Celine should record a song from Jim Steinman.

[RLAAMJR.]

Jim Steinman (born November 1, 1947 in New York, New York) is an American rock and musical theater composer. He is notable for having written most of Meat Loaf's hit songs and hits for many other musical artists. His biggest musical successes are the album Bat Out of Hell (1977), sung by Meat Loaf, the Billboard number one singles "Total Eclipse of the Heart" (1983), sung by Bonnie Tyler, "Making Love Out Of Nothing At All" (1983), sung by Air Supply and "I'd Do Anything For Love (But I Won't Do That)" (1993) sung by Meat Loaf, and a German musical Tanz der Vampire (1998). < - to get to know more about Jim Seinman, google through his name and select the wikipedia link.

 

Pandora's Box

In 1989, Steinman gathered a group of female singers and formed the one-album band Pandora's Box. Band members were Ellen Foley (who had already played Wendy in 1977's Neverland workshop production and sung with Meat Loaf on Bat Out of Hell), Holly Sherwood (formerly of Fire Inc.), Elaine Caswell, Gina Taylor and Steinman.

 

The album was released along with a video, scripted by Steinman and directed by Ken Russell, for "It's All Coming Back to Me Now", but a planned tour was scrapped. The album was not released to the United States originally. Sales for the album were modest, though Steinman continues to be very proud of it. The track "Original Sin" was recycled several times: it is featured prominently in the musical show Tanz der Vampire, in 1994, singer Taylor Dayne covered a slightly reworked version of "Original Sin" (produced by Steinman) on the soundtrack of the movie version of The Shadow and Meat Loaf also covered it on his 1996 album Welcome to the Neighborhood. The album's final track "The Future Ain't What It Used to Be" was re-recorded for the MTV movie of Wuthering Heights starring Erika Christensen.[10] Celine Dion's take on "It's All Coming Back to Me Now" was a U.S. #2 Pop and #1 AC hit in 1996. Meat Loaf recorded "It's All Coming Back to Me Now" and "The Future Ain't What It Used To Be" on his album Bat out of Hell III: The Monster Is Loose.

 

-to get more information about "It's All Coming Back To Me Now", google the title and select the wikipedia link.

 

Celine Dion also recorded "Is Nothing Sacred" which was supposed to be included in "Let's Talk About Love" album.

 

The songs "Total Eclipse of the Heart", "Making Love Out Of Nothing At All", "I'd Do Anything For Love (But I Won't Do That)" and "It's All Coming Back To Me Now" sound similar to each other. And with these kind of songs, Celine's voice would best fit to it. So, I was thinking Celine should record a song from Jim Steinman and be included in her upcoming album as a second single (perhaps) if it's not too late.

 

What do you think?

[celínico_sin_remedio]

I think so

I like IACBTMN...but I LOVE "Is Nothing Sacred"...

and "Total Eclipse of the Heart" gets me to the skies when I listen to it on the radio.

By the way,I'm sad about Sony didn't include "Is nothing sacred" on LTAL album.

 

P.D:Sorry for my English!!

[RLAAMJR.]

I think so

I like IACBTMN...but I LOVE "Is Nothing Sacred"...

and "Total Eclipse of the Heart" gets me to the skies when I listen to it on the radio.

By the way,I'm sad about Sony didn't include "Is nothing sacred" on LTAL album.

 

P.D:Sorry for my English!!

 

When I've learned that that song was also from Jim Steinman, I also felt sad that it wasn't included in Celine's LTAL album. I haven't heard the song "Is Nothing Sacred" so I don't really know if the song is really great. But I'll look for it.

[celínico_sin_remedio]

I think so

I like IACBTMN...but I LOVE "Is Nothing Sacred"...

and "Total Eclipse of the Heart" gets me to the skies when I listen to it on the radio.

By the way,I'm sad about Sony didn't include "Is nothing sacred" on LTAL album.

 

P.D:Sorry for my English!!

 

When I've learned that that song was also from Jim Steinman, I also felt sad that it wasn't included in Celine's LTAL album. I haven't heard the song "Is Nothing Sacred" so I don't really know if the song is really great. But I'll look for it.

 

 

"Is Nothing Sacred" is one of the most powerful and precious ballads I've ever heard...

Could I share it in this topic or have I to go to Multimedia to post it for you?

[RLAAMJR.]

I think so

I like IACBTMN...but I LOVE "Is Nothing Sacred"...

and "Total Eclipse of the Heart" gets me to the skies when I listen to it on the radio.

By the way,I'm sad about Sony didn't include "Is nothing sacred" on LTAL album.

 

P.D:Sorry for my English!!

 

When I've learned that that song was also from Jim Steinman, I also felt sad that it wasn't included in Celine's LTAL album. I haven't heard the song "Is Nothing Sacred" so I don't really know if the song is really great. But I'll look for it.

 

 

 

"Is Nothing Sacred" is one of the most powerful and precious ballads I've ever heard...

Could I share it in this topic or have I to go to Multimedia to post it for you?

 

Post it to me so i can listen to it. I'll listen to it within this week. Thanks in advance!

[celínico_sin_remedio]

ok .Here you are:

 

http://rapidshare.com/files/43907585/1997_...sacred.mp3.html

 

I hope you'll be able to download from rapidshare!

[Bellamy]

Jim Steinman would never like to work with Rene again according to his own blog.

[celínico_sin_remedio]

Jim Steinman would never like to work with Rene again according to his own blog.

 

 

Why?????

[Bellamy]

This explains why "Is Nothing Sacred" was removed from the LTAL album.

Is Nothing Sacred

Celine: Let's talk about greed

Cinemania/Music Central

By Roger Friedman

Part 1: Go Away, Little Girl

(Carole King vetoes publishing "tariff")

 

When Celine Dion sings "It's All Coming Back to Me Now," she really means it: The bestselling superstar is collecting a hefty percentage of the publishing rights of songs she herself did not write but performs on her new album. The album, "Let's Talk About Love," has sold about 12 million copies worldwide in its two months of release and is currently No. 2 on the Billboard Top 200. Dion does not write her own songs; she depends on professional songwriters to craft her hits. But on "Let's Talk About Love," Dion and her husband/manager, René Angelil, asked the writers of all the songs submitted to them for up to 20 percent of the publishing money. Some writers whose songs had been on previous Dion albums declined, and their songs were not used. But six songs by lesser-known writers, or writers without clout in the music industry, succumbed to Dion's demands. In one case — a song called "The Reason," co-written by Carole King, Mark Hudson and Greg Wells — the last two writers agreed to Dion's terms but were vetoed at the last minute by the veteran King, who refused to give in.

 

The song was still included on the album but not used — as it had been advertised prior to release — as the album's title. King's objections, however, are not reflected on the album's credits: Dion's music-publishing company, Duffield Music, is still listed as the co-publisher of "The Reason." Paul Farberman, a spokesman for Celine Dion, says that will be corrected in future printings of the album. King's manager, Lorna Guess, says, "They asked, and we said no. We never give publishing away." Guess says that King, who co-writes with many artists, has "never" been asked to do such a thing in the past by anyone.

Celine: Let's talk about greed, part 2:

If That's What It Takes

(Mixed reception, plus the official line)

 

Duffield Music's name is affixed to five more songs Celine Dion did not write, including two by Canadian pop singer Corey Hart. In this way Duffield collects royalties on songs Dion did not write; she exacted a tariff on the writers, whose songs then appear on a bestselling album. The tariff can be as much as 25 percent of the royalties. "Basically we were told it was the only way we could get on the album," says one songwriter. All the writers declined to be interviewed for this story, fearing that Sony Music or Dion and Angelil would have them blackballed. "I have never, ever, been asked to give up publishing before this," says one writer. Bruce Brault, who manages Corey Hart, acknowledged that Duffield was collecting royalties on his client's songs, but refused to comment further. A spokesman for Sony ATV Music Publishing in Canada said that Duffield was "a company controlled by Celine Dion" and referred all questions to her office.

 

Interestingly, Dion's demand did not work with established writers such as David Foster, the Bee Gees or Bryan Adams. "Giving away publishing" has long been a tradition in the music business, as writers have had to make compromises to get their songs recorded. Elvis Presley, Celine's defenders point out, "did it all the time." But it's not such a common practice these days: Indeed, divas like Barbra Streisand, Whitney Houston and Mariah Carey are not in the business of charging a fee to their songwriters. But Dion's hefty take on "Let's Talk About Love" is unusually high for one album. Sources claim that Angelil received "an enormous amount of money to sign artists to the label, but he hasn't done so, so this is his way of paying it back." Because Angelil demanded publishing fees, some writers of hit songs from Dion's previous, Grammy-award-winning album, "Falling Into You," declined to be included. "I know for a fact that Jim Steinman and Billy Steinberg refused to give up their publishing. I consider it extortion or blackmail," says a source. "It's tacky," says one songwriter, who recalled the singer's royal-like wedding to Angelil, which was filmed by Lifetime Television. "How much money can Celine need?"

 

Paul Farberman, speaking for Dion, says that he personally negotiated all the deals on the album, and adds, "I made it clear that giving us publishing was not a prerequisite to being on the album." Farberman says that when about 25 songs were chosen from demo tapes, he called each writer's representative and told them Dion was asking them to "relinquish their rights," he says. Writers who objected or declined were not omitted, he insists, from the final selection process. "And some songs were recorded anyway," he observes. But songs by Jim Steinman, Diane Warren and Billy Steinberg — all of whom had hits on previous Dion albums but refused to give up a percentage of their publishing rights — were deemed by Dion and Angelil "not among the best 14 or 15 songs. In the end it was about having the best songs." Ultimately, counters Farberman, "anyone who says we told them they couldn't be on the album otherwise is not telling the truth. It may just be a songwriter who was disappointed that they didn't make it." This is not the first time such a problem has arisen for Dion: on "Falling Into You," several songs are co-published by CRB Music, another one of her subsidiaries.

http://www.jimsteinman.com/sacred.htm

[RLAAMJR.]

This explains why "Is Nothing Sacred" was removed from the LTAL album.

Is Nothing Sacred

Celine: Let's talk about greed

Cinemania/Music Central

By Roger Friedman

Part 1: Go Away, Little Girl

(Carole King vetoes publishing "tariff")

 

When Celine Dion sings "It's All Coming Back to Me Now," she really means it: The bestselling superstar is collecting a hefty percentage of the publishing rights of songs she herself did not write but performs on her new album. The album, "Let's Talk About Love," has sold about 12 million copies worldwide in its two months of release and is currently No. 2 on the Billboard Top 200. Dion does not write her own songs; she depends on professional songwriters to craft her hits. But on "Let's Talk About Love," Dion and her husband/manager, René Angelil, asked the writers of all the songs submitted to them for up to 20 percent of the publishing money. Some writers whose songs had been on previous Dion albums declined, and their songs were not used. But six songs by lesser-known writers, or writers without clout in the music industry, succumbed to Dion's demands. In one case — a song called "The Reason," co-written by Carole King, Mark Hudson and Greg Wells — the last two writers agreed to Dion's terms but were vetoed at the last minute by the veteran King, who refused to give in.

 

The song was still included on the album but not used — as it had been advertised prior to release — as the album's title. King's objections, however, are not reflected on the album's credits: Dion's music-publishing company, Duffield Music, is still listed as the co-publisher of "The Reason." Paul Farberman, a spokesman for Celine Dion, says that will be corrected in future printings of the album. King's manager, Lorna Guess, says, "They asked, and we said no. We never give publishing away." Guess says that King, who co-writes with many artists, has "never" been asked to do such a thing in the past by anyone.

Celine: Let's talk about greed, part 2:

If That's What It Takes

(Mixed reception, plus the official line)

 

Duffield Music's name is affixed to five more songs Celine Dion did not write, including two by Canadian pop singer Corey Hart. In this way Duffield collects royalties on songs Dion did not write; she exacted a tariff on the writers, whose songs then appear on a bestselling album. The tariff can be as much as 25 percent of the royalties. "Basically we were told it was the only way we could get on the album," says one songwriter. All the writers declined to be interviewed for this story, fearing that Sony Music or Dion and Angelil would have them blackballed. "I have never, ever, been asked to give up publishing before this," says one writer. Bruce Brault, who manages Corey Hart, acknowledged that Duffield was collecting royalties on his client's songs, but refused to comment further. A spokesman for Sony ATV Music Publishing in Canada said that Duffield was "a company controlled by Celine Dion" and referred all questions to her office.

 

Interestingly, Dion's demand did not work with established writers such as David Foster, the Bee Gees or Bryan Adams. "Giving away publishing" has long been a tradition in the music business, as writers have had to make compromises to get their songs recorded. Elvis Presley, Celine's defenders point out, "did it all the time." But it's not such a common practice these days: Indeed, divas like Barbra Streisand, Whitney Houston and Mariah Carey are not in the business of charging a fee to their songwriters. But Dion's hefty take on "Let's Talk About Love" is unusually high for one album. Sources claim that Angelil received "an enormous amount of money to sign artists to the label, but he hasn't done so, so this is his way of paying it back." Because Angelil demanded publishing fees, some writers of hit songs from Dion's previous, Grammy-award-winning album, "Falling Into You," declined to be included. "I know for a fact that Jim Steinman and Billy Steinberg refused to give up their publishing. I consider it extortion or blackmail," says a source. "It's tacky," says one songwriter, who recalled the singer's royal-like wedding to Angelil, which was filmed by Lifetime Television. "How much money can Celine need?"

 

Paul Farberman, speaking for Dion, says that he personally negotiated all the deals on the album, and adds, "I made it clear that giving us publishing was not a prerequisite to being on the album." Farberman says that when about 25 songs were chosen from demo tapes, he called each writer's representative and told them Dion was asking them to "relinquish their rights," he says. Writers who objected or declined were not omitted, he insists, from the final selection process. "And some songs were recorded anyway," he observes. But songs by Jim Steinman, Diane Warren and Billy Steinberg — all of whom had hits on previous Dion albums but refused to give up a percentage of their publishing rights — were deemed by Dion and Angelil "not among the best 14 or 15 songs. In the end it was about having the best songs." Ultimately, counters Farberman, "anyone who says we told them they couldn't be on the album otherwise is not telling the truth. It may just be a songwriter who was disappointed that they didn't make it." This is not the first time such a problem has arisen for Dion: on "Falling Into You," several songs are co-published by CRB Music, another one of her subsidiaries.

http://www.jimsteinman.com/sacred.htm

 

I've actually read that article recently. I just didn't post it here 'cos it doesn't sound good to me. But it still is possible that Jim would forget all about this and have Celine record at least one of his masterpieces.

[betterone]

"IACBTMN" is a marvelosu song timelessly. Maybe the giving up publishing royalties are just part of the behind-the-door story. I don't care, when you are real big, you can make it as a singer. When you are just step into the industry but talented, you can make use of this chance. It's about the negotitation power.

[Esty]

I love Jim Steinman's songs. IACBTM and INS were all so wonderful. And he produced Call The Man, right? He makes "blockbuster" songs and I think this dramatic style so suits Celine. She should have a few Steinman songs on her new album. He could write a whole rock album for her just like Meat Loaf's Bat Out Of Hell I and II.

[Leenu]

Money, money, money here... Moneny, money, money there...

 

It's so sad that the main thing, music and sometimes larger-than-life songs, get to be the 'casualties' in these unfortunate battles (as well as all the dedicated fans). Plus it's bad PR for Céline and Rene who can't explain their causes everywhere.

[amelie]

their cause is called Greed

[idroveallnight]

Maybe that's why "One Heart" lacks the type of force all the others seem to evoke. All the writers probably surrendered those rights to Celine and those who didn't perhaps had the better songs, and thus we were left the masterpiece that has a Chrysler logo staring at you right when you open it. Anyways, LTAL was an album of epic proportions for Celine and earned her a lot of dough. They probably just needed more money back then to secure her future projects. People were really expecting a lot from her since FIY did astonishingly well. I haven't heard anything about this during her recent albums though. Personally, if I were a songwriter it would be an amazing achievement just to have Celine record my song and have my name printed in the insert. I can understand where a lot of these people get frustrated though...especially if they earn their livings by their pens.

[RLAAMJR.]

their cause is called Greed

 

 

 

We shouldn't say that way 'cos we don't really know the real score. The story may have been exaggerated. If it really was true then why is it that nobody seems to be angry at them, especially to Celine, right? There may be but the reality is, we don't know. So, let's just hope that Celine will be able to sing songs from Jim Steinman again.

[RLAAMJR.]

Maybe that's why "One Heart" lacks the type of force all the others seem to evoke. All the writers probably surrendered those rights to Celine and those who didn't perhaps had the better songs, and thus we were left the masterpiece that has a Chrysler logo staring at you right when you open it. Anyways, LTAL was an album of epic proportions for Celine and earned her a lot of dough. They probably just needed more money back then to secure her future projects. People were really expecting a lot from her since FIY did astonishingly well. I haven't heard anything about this during her recent albums though. Personally, if I were a songwriter it would be an amazing achievement just to have Celine record my song and have my name printed in the insert. I can understand where a lot of these people get frustrated though...especially if they earn their livings by their pens.

 

I think, for me, One Heart is the least likeable among all Celine Dion english albums. It has good songs but only few. And Max Martin's songs are not really something that would make people say "WOW!" to Celine. I think, Celine should sing danceable tunes just like When The Wrong One Loves You Right, That's The Way It Is, One Heart, You And I, and best if it'll be danceable and allow Celine to sing high notes like "The Declaration Of Love"

 

Declaration Of Love is really, really a great song. I've heard, it was included in the soundtrack album of Romeo and Juliet where Leonardo Dicaprio plays Romeo.

 

But, Jim Steinman's songs really fit for Celine. Jim = Great composer + great songs. Celine = great singer + great voice.

[RLAAMJR.]

Celine needs a Jim Steinman song.

 

 

Jim Steinman writes the most beautiful songs. And Jim's songs suit Celine Dion's voice and style.

 

 

 

They should work together again.

[Ray]

I can't believe they thought "Is nothing sacred" was not good enough for the Let's talk about love album.

 

If it would have been included it would have been one of the best songs on the album: up there with Tell Him. And even better than Immortality and The Reason. Most of the rest of the songs are so weak..... I can't understand those songs were chosen above the incredible "Is nothing sacred".

 

For me, YES please, let Céline record with Jim Steinman again!

[Davey84]

nope! been there, done that! no more Dianne Warren songs either!

[RLAAMJR.]

nope! been there, done that! no more Dianne Warren songs either!

 

 

Yes. And Diane Warren is truly a great composer, have written a lot of popular songs like "how Do I Live", I don't wanna miss a thing, because you loved me, for you i will, can't fight the moonlight, I turn to you, if you asked me to, unbreak my heart, etc...

 

 

And I don't see any Diane Warren songs from celine anymore.

 

 

Hope Celine will record songs from Jim and Diane.

[Davey84]

oi vey I gave him new ideas! Oke before you get another... sadly Eddy marnay is deceast...

[RLAAMJR.]

oi vey I gave him new ideas! Oke before you get another... sadly Eddy marnay is deceast...

 

 

hmmm.... I didn't quite understand what you're talking about. can you explain further?

[fred]

Thanks for that article, nice reading.

 

On the question "how much money can Dion need?" I have no clue, she seems to earn a lot lot lot more than she pends, I mean she does life a "normal" life compared to what she actually could with her wealth.

 

Is Nothing Sacred is a nice song, the finest left over we have heard, but I still question it being album material, so I can see that as a clear reason to excluding it (even though I risk becoming just another obsessive fan with blinkers by saying that). But the song, no matter how nice it is has its flaws, the text has numerous banalities in the verses (but on the other hand so do the majority of Celine Dion tracks).

 

If I called the shots I would not include Is Nothing Sacred - in the state it is now - on any album (on the other hand, I would not include 50% of what's on the Celine Dion albums of the new millennium). But I would definetly not leave it to the trash, I would demand more work on it (mostly lyrical, but also some minor production errors) and see to it that it became worthy being on an album.

 

/fred

[fred]

Thanks for that article, nice reading.

 

On the question "how much money can Dion need?" I have no clue, she seems to earn a lot lot lot more than she pends, I mean she does life a "normal" life compared to what she actually could with her wealth.

 

Is Nothing Sacred is a nice song, the finest left over we have heard, but I still question it being album material, so I can see that as a clear reason to excluding it (even though I risk becoming just another obsessive fan with blinkers by saying that). But the song, no matter how nice it is has its flaws, the text has numerous banalities in the verses (but on the other hand so do the majority of Celine Dion tracks).

 

If I called the shots I would not include Is Nothing Sacred - in the state it is now - on any album (on the other hand, I would not include 50% of what's on the Celine Dion albums of the new millennium). But I would definetly not leave it to the trash, I would demand more work on it (mostly lyrical, but also some minor production errors) and see to it that it became worthy being on an album.

 

/fred

[Black Kitten]

Jim Steinman is a brillian songwriter, evident in his works on meatloaf's albums. hope she can still work with celine, together with diane warren, & david foster. but they are definitely not the key to the success of the song. it's the singer's charisma, the message and the music itself after all.

[tonybower]

I agree with fred. I think it's a good song and I enjoy listening to it. When I first heard it I had no idea that it had been recorded for LTAL album. I have only just found out that information.

However, even though it's a good song, its sentimentality troubles me and I don't think the album loses much without it. I have posted my view on the article in another thread and now that I know Steinman is responsible for song and article I can see why he might be offended by the rejection. I still believe that the right decision was made when they chose not to include it on the album.

 

Jim Steinman may be responsible for some great songs but he lacks originality. Take It's All Coming Back To Me Now, I Would Do Anything For Love and Total Eclipse Of The Heart : all very dramatic songs, all very similar songs which all have near-identical videos. I think he likes sweeping gothic mansions and women in big dresses. I do not object but I'm sure that one song with Steinman is quite enough for any artist.

Edited February 9, 2008 at 03:45 PM by tonybower

[Davey84]

oi vey I gave him new ideas! Oke before you get another... sadly Eddy marnay is deceast...

 

 

hmmm.... I didn't quite understand what you're talking about. can you explain further?

 

I mean even though he wrote over 40 something brilliant songs for Céline he's dead and can't write any more

 

If I called the shots I would not include Is Nothing Sacred - in the state it is now - on any album (on the other hand, I would not include 50% of what's on the Celine Dion albums of the new millennium). But I would definetly not leave it to the trash, I would demand more work on it (mostly lyrical, but also some minor production errors) and see to it that it became worthy being on an album.

 

/fred

 

keep in mind that this song is also still a demo, like Would I Know... it's not the final version I agree though that it did needed some work done! LOL like the ending... it's a bit too much, or too long

[CelineAndRene]

IACBTMN was the best song he ever written!!!

[CelinesDIVO5]

A lot of that article just doesn't pull together with other things that have gone on. For example...Carole King would NOT have performed with Celine, THE REASON (Divas Live 98), the song that was said for Celine and her team to want publishing rights. David Foster is CONSTANTLY praising the woman and is always right up front to work with her. Celine AGAIN worked with Corey Hart on PRAYER (track 8) on 2002's A NEW DAY HAS COME. So a lot of events after the fact of the LET'S TALK ABOUT LOVE album, don't fit in with this article. Edited February 9, 2008 at 08:29 PM by CelinesDIVO5