tired of those 10-second notes—the writers, the people—and they’ve evolved, too,” she continues. “Maybe no one thought I was capable of doing anything else, but I’ve got Heart and Doobie Brothers and Janis Joplin and Creedence Clearwater Revival inside of me, too.”

The album’s 16 tracks offer a full menu of tempos, emotions and lyrical themes, from the wash-away-my-man midtempo ballad “I Got Nothin’ Left,” co-written and co-produced by Ne-Yo, to Perry’s soul-baring pop-along rocker “My Love” and the hands-to-the-heavens “New Dawn.” Shanks produced the album’s electrifying standout performance, “That’s Just the Woman in Me,” which Dion has considered recording for 20 years, but never felt was the right fit for previous albums. Written by Kimberly Rew, it implores, “I need a man to love/Respect me, protect me, rule over, drool over/That’s the woman in me, baby.”

Shanks says, “Her vocal is smoking. She sang just two takes and killed it. At the end, Celine does a scream, like Janis Joplin, which gave us all chills. I brought back a mix to her and she insisted it wasn’t raw enough. She wanted it to sound live, like it was coming from a club.” Dion says, “I was amazed that song waited for me, that no one had recorded it. But now I was scared—I’m used to such control, and this needs to be sung like Joplin. I got myself into a character and put myself into abuse mode and started to sing through my soul and not my vocal chords. I sang it through twice; I didn’t want to work on it, because its honesty needed to be felt. When we played it back, I began to tremble, because I could not believe it was me.”

The overall recording process, Dion adds, was the best she has ever had in the studio. “The songwriters and producers that came with me helped me give it my all. I had the most fun. I have everything in life I could hope for—my husband, my son, who is coming on tour with me—and I wasn’t thinking that I have to deliver something. My voice sounds as strong as my happiness.”

GETTING THE WORD OUT
From Sony’s perspective, Dion’s move toward a less polished sound actually made the job easier when returning to the airwaves with “Taking Chances.” “Of course we wanted to get radio on this,” Luprano says. “Celine made it clear that that’s not why she was making this album or changing her sound, but when we heard these songs, we realized what a perfect vehicle we have. People don’t realize that Celine is only one year older than Gwen Stefani—and here she sounds younger and more contemporary than she ever has.” The radio initiative for the title track launched at AC in mid-September. Despite Dion’s history with 38 charting titles at the format—the most by any artist in the past two decades—and 11 No. 1s, nothing was a given. Since her last top 10 there four years ago, AC has retreated from the softer sounds of Elton John, Phil Collins and yes, Dion, instead supporting a more vigorous template from the likes of Nickelback, Daughtry, the Fray and Snow Patrol.

However, the less-silken sound of “Taking Chances” connected with programmers. In its first week, it blazed onto the AC chart at No. 23 with Most Increased Plays and Most Added honors, corralling key stations on both coasts. This week the song rises to No. 18. “This is the best song from Celine in years,” says Jim Ryan, Clear Channel senior VP of AC programming/WLTW New York PD. “She is still a core AC artist—one of few—and reaction has been overwhelmingly positive. If I were in Vegas, I’d bet my paycheck on it being a No. 1 AC song, as well as a multimillion-selling album. This is truly an event record that will be fully embraced by the masses.” KOST Los Angeles PD/music director Stella Schwartz adds, “We put ‘Taking Chances’ on the air at eight in the morning, and the phones lit up. Response has been unbelievable. No. 1 calls. Anything Celine touches will always be great for KOST and, I believe, for AC radio.” But though the song is off to a strong start, observers acknowledge Dion is so associated with her old sound that it may take some listeners longer to warm to her new sonic experiments.

“A lot of artists insist that their sound can never change—that they have a formula you shouldn’t mess with. Celine is saying that she’s more mature, her voice is changing and she wants to sing what fits her now,” says Michael McVay, president of radio consultancy McVay Media. “I actually think the song is so good and so contemporary that you could take Celine’s name off the CD and increase the number of first-time listens from programmers.”

PERFECT TIMING
Columbia is pulling out all stops for its marquee artist. “Everybody around the world thinks that Celine has made an incredible record, and we are 100% committed,” label chairman Steve Barnett says. “Timing is so important and this album feels right. This is the time for her return. When we look at the opportunities she has on a global platform, it’s amazing.”

The campaign launched Sept. 7 via an alliance with Amazon, which for five days posted a “first glance” in-studio videoclip of Dion recording “Taking Chances” with streaming of the song, along with pre-orders of the disc for $9.99. By the promotion’s close, the album was ranked No. 7 among the site’s best-selling 100—two months before its release.

In October, People magazine will feature Dion on the cover, followed by an avalanche of other print coverage. Columbia also indulged fans with the Oct. 2 release of a “collector’s edition” of her 1998 Christmas CD “These Are Special Times”—with 4.8 million copies sold, it is the second-best-selling holiday album in U.S. history, according to Nielsen SoundScan—which includes gatefold packaging and a DVD of her first CBS TV special; while on Dec. 11, a high-definition DVD release of “A New Day” will be issued. Meanwhile, three versions of “Taking Chances” will be offered at retail: the traditional CD, a two-disc CD/DVD set and a CD/DVD with expanded packaging. Surrounding street date, Dion will devote a full hour to “The Oprah Winfrey Show,” in addition to the usual slate of entertainment TV appearances. Columbia is also aligning with various online partners that are still being locked in. CBS is already using “Taking Chances” to preview its fall Friday night lineup, including promos for new drama “Moonlight.” And in February, she will headline a one-hour musical special on the network featuring performances from the new set.

“So much of what we’re trying to do is let the world hear Celine’s music. That’s always been the driver,” Doelp says. “It’s very much about awareness and letting her large fan base know that she has a new record, and understanding the new direction and things she wants to do and say.” Not that Dion doesn’t invite at least a little mystery—for instance, the dramatic cover art for “Taking Chances,” in which her hair is teased with extensions into a near-lioness mane and her facial expression is curiously cryptic. The idea was all hers. “Maybe there’s a look that people expect, but this is show business. Come on, it’s still the same me, but I decided that I don’t have to paint on a smile to show what’s inside,” Dion says. “Don’t look at my lips and my hair; look into my eyes and feel me, baby. I am smiling there and giving more than ever before. Come with me. Listen and imagine me however you want.”

Fans will be able to do just that on the arena/stadium tour in support of “Taking Chances,” which kicks off Feb. 14, 2008, in Johannesburg with eight shows there that month. (Proceeds go to the Nelson Mandela Children’s Fund.) Dion then treks to the Middle East, Asia, Australia, New Zealand, Europe and North America. The yearlong outing will cover five continents, 25 countries and more than 100 cities. These shows will be far less intimate than “A New Day,” which Caesars Palace president Gary Selesner says “reinvented how entertainment is perceived in Las Vegas. She brought people into our restaurants, our hotel beds and casino seats, and filled each of them night after night. There are few stars in the world with that ability.”

Dion was guaranteed a $100 million purse, making the Vegas shows worth her while financially. But the commitment left her reputation vulnerable if the engagement, which launched in March 2003, deflated into a high-profile flop. Instead, at an average price of $150, she persistently filled 4,000 seats five nights per week at the Colosseum at Caesars Palace—a $95 million theater custom-built for the show. Billboard Boxscore ranked the AEG Live residency among the top five-grossing concerts worldwide each year.

Though Dion recognizes the risk of wrapping up the engagement, she waves that off as a reason to have made any other choice. “Five years ago, I had done it all. I needed a new challenge,” Dion says. “I wanted to offer my fans something more theatrical and spectacular than anything we’d done before. I never felt I had anything to lose. “This is the best album of my life,” she adds. “If you have a child with all the potential in the world and you don’t give him or her the chance to explore, it’s a loss. My voice and my body are in the best shape ever. I’m more mature and grounded. I need to express myself and show that I feel great and beautiful.”

nystrele, on Oct 6 2007, 04:30 AM, said:

there's a second article with the main piece in billboard. here it is! ALL VERY VERY POSITIVE!!!!!!!

Quote

Dion’s Producers Weigh In On ‘Taking Chances’

A common theme that the producers of Celine Dion’s new album share is that while the studio experience was intense and focused, there was also a lot of laughter and joking. “Here I am meeting the biggest-selling female in the world,” Ben Moody says. “She’s got to have at least a little of the diva thing going, right? But here comes this classy, gracious woman—and we had a crazy time. She would make fun of me in four languages. It was a multilingual blood bath in there.”

Moody produced a remake of Heart’s “Alone” for the album and co-wrote/co-produced with David Hodges “This Time,” Dion’s most issues-oriented song ever. It’s a driving rock ballad about a battered woman lying in a hospital bed who hears the footsteps of her abuser coming down the hall and must decide if she’s had enough. Moody was surprised by how much trust Dion put in his direction. “You can tell she’s been in a studio all of her life, because she’s so comfortable there. For the most part, if you just let her do her thing, she’ll find her spot and give you magic,” he says. “But she was nervous about the importance of this song and representing these women honestly. She sang herself hoarse that night, giving it 150%. It’s obvious how much she cares.”

Ne-Yo, who co-wrote and co-produced “I Got Nothin’ Left,” concurs. “Celine was willing to try anything to make the song the best it could be,” he says. “She enjoys her craft; it’s not about money or fame. It’s about making art.” On the other hand, he adds, “I wasn’t expecting her to be cracking jokes and doing Elvis impressions. She was so light-hearted and funny.” Linda Perry was impressed by Dion’s candor. “Celine said to me, ‘I’m not cool, and I’m not trying to be cool. My audience responds to something about my voice and I don’t want to change that,’ ” she says. “She is definitely a real artist who knows herself. I found that she was willing to do whatever it took to make me happy.” Kara DioGuardi says Dion deserves credit for her willingness “to change things up and not do the safe thing. Celine has pretty much done everything you can possibly do. Her emotions were definitely heightened on this record. She was afraid of nothing.”

But Dion was also willing to share her vulnerability. The first night in the studio with John Shanks—who produced the single “Taking Chances” and four other tracks—was “like the first day of school,” he says. “We talked for an hour about how she perceived the direction of the songs. Putting herself back out there on a record, it’s as if Celine needed nurturing that she was still relevant as an artist. I reassured her that young singers hold her as the pinnacle . . . that she is the bar.” —CT

chuck taylor's e-mail address at billboard magazine seems to be

ctaylor@billboard.com

he should know what he's done for everybody, especially celine!!!!

[godlv]

这么···长······

[Jackie]

不就是这张么～好像是2005年的～～～

[celine_curie]

Gosh, Chunk Taylor写得太赞了，赶紧发邮件感谢他~~
在google上搜到了他的myspace，贴在这里，大家也可以在那里留言
http://www.myspace.com/nystrele

[gudaodai]

现在图文并茂了

[Bellamy]

celine_curie, on Oct 6 2007, 10:24 AM, said:

Gosh, Chunk Taylor写得太赞了，赶紧发邮件感谢他~~
在google上搜到了他的myspace，贴在这里，大家也可以在那里留言
http://www.myspace.com/nystrele

现在证实 nystrele 其实就是 Chunk Taylor 自己。原来是他自己抢在 BillBoard Magazine 之前就把文章发到我们的论坛上来了。难怪他把所有的细节都写对了呢。我们论坛太强了，BillBoard Magazine 的编辑也上我们这读 Celine 的消息！  

[soleland]

  没用新专辑的宣传图。。。有点遗憾

[dolores]

待我慢慢看

[Mac]

赞一个，这两天我抽点时间把这篇文章翻出来！！！

[celine_curie]

Bellamy, on Oct 6 2007, 12:26 PM, said:

celine_curie, on Oct 6 2007, 10:24 AM, said:

Gosh, Chunk Taylor写得太赞了，赶紧发邮件感谢他~~
在google上搜到了他的myspace，贴在这里，大家也可以在那里留言
http://www.myspace.com/nystrele

现在证实 nystrele 其实就是 Chunk Taylor 自己。原来是他自己抢在 BillBoard Magazine 之前就把文章发到我们的论坛上来了。难怪他把所有的细节都写对了呢。我们论坛太强了，BillBoard Magazine 的编辑也上我们这读 Celine 的消息！  

是啊，貌似celinedion.com和billboard的编辑都来看了，赞！！~~论坛的影响力如日中天啊~~     

[blue515]

16首
oprah
ne—yo
……

[memory]

是啊，用新图就更好咧~~

[Dick0939]

love～
希望bb上有前10~

[Mac]

我工作时偷偷翻译的BILLBOARD文章，第一部分，剩下的慢慢译
水平有限，大家凑合着看看吧：


远离拉斯维加斯  迎向振翅欲飞的新锐专辑(PART I)

作者：查克•泰勒

这已经是晚间演出中的第四次全场起立喝彩了，Celine Dion再次飙出了她标志性的高音。如痴如醉的观众们脸上露出了些许敬畏的表情：他们中的许多人千里跋涉来到赌城，仅仅是为了这90分钟的享受。尽管自2003年3月开始驻唱以来，Dion已经在约700个现场表演的夜晚里经历过这一幕，但今天观众们如潮的盛情仍让她显得有些不知所措。她欣喜而好奇地注视着台下的4000名歌迷，优雅地行礼，然后举起手臂与舞台上70名舞者和演奏家共飨盛况。“新的一天”的成功使这个城市声名显赫，一跃而成顶级艺术家们云集之地。根据Billboard票房纪录，她在这里共售出了3百万张门票，并在2007年9月中旬之前赢得了3亿7百零4十万美元的总收入。但12月15日，Dion将会离开凯撒皇宫。

“在演出开始后的一周，两个月，第一年里，仍然有声音质疑我们能否做到，”Dion说，“但现在我们已经改变了他们的态度。要抛下这一切很困难，因为我们和演出中的所有人员都结成了家庭般的关系。但目前是开始另一段旅程的时候了。”进入“冒险”，Dion 3年来的首张英语专辑，将由哥伦比亚唱片公司在11月13日发行，它标志着Dion唱腔的转型。这位不朽的抒情天后过去的生涯由无数有着华美高音的金曲铺筑而成，而新专辑中将会有更多的高音，并有着饱满的吉它伴奏和活泼精巧、富有摇滚色彩的节奏。

Dion选择了与一系列较她而言全新的制作人合作，例如Ne-Yo, Ben Moody, Linda Perry, Emanuel Kiriakou 和 Tricky，此外还有她长期坚定的伙伴John Shanks, Kara DioGuardi, Kristian Lundin, Anders Bagge, Peer Astrom, Aldo Nova及Chris Neil。现在，Dion已经准备好向全世界展示她已经成长起来了，无论作为一名歌手，艺人或是女性。“这不是一个全新陌生的Celine，”她说，“我们没有什么精打细算的５年后该如何如何的计划。但我就像其他人一样。我已经３９岁了。我跟１０年前的我看上去不同，穿衣服不同――唱法也不再一样。我有种冲动，想尝试其它不同的事物。”Dion驻唱已经有了一段时间，毫无疑问她的唱片公司在她音乐转型时需要做些适当调整。但岂今为止，电台似乎还跟上了趟。

新的篇章

尽管即使Dion选择在“新的一天”结束后赴加勒比海岸放松自己也没人能说三道四，这位歌手还是在２５年来从未歇止过的雄心壮志趋使下，积极谋划她的下一篇章了。根据唱片公司的纪录，自１９８２年发行首张专辑起，这位法裔加拿大天后已经在全球售出了１亿８千５百万张专辑，成为有史以来最畅销的女性歌手。她赢得了５座GRAMMY奖，包括１９９７年的年度专辑“真爱”。它在全世界售出了２千５百万张。

Dion的私人生活在她的职业中扮演了重要作用：1994年她与Rene Angelil完婚，２００１年他们爱情的结晶Rene Charles出生――他是Dion作出驻唱决定的主要因素。所以在“新的一天”大幕徐徐落下之际，车轮开始驶向了“冒险”之旅。去年１０月，Sony BMG加拿大的高级长官Vito Luprano和哥伦比亚唱片公司的高级长官John Deolp便开始从３００余首歌曲里为新专辑挑选曲目。

“我们与Celine和Rene会面时，她直截了当地告诉我们，凭她目前的地位已经不再需要去证明什么了――她想要参与到整个计划中来――并且从中获得乐趣。”Doelp说。Luprano透露说Dion全程参与了每一个步骤并且清楚地知道自己想要什么。“她需要与歌曲间产生关联感。当融入歌曲后，她会尝试将它‘表演’出来，就像入戏。”他说，“她会告诉我们她设想这首歌应该怎样制作……‘这里多一点吉它’，‘那里要放克贝斯’，‘节奏需要变一下。’”

整个７月和半个８月，Dion从演出中暂时脱身出来，在位于拉斯维加斯的Palms录音棚录制新专辑。尽管许多歌曲都更为“尖锐”，并且可能会让持有刻板印象的人大吃一惊，但Dion并不会妥协自己的行为哲学。她不会试着去成为另一个人，或是去耸人听闻、哗众取宠、博取眼球。Dion坦然地谈到了她对自己在公众眼中声名的看法，认为在她在整个职业生涯都被有意无意地塑造成了某种更加文静的形象：

“当作者们送给我令人潸然泪下的浪漫歌曲时，我会去唱因为我需要证明自己。”她说，“它们都非常优秀并且成就了我。那（唱抒情歌曲）并不是一个错误，但我从前没有太多的选择。你觉得我真想要永远保持那些长长的高音并且每晚在舞台上精疲力竭吗？但人们总是送给我最难唱的歌：‘如果有人能唱上这些高音的话，那就是Celine Dion’。的确，我可以唱出这些高音。但现在也许我们――曲作者以及听众们，他们同样参与了这一切――已经厌倦了１０秒钟的高音，”她接着说，“也许没人以为我还能做其它事，但在我内心同样居住着类似Heart, Doobie Brothers, Janis oplin, Creedence Clearwter Revival的灵魂。”

整张专辑的１６首歌完全由节奏，情感和鲜明的主题构成，包括描述失掉男友的中板歌曲“I got nothing left”――它由Ne-Yo合作谱写和制作；Perry坦露胸襟的流行摇滚之作“My Love”和美妙的“New Dawn”。Shanks制作了专辑中最抢眼的曲目，“That’s just the woman in me”。Dion２０年前便考虑录制这首歌，但在以前的专辑中均感不合适。此曲由Kimberly Rew写作，歌里恳求说，“我需要一个男人来爱我/尊重我，保持我，来支配，来宠爱/那就是我心中的女人。”

Shanks说，“她的声音在冒烟！她试唱了２次就完全掌控了这首歌。在歌的结尾，Celine就像Janis Joplin那样嘶吼，让我们兴奋得浑身战颤。我给他带回了一个混音版本但她坚持说这还不够“糙”。她想要那种现场演唱的感觉，就好像俱乐部里的录音。”Dion说，“我很惊喜，这么多年这首歌一直在等着我，没有人去录它。但现在我有些害怕――我习惯在演唱时运用控制，但现在我需要像Joplin那样去唱。我通唱了２次；我不想去润色它因为它赤裸的本质是需要去体验的。当我们回放时，我开始颤拌，因为我不敢相信那是我的声音。”

Dion又说道，整个录音过程是她在录音室里最美好的时光。“歌曲作者们和制作人帮我发挥出了我所有的潜力。我非常快乐。我已经拥有了我能期望的一切――丈夫，孩子，跟我一起巡演的人。我也没想过我想要传达什么。我的声音就像我的幸福一样强壮。”

环游世界

以SONY的观点看，Dion用更加不经修饰的声音演唱的确使Taking Chances的电台推广容易了些。“我们当然希望电台能播它，”Luprano说，“Celine明确说过这不是她录音或者改变唱法的原因，但当我们聆听这些歌曲时，我们意识到我们拥有的是如此炫目的珍宝。人们没有意识到Celine只比Gwen Stefani大一岁――现在她听起来更年轻，较她以后更有时代感了。”电台AC频道自９月中旬起开始播出这首同名歌曲。即使Dion拥有３８首AC上榜歌曲――是２０年来上榜次数最多的歌手――同时有１１首＃１，目前一切还没有定数。自她４年前的最后一支前１０名单曲以来，AC已经从较轻缓的歌手中转型，例如Elton John, Phil Collins和，对，Dion, 转而支持节奏更强劲的艺人，如Nickelback, Daughtry, the Fray 和 Snow Patrol.

但是，Taking Chances中不再如丝绸般润滑的声音吸引住了编排员。发行首周，它成功登上AC榜＃２３，被东西两岸的核心电台播放，成为增加播出次数最多以及最获新好评的歌曲。本周它升至＃18。“这是Celine长久以来最棒的歌，”Ｃlear频道高级执行官Jim Ryan说，“她仍然是少数AC核心歌手中的一员――听众们的反馈压倒性地叫好。如果我在LV，我敢用我的工资打睹它肯定会成为一首#１的AC歌曲，同时也会成为一张多白金的专辑。它肯定会是张广受欢迎的重要唱片。”KOST　PD/音乐指导Stella Schwartz同意说，“我们在早上８点播出了taking chances，然后电话声响起了。如此迅速的回馈让人难以置信。第一个电话。任何Celine唱的东西都会成为KOST的成功并且我相信，对所有AC电台都一样。”但即使这首歌有一个强有力的开端，观察家们同意说Dion和她旧有的声音联系得太紧密了，有些听众可能会花更多的时间来习惯她新的声音旅途。

“许多歌手坚称他们的声音永远不会改变――而且你也不会把他们的唱腔混淆起来。Celine说她更成熟，她的声音改变了并且她想唱那些适合现在的歌。”Michael McVay如是说，“我的确认为这首歌是如此地棒，如此现代，你完全可以把Celine的名字从CD上拿掉，来增加初次聆听的电台编排员人数。”

[Bellamy]

感谢 Mac 的翻译。

[Jackie]

谢谢Mac，看完了，很感动～

[godlv]

谢·········谢····~~~~·

[soleland]

谢谢Mac 的翻译
可以转载到CN吗

[xiefeng005]

确实蛮棒的，辛苦了

[Mac]

soleland, on Oct 7 2007, 05:25 AM, said:

谢谢Mac 的翻译
可以转载到CN吗

Of course.
明天争取把剩下的翻完。

[bonjovi]

MAC太强悍拉!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

[loveyoumore]

哦,中文翻译~~先支持个再仔细看~!

[soleland]

Mac, on Oct 7 2007, 06:54 PM, said:

soleland, on Oct 7 2007, 05:25 AM, said:

谢谢Mac 的翻译
可以转载到CN吗

Of course.
明天争取把剩下的翻完。

谢谢 嘿
期待后面的部分