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"Let's Talk About Love" (album) - Official TopicRelease date: Nov. 14th, 1997


297 replies to this topic

#31
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Thank God Celine made it huge just before Napster came out. Ever since then, album sales have totally plunged. Sure, now we have ways to legally buy songs online, but there are still such a huge amount of people who just download music illegally.

#32
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View Postwjd, on 27 March 2013 - 03:06 PM, said:

All I can say is F*** YOU reviewers!
WTF?? LOL what a surreal topic! (more LOL)

Anyway I'm here to say that LTAL is one of my favorite albums ever and the song itself is a masterpiece (IMHO).

Edited by forhugo, 31 March 2013 - 04:54 PM.

"We hardly need to use our ears..." (R. Taylor)

#33
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View PostJeffieboi, on 28 March 2013 - 08:49 PM, said:

[...] now we have ways to legally buy songs online, but there are still such a huge amount of people who just download music illegally.
Such a pity...
"We hardly need to use our ears..." (R. Taylor)

#34
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View Postgarçon, on 27 March 2013 - 01:51 PM, said:

Didn't know exactly where to put this.. didn't want to start a whole new topic..

REALLY interesting review on LTAL from The New York Observer, thereby elaborating on the future of Celine's image as a singer. This -actually completely negative- article shares interesting insights on how Celine was considered in 1997, at the unparalleled height of her career, just after winning the Grammy for Album of the year... but just before the biggest commercial successes of MHWGO and the album sales of LTAL.
But: apparently she was already considered as mere 'kitsch' by such pseudo-intellectual journalists, whereas I always thought she enjoyed a certain undisputed respect at that time.

(The author also mentions something about the Phil Spector recording sessions,, didn't understand how to understand this,.. so, anyone??)

Anyway, have a look at it...


http://observer.com/...be-but-not-now/


Celine Dion: Is She Cool? Someday, Maybe, but Not Now

By Jonathan Bernstein 12/08/97 12:00am









Every dog derided as hopelessly uncool in one decade has its day somewhere down the line. Look at the entities that have blossomed under the light of recent reappraisal. Disco? Cool. The Bee Gees? Cool. Burt Bacharach? Cool. Kiss? Cool. Fleetwood Mac? Cool. Such belated iconography is invariably intended ironically but has the effect of bestowing a second life on artists originally overlooked, either because their careers were cursed by built-in obsolescence or because their saturation success caused them to be perceived as spineless servants to a vast, invisible, taste-free consensus.
So let’s jump forward 15 years to a time when Celine Dion is considered cool. It will probably take until 2012 for society to have advanced to a point where a public expression of appreciation for Ms. Dion is not considered an elaborate put-on. In this atmosphere of tolerance, Celine Dion aficionados will be able to discuss her colossal lung power and how it belies her birdlike frame. They will raise glasses in a toast to the tenacity that saw the French-Canadian canary not only become phonetically fluent in English but also tame the unmanageable frizz with which she struggled during her tenure as a Québécois LeAnn Rimes. They will pay tribute to her unapologetic squareness, noting that while the likes of Janet Jackson, Madonna and Mariah Carey made strenuous attempts to keep their music contemporary and their lyrics confessional and libidinous, Ms. Dion remained untouched by time or trend. Her niche, they will conclude, was high drama; given a plaintive three-minute declaration of heartache, she was capable of delivering a soaring, showy performance. Ultimately, they will decide, she was the unfunkiest of divas. Then mention of her 1997 album, Let’s Talk About Love (550 Music/Epic), will come up, and they’ll fall silent. Because even in that mythical future when Celine Dion is considered cool, Let’s Talk About Love will be thought of as her least cool album.
To the untrained ear, this record is just as much of a sack of suck as her previous outing, Falling Into You . But I say No. Falling Into You featured Ms. Dion’s made-in-heaven collaboration with Jim Steinman, the cataclysmic “It’s All Coming Back to Me Now.” It featured one of hired hitwoman Diane Warren’s most lethal concoctions, “Because You Loved Me.” It featured Ms. Dion’s riven-with-despair rendition of Eric Carmen’s “All By Myself.” It would even have featured some songs produced by Phil Spector, except that the wandering genius wanted to keep Ms. Dion locked in the vocal booth for six months. Even in his insanity, however, Mr. Spector proved cognizant of the fact that Celine Dion functions best as the eye of the storm.
There is, of course, no Phil Spector collaboration on Let’s Talk About Love . There are no Diane Warren songs, and Jim Steinman’s presence is limited to a meager “Additional Production” credit. In their place, heavy friends have been dragooned into duty on an album designed to set in stone the notion of Ms. Dion as less of a singer and more of an international monument.
The entire project is, in my estimation, an unmitigated disaster. It kicks off in time-honored fashion with a bombastic power ballad, “The Reason,” co-written by Carole King and produced by Sir George Martin. Thus, straight away, we find the inherent wrongheadedness of this record. Carole King hasn’t written a memorable song in many a year and-hello?-didn’t George Martin recently announce that he was quitting the producing racket because his hearing was going? The latter affliction was probably incurred by a silent prayer offered up during the recording of “The Reason” to be struck deaf.
Ms. Dion’s team-up with the Bee Gees is similarly dispiriting. One of the up-to-now immutable laws of science is that if you put the Gibb brothers with a female singer, the results will be sensational. History is littered with examples: “Love Me” by Yvonne Elliman; “Ain’t Nothing Going to Keep Me From You” by Teri De Sario; “Emotion” by Samantha Sang; and “Heartbreaker” by Dionne Warwick. “Immortality” belongs on a whole different sort of list. The cement-laden dirge-taken, horrifically, from the upcoming stage musical adaptation of Saturday Night Fever -defeats both Ms. Dion and the Gibbs. Departing from dramatics proves, as always, a glaring error for this most rigid and unspontaneous of performers. She’s fallen on her face before when attempting to be as one with the rhythm, but Celine Dion has never humiliated herself as comprehensively as she does when mashing it up in a dance-hall style on “Treat Her Like a Lady.” As Seinfeld’ s George Costanza remarked in a similar situation, “Sweet fancy Moses!”
The centerpiece of Let’s Talk About Love is “Tell Him,” a duet with Barbra Streisand. The last time Ms. Streisand made a record with another female artist was on “Enough Is Enough” with Donna Summer. During the recording, Ms. Summer was reportedly so intimidated that she attempted to outdo her partner by holding a note so long it caused her to pass out. Anyone who’s witnessed, through the cracks of his or her fingers, the video for “Tell Him” in which Ms. Dion relates to Ms. Streisand like a newly born fawn nuzzling up against its mother, will sense that this is no diva face-off. The two singers give each other room to emote, restraining themselves until the final choruses before transforming into something akin to a pair of drunks wrestling over the microphone on karaoke night.
But this is nothing compared to the album’s other massive guest appearance. Luciano Pavarotti has sung with Bryan Adams, Elton John and Bono. But Celine Dion has something his previous pop partners have lacked. She’s audible. This proves to be a hideous miscalculation, given the caliber of song they’ve chosen to share. “I Hate You Then I Love You,” a retitled remake of an old Shirley Bassey song, “Never Never Never,” is a clattering camp travesty during which the big man and the little sparrow indulge in some pent-up sexual jousting. All the unleashed octaves in the world fail to expunge the mental image of the most unfeasible coupling since Biggie Smalls and Li’l Kim.
A sliver of redemption is found in the passable version of Leo Sayer’s “When I Need You” and a perky piece of club pop, “Just a Little Bit of Love.” But the only moment approaching Vintage Dion is the crushing ballad “My Heart Will Go On.” Finally, all the components are in place: the ornate arrangement, the overblown orchestration, the thunderous drums and the chorus hysterical enough to allow Ms. Dion to crank up past Valkyrie level. The song turns out to be the closing theme from James Cameron’s Titanic . Fitting, because, even to the Celine Dion cheerleaders in 2012, Let’s Talk About Love is going to go down like that ill-fated vessel.



i disagree with this article but it did back up something I said in a topic the other day, I just couldnt find a source, but yeah the bee gees never wrote immortality for Celine as people always think, I remember reading an interview with them, they wrote it for a musical and then asked celine if she would like to sing it for her album, I think the musical came out first and the bee gees did their own version, and while celines is the best known it is technically still a cover of a stage song.

#35
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A love this album.

Favorite Tracks:
My heart will go on :wub:
Us :w00t:
Love is on the way
When i need you
To love you more

#36
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Making of MY HEART WILL GO ON



Is my boat ready? :giggle:

#37
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View Postcomingback, on 15 June 2013 - 11:42 AM, said:

Making of MY HEART WILL GO ON



Is my boat ready? :giggle:
That is hilarious! Divaish the way she was saying it! :laugh:
How could you not love this woman!

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#38
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View PostDionFanAlways, on 15 June 2013 - 05:43 PM, said:

That is hilarious! Divaish the way she was saying it! :laugh:
:sofunny:   She's a real clown. That was funny. :-D

Edited by Jeff Abbott, 16 June 2013 - 03:50 AM.


#39
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This year we celebrate the 20th anniversary of the release of one of Celine's most successful albums and singles. Celine's team did an excellent job commemorating D'eux with a special edition CD. How do you think a LTAL re-release should be done, in theory?

I would love to see a vinyl edition of the album with an unreleased bonus song (Is Nothing Sacred would be amazing).

What do you think?

#40
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I can't believe it's gonna be 20 years this year!! This was my first Céline release I conciously saw released! Céline was EVERYWHERE! A double vinyl of this album would be SO AMAZING! :wub2:

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#41
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LTAL is my 2nd favorite english Celine album after FIY. I saw the video for MHWGO on VH-1 in December 1997 and it made me a fan.

Edited by comingback, 14 January 2017 - 08:25 AM.


#42
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This album has great songs but I find it to be too slow. The three uptempo songs it has are bad in my opinion. "Why O Why" is boring. "Amar haciendo el amor" is awful (I'm a native Spanish speaker, Celine's pronounciation is good but the sound of the song doesn't have anything to do with Latin music, adding a Spanish guitar doesn't mean it sounds more latin, Latin artists sing the same kind of pop songs as in the rest of the world). "Just A Little Bit Of Love" sounds dated. Thanks God they stopped using Maria Christensen's songs because I don't like any of them (the other ones being "Misled" and "Christmas Eve"). I would have kept "Heaven's What I Feel" which was offered to her. That should have been the follow-up single to MHWGO. "Is Nothing Sacred" should have been part of the album. That way, there would have been only one uptempo song, but quality would have made up for it.

#43
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View PostDionFanAlways, on 15 June 2013 - 05:43 PM, said:

That is hilarious! Divaish the way she was saying it! :laugh:

Lol!
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#44
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View PostLeo, on 14 January 2017 - 09:42 AM, said:

This album has great songs but I find it to be too slow. The three uptempo songs it has are bad in my opinion. "Why O Why" is boring. "Amar haciendo el amor" is awful (I'm a native Spanish speaker, Celine's pronounciation is good but the sound of the song doesn't have anything to do with Latin music, adding a Spanish guitar doesn't mean it sounds more latin, Latin artists sing the same kind of pop songs as in the rest of the world). "Just A Little Bit Of Love" sounds dated. Thanks God they stopped using Maria Christensen's songs because I don't like any of them (the other ones being "Misled" and "Christmas Eve"). I would have kept "Heaven's What I Feel" which was offered to her. That should have been the follow-up single to MHWGO. "Is Nothing Sacred" should have been part of the album. That way, there would have been only one uptempo song, but quality would have made up for it.

Treat her like a lady? The reason? Aren't they uptempo?

#45
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View PostUkrfan, on 14 January 2017 - 09:02 PM, said:

Treat her like a lady? The reason? Aren't they uptempo?

I'd say The Reason is more of a mid-tempo rock ballad.

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#46
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View Postgarçon, on 27 March 2013 - 01:51 PM, said:

Didn't know exactly where to put this.. didn't want to start a whole new topic..

REALLY interesting review on LTAL from The New York Observer, thereby elaborating on the future of Celine's image as a singer. This -actually completely negative- article shares interesting insights on how Celine was considered in 1997, at the unparalleled height of her career, just after winning the Grammy for Album of the year... but just before the biggest commercial successes of MHWGO and the album sales of LTAL.
But: apparently she was already considered as mere 'kitsch' by such pseudo-intellectual journalists, whereas I always thought she enjoyed a certain undisputed respect at that time.

(The author also mentions something about the Phil Spector recording sessions,, didn't understand how to understand this,.. so, anyone??)

Anyway, have a look at it...


http://observer.com/...be-but-not-now/


Celine Dion: Is She Cool? Someday, Maybe, but Not Now

By Jonathan Bernstein 12/08/97 12:00am









Every dog derided as hopelessly uncool in one decade has its day somewhere down the line. Look at the entities that have blossomed under the light of recent reappraisal. Disco? Cool. The Bee Gees? Cool. Burt Bacharach? Cool. Kiss? Cool. Fleetwood Mac? Cool. Such belated iconography is invariably intended ironically but has the effect of bestowing a second life on artists originally overlooked, either because their careers were cursed by built-in obsolescence or because their saturation success caused them to be perceived as spineless servants to a vast, invisible, taste-free consensus.
So let’s jump forward 15 years to a time when Celine Dion is considered cool. It will probably take until 2012 for society to have advanced to a point where a public expression of appreciation for Ms. Dion is not considered an elaborate put-on. In this atmosphere of tolerance, Celine Dion aficionados will be able to discuss her colossal lung power and how it belies her birdlike frame. They will raise glasses in a toast to the tenacity that saw the French-Canadian canary not only become phonetically fluent in English but also tame the unmanageable frizz with which she struggled during her tenure as a Québécois LeAnn Rimes. They will pay tribute to her unapologetic squareness, noting that while the likes of Janet Jackson, Madonna and Mariah Carey made strenuous attempts to keep their music contemporary and their lyrics confessional and libidinous, Ms. Dion remained untouched by time or trend. Her niche, they will conclude, was high drama; given a plaintive three-minute declaration of heartache, she was capable of delivering a soaring, showy performance. Ultimately, they will decide, she was the unfunkiest of divas. Then mention of her 1997 album, Let’s Talk About Love (550 Music/Epic), will come up, and they’ll fall silent. Because even in that mythical future when Celine Dion is considered cool, Let’s Talk About Love will be thought of as her least cool album.
To the untrained ear, this record is just as much of a sack of suck as her previous outing, Falling Into You . But I say No. Falling Into You featured Ms. Dion’s made-in-heaven collaboration with Jim Steinman, the cataclysmic “It’s All Coming Back to Me Now.” It featured one of hired hitwoman Diane Warren’s most lethal concoctions, “Because You Loved Me.” It featured Ms. Dion’s riven-with-despair rendition of Eric Carmen’s “All By Myself.” It would even have featured some songs produced by Phil Spector, except that the wandering genius wanted to keep Ms. Dion locked in the vocal booth for six months. Even in his insanity, however, Mr. Spector proved cognizant of the fact that Celine Dion functions best as the eye of the storm.
There is, of course, no Phil Spector collaboration on Let’s Talk About Love . There are no Diane Warren songs, and Jim Steinman’s presence is limited to a meager “Additional Production” credit. In their place, heavy friends have been dragooned into duty on an album designed to set in stone the notion of Ms. Dion as less of a singer and more of an international monument.
The entire project is, in my estimation, an unmitigated disaster. It kicks off in time-honored fashion with a bombastic power ballad, “The Reason,” co-written by Carole King and produced by Sir George Martin. Thus, straight away, we find the inherent wrongheadedness of this record. Carole King hasn’t written a memorable song in many a year and-hello?-didn’t George Martin recently announce that he was quitting the producing racket because his hearing was going? The latter affliction was probably incurred by a silent prayer offered up during the recording of “The Reason” to be struck deaf.
Ms. Dion’s team-up with the Bee Gees is similarly dispiriting. One of the up-to-now immutable laws of science is that if you put the Gibb brothers with a female singer, the results will be sensational. History is littered with examples: “Love Me” by Yvonne Elliman; “Ain’t Nothing Going to Keep Me From You” by Teri De Sario; “Emotion” by Samantha Sang; and “Heartbreaker” by Dionne Warwick. “Immortality” belongs on a whole different sort of list. The cement-laden dirge-taken, horrifically, from the upcoming stage musical adaptation of Saturday Night Fever -defeats both Ms. Dion and the Gibbs. Departing from dramatics proves, as always, a glaring error for this most rigid and unspontaneous of performers. She’s fallen on her face before when attempting to be as one with the rhythm, but Celine Dion has never humiliated herself as comprehensively as she does when mashing it up in a dance-hall style on “Treat Her Like a Lady.” As Seinfeld’ s George Costanza remarked in a similar situation, “Sweet fancy Moses!”
The centerpiece of Let’s Talk About Love is “Tell Him,” a duet with Barbra Streisand. The last time Ms. Streisand made a record with another female artist was on “Enough Is Enough” with Donna Summer. During the recording, Ms. Summer was reportedly so intimidated that she attempted to outdo her partner by holding a note so long it caused her to pass out. Anyone who’s witnessed, through the cracks of his or her fingers, the video for “Tell Him” in which Ms. Dion relates to Ms. Streisand like a newly born fawn nuzzling up against its mother, will sense that this is no diva face-off. The two singers give each other room to emote, restraining themselves until the final choruses before transforming into something akin to a pair of drunks wrestling over the microphone on karaoke night.
But this is nothing compared to the album’s other massive guest appearance. Luciano Pavarotti has sung with Bryan Adams, Elton John and Bono. But Celine Dion has something his previous pop partners have lacked. She’s audible. This proves to be a hideous miscalculation, given the caliber of song they’ve chosen to share. “I Hate You Then I Love You,” a retitled remake of an old Shirley Bassey song, “Never Never Never,” is a clattering camp travesty during which the big man and the little sparrow indulge in some pent-up sexual jousting. All the unleashed octaves in the world fail to expunge the mental image of the most unfeasible coupling since Biggie Smalls and Li’l Kim.
A sliver of redemption is found in the passable version of Leo Sayer’s “When I Need You” and a perky piece of club pop, “Just a Little Bit of Love.” But the only moment approaching Vintage Dion is the crushing ballad “My Heart Will Go On.” Finally, all the components are in place: the ornate arrangement, the overblown orchestration, the thunderous drums and the chorus hysterical enough to allow Ms. Dion to crank up past Valkyrie level. The song turns out to be the closing theme from James Cameron’s Titanic . Fitting, because, even to the Celine Dion cheerleaders in 2012, Let’s Talk About Love is going to go down like that ill-fated vessel.




omg this is hilarious - there is that whole book on how bad that album is too - but i like it as well, he mainly digs it for its duets and for me it could do without them too but he doesnt even mention most of the other songs! ha. hes kinda right with treat her like a lady i doesnt really stand the test of time but i still like it and loved it back then.

#47
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View PostHilda, on 20 January 2017 - 06:51 PM, said:

there is that whole book on how bad that album is too

Are you talking about Carl Wilson's LTAL? Because that's not at all what that book is about...

#48
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They should release the album on double LP now + a deluxe edition cd including bonus songs, a photo book and a dvd from the english leg of the lets talk about love world tour!

#49
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View Postscielle, on 20 January 2017 - 07:11 PM, said:

Are you talking about Carl Wilson's LTAL? Because that's not at all what that book is about...

yeah i know i have it i was just being lazy when i wrote that haha.

#50
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We need an anniversary edition

All the Songs
The English Show on DVD
maybe some leftovers like is nothing sacred
some demos like they did with D'eux


no more boring packages :giggle:

NEW SINGLE - ENG


#51
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I'd seriously be happy with a vinyl release, even if we get nothing else. I'm scared to ask for too much, knowing we very well may get nothing!

#52
Melanieletitia

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A vinyl release would be amazing!!

#53
tiniann88

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Yes a deluxe edition would be nice with ALL the songs. By ALL songs I mean put songs that were only released in certain countries as bonus tracks on a deluxe edition.
The English version of Be The Man was not on the US edition of the album and it can be added as a bonus track (put the Japanese version on as a bonus track too).  I would love to have Is Nothing Sacred in so much better quality than what we have floating around on the internet.

#54
LcMason

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I would weep for this on Vinyl.

#55
sayyed

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I think I remember that Céline really recorded Heaven Is What I Feel, so the demo would be a very good Bonus track for a potential anniversary edition.

Can't believe it's been 20 years already. I became a fan with FIY when I was 11. LTAL just cemented my love for this woman.

#56
Celine Fan 77

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View Postsayyed, on 29 January 2017 - 05:23 PM, said:

I think I remember that Céline really recorded Heaven Is What I Feel, so the demo would be a very good Bonus track for a potential anniversary edition.

Can't believe it's been 20 years already. I became a fan with FIY when I was 11. LTAL just cemented my love for this woman.

I never knew that she actually recorded the song, was it ever mentioned?

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#57
agentwigs

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View PostCeline Fan 77, on 30 January 2017 - 03:10 AM, said:



I never knew that she actually recorded the song, was it ever mentioned?

I was thinking about this the other day... Heaven's What I Feel is a brilliant song and at the time it was so good for Gloria's career; so why did Céline reject it? I think it has to do with the lyrics... "I was nothinking supposed to fall in love with you, I have someone else, and someone else is loving you". Basically the person in the song is cheating... I reckon Rene heard this and was like noooo this is not the image we want for Céline! Maybe by the time she recorded 'Taking Chances' they might have considered this subject matter (she branched out into domestic abuse etc) but I'm certain they wouldn't want lyrics like those on LTAL, yeah there was Treat her like a lady but in HWIF the singer is the cheat!

#58
Celine Fan 77

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View Postagentwigs, on 30 January 2017 - 03:32 AM, said:

I was thinking about this the other day... Heaven's What I Feel is a brilliant song and at the time it was so good for Gloria's career; so why did Céline reject it? I think it has to do with the lyrics... "I was nothinking supposed to fall in love with you, I have someone else, and someone else is loving you". Basically the person in the song is cheating... I reckon Rene heard this and was like noooo this is not the image we want for Céline! Maybe by the time she recorded 'Taking Chances' they might have considered this subject matter (she branched out into domestic abuse etc) but I'm certain they wouldn't want lyrics like those on LTAL, yeah there was Treat her like a lady but in HWIF the singer is the cheat!

I think it had more to do with the sound of the song. The style didn't really fit the album.

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#59
agentwigs

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View PostCeline Fan 77, on 30 January 2017 - 04:20 AM, said:



I think it had more to do with the sound of the song. The style didn't really fit the album.
You could be right, if only there was that much consideration for consistency these days!

#60
Davey84

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View PostCeline Fan 77, on 30 January 2017 - 03:10 AM, said:

I never knew that she actually recorded the song, was it ever mentioned?

they say the hmmmmmmmmmm at the beginning of the song is Céline!

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