1600 replies to this topic

[guyddavies]

As always sherri I'm glad to give you a laugh!!! Lol I need a job as a reviewer if only to brighten your day, my thizle life is none existant my shirt is practically welded on I might as well be doing something constructive!! Think ill review LTAL next, I will need a big word count for I hate you then I love you though!!! I'm sure there are people that like the song it's just Pavarotti!!! I can't get over him, although on all fairness I wouldn't like to try lmao!!

[Yangedd]

^{I bought this album back in 199 from an online store. I loved it right away. The songs just blew me away: All By Myself, Your Light, Make You Happy. I loved them all.}

[minolli]

It's so interesting to hear such differing opinions on the songs on this album! I tend to think of FIY as being universally loved, but I love hearing about how some people love certain songs and find others bland, while the next person's opinion is completely opposite. I guess it goes to show that with Celine, there's something for everyone.

FIY is the album that introduced me to Celine, so as far as English albums go, I don't know if anything could ever top it. Sure, I have my preferences about individual songs, but as a whole, I think this album is among her most cohesive and well-produced, and obviously, showcases her at top form vocally (for the most part).

For me, it's a complete classic and after having listened to it hundreds of times, whenever I listen to it, it still takes me back to the first time I ever heard BYLM and found out who Celine was. I think I am too sentimental about it to be objective, but it's probably a "desert island" album for me.

[justinecoria]

I'm probably a little late .
Anyway, to me, no album measure up to FIY when it comes to vocal perfection. And I'm saying this as a fan of Celine, Whitney and Mariah. This album is full of gems and her voice in it is just perfect.
And because it is just out of this world, I actually rarely listen to it. It's not an album I can put in the background and listen to.
I get to it sometimes when I want to be amazed : I just lay down and listen to it with my earphones, and it's like every note has the right meaning. Her soft voice is pureness, her belt have that kind of tremolos I just love (especially in IACBTN), and the arrangements are truly great. A piece of art.

[mike_z]

I love "Falling into you" the video. She looks like a goddess with the hair extensions and the cape! so tall, slim, mysterious...

[wjd]

In terms of vocals, its definitely her most impressive album.

For me, its middle of the board - I enjoy A New Day Has Come, The Colour of My Love, Lets Talk About Love and Celine Dion more than this. And I sometimes I enjoy One Heart and These Are Special Times more than this too.

Its an exceptional album, nonetheless.

[mike_z]

Celine Fan 77, on 14 February 2012 - 05:31 AM, said:

For Keeps: I was not satisfied with the first recording we made with "Falling into You." This is a song with many nuances, with half-tones. I found the arrangements were too violent, my voice didn't flow enough. Everybody, however, the technicians, the authors, even David and René, seemed satisfied. I said nothing. But René felt that I wasn't happy... He asked me what was wrong. I explained it to him. He seemed surprised. Then I hummed him "Falling into You" describing after every time the arrangements which I was imagining. He quickly agreed with me. He seemed amazed, as if he just discovered something... I called the director and the engineer to explain how I was feeling my song, what kind of changes. They all agreed and were happy, they said it to me... This song marked a step of my emancipation as an artist... I was becoming a mature, grown-up, autonomous artist... So we came back in studio and we recorded "Falling into You" again. It never became a big song for the stage; it is too sweet, too subtle to move a crowd. But it is, in my opinion, one of the thrillest songs on the album Falling into You. And I love the lyrics.

What's weird is that the original version in spanish has the same arrangement. Doesn't sound 'violent' to me

[Matej]

The new CD of Falling Into You was released in late 2012.

[Javito]

Celine Fan 77, on 14 February 2012 - 05:31 AM, said:

For Keeps: I was not satisfied with the first recording we made with "Falling into You." This is a song with many nuances, with half-tones. I found the arrangements were too violent, my voice didn't flow enough. Everybody, however, the technicians, the authors, even David and René, seemed satisfied. I said nothing. But René felt that I wasn't happy... He asked me what was wrong. I explained it to him. He seemed surprised. Then I hummed him "Falling into You" describing after every time the arrangements which I was imagining. He quickly agreed with me. He seemed amazed, as if he just discovered something... I called the director and the engineer to explain how I was feeling my song, what kind of changes. They all agreed and were happy, they said it to me... This song marked a step of my emancipation as an artist... I was becoming a mature, grown-up, autonomous artist... So we came back in studio and we recorded "Falling into You" again. It never became a big song for the stage; it is too sweet, too subtle to move a crowd. But it is, in my opinion, one of the thrillest songs on the album Falling into You. And I love the lyrics.

And again, here we have another unreleased version of a song that is hidden in the dark. When will they plan to give us some portion of this material, instead of always releasing invariably the same album with the same content?

[chocolatechip15]

Javito, on 15 April 2013 - 05:48 AM, said:

And again, here we have another unreleased version of a song that is hidden in the dark. When will they plan to give us some portion of this material, instead of always releasing invariably the same album with the same content?

But Celine didn't like the arrangement, didn't think it was good -- that's why she didn't want to release it.  She instead released what she, Rene, and the producers agreed was a better arrangement.  I think it makes sense for her to not  release a version of a song that she doesn't think is great.  Celine is a perfectionist.

Edited by chocolatechip15, 15 April 2013 - 05:59 PM.

[Niko's]

chocolatechip15, on 15 April 2013 - 05:58 PM, said:

But Celine didn't like the arrangement, didn't think it was good -- that's why she didn't want to release it.  She instead released what she, Rene, and the producers agreed was a better arrangement.  I think it makes sense for her to not  release a version of a song that she doesn't think is great.  Celine is a perfectionist.

But it's strange. It's like if Celine recorded FIY with the same instrumental track that used Marie-Claire D'Ubaldo. Then, Celine was not satisfied, so she proposed new arrangements for the song. But actually what they've chosen for the album is the version with the same instrumental track as Marie-Claire (so also the version she didn't like ?).

Don't know if it's clear for you, but either there's something wrong written in "For Keeps", or that re-arranged version was unfortunately whisked away.

I'm convinced that in 1995, after the huge success of TCOML and D'eux, Celine thought she could be powerful enough to impose her musical ideas (modifications in arrangements... just like this example in FIY). But, I have a feeling that she gave up when she realized that the industry rules forever.

Also, in 1997 (don't remember where I read that), it seems that she didn't want to record LTAL as soon as Sony wanted. And again, industry and challenges won. So, I think it's a miracle to have an album of such quality (top shape vocals, globally refined instrumental tracks...) while it was prepared in just 3-4 months.

Edited by Niko's, 16 April 2013 - 03:40 PM.

[LuisMa]

Curious that as I'm checking the forum, this topic is the first one I see and right now I'm preparing an exercise for my students tomorrow. As we're studying the simple past tense, what better exercise than listening to "Because You Loved Me" and "It's All Coming Back To Me Now" and having some listening practice by filling in the blanks with the missing verbs.

[Si J'etais Quelqu'un]

Probably my fourth or fifth favorite Celine album, behind 1 Fille, LTAL, ANDHC, and then it probably often switches places with One Heart which I love despite the nagging feeling that I'm not supposed to.

Maybe it's the bright cover, but this album feels much more celebratory and joyous than any of her previous English efforts. But it's more than the artwork; there's this air running through the album, like it actually KNOWS it's going to mark the moment Celine becomes a global superstar. It feels like her first album that's built to be a blockbuster. What's funny though is that so much of the material isn't rooted here; you've got three D'eux translations, a handful of covers... two of those covers became signature Celine songs, but the high level of outsourcing is surprising when you think about it. It's a credit to Celine and her people. One Heart, for instance, feels very half thought-out at times, yet Falling Into You comes off so much more like this fully formed, labored upon, coherent piece, something with a great amount of purpose when you consider that only seven or eight songs were written right then and there.

[Javito]

chocolatechip15, on 15 April 2013 - 05:58 PM, said:

But Celine didn't like the arrangement, didn't think it was good -- that's why she didn't want to release it.  She instead released what she, Rene, and the producers agreed was a better arrangement.  I think it makes sense for her to not  release a version of a song that she doesn't think is great.  Celine is a perfectionist.

Yeah, she also thought MHWGO was a terrible song to the point she didn't want to record it, and look at the song now, what it became in 1998.

Do you ever trust everything they told you with your eyes closed? Wouldn't you prefer to check yourself how the song was to see yourself if it was that bad? What if you liked it better than the version we know? Because that's what usually happens with these things... some think its rubbish, some think its gold.

Okay, she got FIY her way, that's fine, but now it's been 17 years since the album was released. What's wrong to share all these early/unnofficial versions or demos with her fans, and let them know how different the song was? I don't think it's a bad idea to ask for these things after so long!

Edited by Javito, 16 April 2013 - 04:41 PM.

[Si J'etais Quelqu'un]

Javito, on 16 April 2013 - 04:35 PM, said:

Okay, she got it her way, that's fine, but now it's been 17 years since the album was released. What's wrong to share all these early/unnofficial versions or demos with her fans, and let them know how different the song was? I don't think it's a bad idea to ask for these things after so long!

Phil Spector claims to have half an album's worth of GLORIOUS material from the Falling Into You sessions. He lamented the "contrived and repugnant... Whitney Houston and Mariah Carey-rejected soundalike songs" that eventually made up her repertoire, and he said he'd release their collaborations one day; it probably won't happen. Celine even said that, despite their difficulties working together, the songs they made in the studio were "just unbelievable". I wish we could hear THAT stuff.

[Javito]

Si J, on 16 April 2013 - 04:40 PM, said:

Phil Spector claims to have half an album's worth of GLORIOUS material from the Falling Into You sessions. He lamented the "contrived and repugnant... Whitney Houston and Mariah Carey-rejected soundalike songs" that eventually made up her repertoire, and he said he'd release their collaborations one day; it probably won't happen. Celine even said that, despite their difficulties working together, the songs they made in the studio were "just unbelievable". I wish we could hear THAT stuff.

We will, someday, I'm sure!

[Si J'etais Quelqu'un]

Javito, on 16 April 2013 - 04:42 PM, said:

We will, someday, I'm sure!

Spector said all of that ten years ago. I'm sure Rene and Celine's team will make sure anything involving her that isn't under their umbrella (aka they can't make money off it) never sees the light of day. At least not without getting lawyers involved.

[DionFanAlways]

I really wonder what happened in those sessions between her and Phil Spector?

[chocolatechip15]

Niko, on 16 April 2013 - 03:37 PM, said:

But it's strange. It's like if Celine recorded FIY with the same instrumental track that used Marie-Claire D'Ubaldo. Then, Celine was not satisfied, so she proposed new arrangements for the song. But actually what they've chosen for the album is the version with the same instrumental track as Marie-Claire (so also the version she didn't like ?).

Don't know if it's clear for you, but either there's something wrong written in "For Keeps", or that re-arranged version was unfortunately whisked away.

I'm convinced that in 1995, after the huge success of TCOML and D'eux, Celine thought she could be powerful enough to impose her musical ideas (modifications in arrangements... just like this example in FIY). But, I have a feeling that she gave up when she realized that the industry rules forever.

Also, in 1997 (don't remember where I read that), it seems that she didn't want to record LTAL as soon as Sony wanted. And again, industry and challenges won. So, I think it's a miracle to have an album of such quality (top shape vocals, globally refined instrumental tracks...) while it was prepared in just 3-4 months.

It is odd about the track . .I've always wondered if she was confusing this incident with another song -- because she refers to David Foster ("even David and Rene seemed satisfied") -- but David Foster didn't produce Falling Into You! That song was produced by Rick Nowels and Billy Steinberg.

Btw, this excerpt is from "My Story, My Dream," not "For Keeps."  For Keeps is not written in the first person.

[chocolatechip15]

Javito, on 16 April 2013 - 04:35 PM, said:

Yeah, she also thought MHWGO was a terrible song to the point she didn't want to record it, and look at the song now, what it became in 1998.

Do you ever trust everything they told you with your eyes closed? Wouldn't you prefer to check yourself how the song was to see yourself if it was that bad? What if you liked it better than the version we know? Because that's what usually happens with these things... some think its rubbish, some think its gold.

Okay, she got FIY her way, that's fine, but now it's been 17 years since the album was released. What's wrong to share all these early/unnofficial versions or demos with her fans, and let them know how different the song was? I don't think it's a bad idea to ask for these things after so long!

Oh, I agree that I'd *like* to see all this old stuff, alternate versions, etc - I'd love it, actually!   I'm just saying that I understand why they wouldn't want to release something they didn't regard as good.    And Celine certainly has released a tremendous amount of material over the course of her 30-plus year career -- when you consider that she has consistently recorded in 2 languages, she probably has close to twice as much material as most other artists.  And aside from her regular studio albums, she's appeared in so many compilations, charity albums, etc.

My #1 pick for unreleased song i would LOVE to hear is Dreams to Dream.  If only . . .

[chocolatechip15]

DionFanAlways, on 16 April 2013 - 05:03 PM, said:

I really wonder what happened in those sessions between her and Phil Spector?

Celine and Rene tell their side of the story in Celine, the first Georges-Herbert Germain book from 1997.  I don't have it with me, so I can't quote exactly, but essentially they said the sessions ended because Phil was keeping Celine in the studio late into the night.  He was working with the instruments and wasn't even ready for her, and she had to shoot a video or something the next day.  Someone on Celine's team (Dave Platel, maybe?) dared to ask when they would be ready for Celine to sing, and Phil had a totally disproportionate reaction, getting really mad and saying he'd like to pulverize Dave or something to that effect.  Celine said she and Rene looked at each other and she knew they were thinking the same thing -- she got up and left the studio, and Rene told Phil that he doesn't let anyone treat his friends that way.  

The interesting thing is that there is a 2007 biography of Phil Spector, called Tearing Down the Wall of Sound, in which the author interviewed someone who had participated in the sessions.  They had a less flattering view of Celine's team, but told basically the same story, which makes me think that's what really happened.  This is what the Spector biography says:

"True to his traditional practice, Spector insisted on keeping Celine waiting for hours while he tinkered with the arrangements, and then working her late into the night, a fact that irked her husband  and the representative from Sony . . . At length, the mounting tensions exploded into a blazing row between Spector and the Sony representative. 'The guy from Sony was a typical schmuck executive idiot," remembers David Kessel. 'He was pulling all this 'I'm with the label' s***, and Phil told him to go to hell. And then Celine's husband got a little irritated with Phil telling the record executive to shove it up his #ss . . .Rene Angelil announced that Spector was off the project."

http://books.google....&q=dion&f=false

[DionFanAlways]

Thanks! I was always curious to know. That's interesting

[Si J'etais Quelqu'un]

chocolatechip15, on 16 April 2013 - 07:14 PM, said:

Celine and Rene tell their side of the story in Celine, the first Georges-Herbert Germain book from 1997.  I don't have it with me, so I can't quote exactly, but essentially they said the sessions ended because Phil was keeping Celine in the studio late into the night.  He was working with the instruments and wasn't even ready for her, and she had to shoot a video or something the next day.  Someone on Celine's team (Dave Platel, maybe?) dared to ask when they would be ready for Celine to sing, and Phil had a totally disproportionate reaction, getting really mad and saying he'd like to pulverize Dave or something to that effect.  Celine said she and Rene looked at each other and she knew they were thinking the same thing -- she got up and left the studio, and Rene told Phil that he doesn't let anyone treat his friends that way.  

The interesting thing is that there is a 2007 biography of Phil Spector, called Tearing Down the Wall of Sound, in which the author interviewed someone who had participated in the sessions.  They had a less flattering view of Celine's team, but told basically the same story, which makes me think that's what really happened.  This is what the Spector biography says:

"True to his traditional practice, Spector insisted on keeping Celine waiting for hours while he tinkered with the arrangements, and then working her late into the night, a fact that irked her husband  and the representative from Sony . . . At length, the mounting tensions exploded into a blazing row between Spector and the Sony representative. 'The guy from Sony was a typical schmuck executive idiot," remembers David Kessel. 'He was pulling all this 'I'm with the label' s***, and Phil told him to go to hell. And then Celine's husband got a little irritated with Phil telling the record executive to shove it up his #ss . . .Rene Angelil announced that Spector was off the project."

http://books.google....&q=dion&f=false

That's interesting. I sort of knew there was an argument in the studio but thanks for detailing it. In her memoir, Tina Turner said that in one of their initial meetings, he pulled an apple core out of an ashtray and started eating it. Later on at his house when he played River Deep, Mountain High, she did her initial sing-along with him and started pulling out all her usual vocal tics, shouting, etc. And he stopped her and told her to sing it straight, that she actually had a very unique, interesting voice but that she didn't know how to use it. It would be curious to see what he made of Celine's style and how he might have altered it, as she wrote in HER memoir that she does a lot of that ornamentation and vocal showboating for American audiences who apparently want to hear that.

[chocolatechip15]

Si J, on 16 April 2013 - 09:10 PM, said:

That's interesting. I sort of knew there was an argument in the studio but thanks for detailing it. In her memoir, Tina Turner said that in one of their initial meetings, he pulled an apple core out of an ashtray and started eating it. Later on at his house when he played River Deep, Mountain High, she did her initial sing-along with him and started pulling out all her usual vocal tics, shouting, etc. And he stopped her and told her to sing it straight, that she actually had a very unique, interesting voice but that she didn't know how to use it. It would be curious to see what he made of Celine's style and how he might have altered it, as she wrote in HER memoir that she does a lot of that ornamentation and vocal showboating for American audiences who apparently want to hear that.

It definitely would be interesting to hear those Spector recordings, especially because Celine, Rene, and Spector all seem to agree that they were amazing.  I read somewhere that, legally, Spector owned the rights to the instrumental tracks, but Sony (or maybe Celine) owned the rights to her vocals, so there would have to be an agreement between the two for there to be a release. At one time, there had been negotiations between Sony and Spector, but they fell apart.

[Si J'etais Quelqu'un]

chocolatechip15, on 16 April 2013 - 09:37 PM, said:

It definitely would be interesting to hear those Spector recordings, especially because Celine, Rene, and Spector all seem to agree that they were amazing.  I read somewhere that, legally, Spector owned the rights to the instrumental tracks, but Sony (or maybe Celine) owned the rights to her vocals, so there would have to be an agreement between the two for there to be a release. At one time, there had been negotiations between Sony and Spector, but they fell apart.

That's also real intriguing to consider. Since participating in this forum I've learned a lot about the supposed practices that have gone on with Celine's team regarding song copyrights and publishing royalties. I'd be curious to know how much first-rate material fell by the wayside because songwriters didn't want to give up a piece of their pie. And unfortunately I get the notion that they generally decide what they'll record for the album, go in and do it, and that's it, with little to no unreleased stuff sitting around after.

[DionFanAlways]

Si J, on 16 April 2013 - 09:10 PM, said:

It would be curious to see what he made of Celine's style and how he might have altered it, as she wrote in HER memoir that she does a lot of that ornamentation and vocal showboating for American audiences who apparently want to hear that.

That's an interesting comment. Sometimes I wish she would not do all that "ornamentation and showboating." In other words, just hold the note.

[TiagoFragoso05]

mike_z, on 14 April 2013 - 06:39 PM, said:

I love "Falling into you" the video. She looks like a goddess with the hair extensions and the cape! so tall, slim, mysterious...

This is "THE VIDEO" for me! I just LOVE IT ! she looks so cute

[comingback]

Making of It'S ALL COMING BACK TO ME NOW- Video

[LuisMa]

Thank you! Too bad there's not more to it, I'd love to see the whole making of that video one day.

[comingback]

Backstage Falling into you tour



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