"Let's Talk About Love" album - Official Topic

[CelinesDIVO5]

 

 

Did we get Where Is The Love in place of Is Nothing Sacred right?

 

Correct.

[Unisono]

 

 

Correct.

 

Such a beautiful song.

 

 

[ryba]

 

 

Correct.

how do whe know that witl replaced insa?

[CelinesDIVO5]

how do whe know that witl replaced insa?

 

It’s been mentioned many times. There was either an article or a book excerpt that has been repeatedly shared over the years.

[CelinesDIVO5]

 

 

Such a beautiful song.

 

Breathtaking. The vocal, the arrangement, the lyrics. Gorgeous.

[PuraVida]

I wonder which Diane Warren song didn't end up on LTAL?

 

DIdn't she write "I Don't Wanna Miss A Thing" around that time? Celine turned it down and went to Aerosmith

[manu23]

 

 

For me FIY is her best English album.

But LTAL is special to me: My Heart Will Go On and this album made me a fan. Songs like US, The Reason, Miles To Go, Love Is On The Way, Where Is The Love, When I Need You, Immortality and To Love You More are Classic Celine ♥️

 

Same for me. I discovered Celine thanks to MHWGO and bought LTAL tape in a gas station coming back from a trip to Madrid. For months it was the only music I listened to, until a friend got me FIY. But as much as I love FIY and I know is a more solid work, LTAL is still my favorite, too many good memories.

 

Celine was the biggest music star in 1997, I’m actually surprised they only asked for 20% of royalties. Being in a Celine album then was the best thing that could happen to any songwriter, secured income for years to come. Still I think they picked the best songs from the ones they received. I’d be surprised Rene would exclude a possible hit because of that, he was too clever.

 

 

[PuraVida]

Same for me. I discovered Celine thanks to MHWGO and bought LTAL tape in a gas station coming back from a trip to Madrid. For months it was the only music I listened to, until a friend got me FIY. But as much as I love FIY and I know is a more solid work, LTAL is still my favorite, too many good memories.

 

Celine was the biggest music star in 1997, I'm actually surprised they only asked for 20% of royalties. Being in a Celine album then was the best thing that could happen to any songwriter, secured income for years to come. Still I think they picked the best songs from the ones they received. I'd be surprised Rene would exclude a possible hit because of that, he was too clever.

 

That's a wonderful story!

[ryba]

She even covered it in 2000

 

https://youtu.be/h0gWMpoyZYM

Edited March 21, 2021 at 09:29 PM by ryba

[ryba]

Celine actually covered her, or they had the same Single out in the same year

 

https://youtu.be/po2IVYk566Q

Edited March 21, 2021 at 09:43 PM by ryba

[comingback]

DIdn't she write "I Don't Wanna Miss A Thing" around that time? Celine turned it down and went to Aerosmith

 

Yes, it could be. She wrote the song in 1997, but the song was released in summer 1998 for the movie Armageddon and LTAL already had MHWGO from Titanic, which was released in December 1997. Does anyone know more about the song?

 

[ryba]

Lol, I never heard of Tina Arena, but it looks like she and Celine were quite big back then

https://youtu.be/m3ntfQDt2zw

 

https://youtu.be/E_svyFaoHGI

Edited March 21, 2021 at 09:47 PM by ryba

[PuraVida]

Lol, I never heard of Tina Arena, but it looks like she and Celine were quite big back then

https://youtu.be/m3ntfQDt2zw

 

https://youtu.be/E_svyFaoHGI

 

What?! Tina Arena is one of Australia's best known musicians, but moreover, she is quite big in France. She has 3 albums in French, 8 top 15 songs on the French charts, 4 of those are top 5 hits, plus a French National Order of Merit. So a tiny bit of Celine overlap. They sung together on a huge program in Italy called Les Enfoires back in 2007 or '08. Here's one song.

 

 

[Taking Chances]

It's been mentioned many times. There was either an article or a book excerpt that has been repeatedly shared over the years.

 

I'm actually happy we got Where Is The Love instead of Is Nothing Sacred. I don't know what people think about Where Is The Love, but I love it and I always have. I remember getting the Tell Him single before I got the album and that's when I first heard it.

 

I think Is Nothing Sacred still should have been on the album though, but they could have replaced it with Why Oh Why or I Hate You Then I Love You.

 

I also think When I Need You is too short. I hate that is just fades out. That song needs to be at least another minute long with a proper ending. The one we got sounds like a radio edit.

[rfkavanagh]

I'm a big Tina Arena fan, too - in some ways, she's kind of an Australian Céline in that she was a child star (she started in the mid-'70s at age eight and became known as "Tiny Tina"), she managed the successful transition to "adult" pop through a bit of an awkward phase, she has killer pipes, and she's been working in the industry for more than 40 years even though she's around the same age as Céline. She's had major French success since the late-'90s, but only short-term success elsewhere, mainly in the '90s.

 

She was a priority artist for Sony after the breakthrough success of her 1994 album Don't Ask (which won five ARIAs - Australian Grammys - and gained some traction internationally). They tried lots of things - a Diane Warren song, a duet with Marc Anthony on the theme from The Mark Of Zorro, a guest slot duetting with Donna Summer on her TV special, US TV appearances, a US tour, she performed at the opening ceremony of the Sydney Olympics, etc. - but she never really managed to break through to become a big star outside of Australia/France (and related territories). Although she's sold 10 million records worldwide, so while Céline's total of course dwarfs that number (significantly!), Tina's obviously done alright for herself. Sony ended up having a similar experience trying to break Lara Fabian in the US just a couple of years later.

 

Regarding a couple of the songs noted above:

• If I Was A River was the supposed ringer Diane Warren track recorded for inclusion on the international release of her album In Deep - it wasn't on the original Australian release, but they expanded the album and added higher profile tracks (i.e., Diane Warren) to try to give her a major boost in the US and Europe. The song did nothing in the US and had only limited success elsewhere.
  
• 
  
• Live For The One I Love was recorded by Tina Arena because she was part of the official English-language cast recording of the musical Notre Dame De Paris and starred in it on stage in London in 2000. Both Tina's and Céline's versions are on the English-language album, but Tina's was given priority as the official single release in the UK since she was starring in the show. The musical was composed by Luc Plamondon and Richard Cocciante, which is how Céline came to record her version. Plus she already had a connection to the musical and some of the original French-language cast performed at her Millennium show - Garou, Bruno Pelletier, Luck Mervil, and I think one other that I'm forgetting (Daniel Lavoie?). I prefer Céline's version overall - her vocal delivery on the track is more nuanced and emotional - but Tina Arena's version is enjoyable, too, and matches more to the tone of the whole soundtrack.
  

 

Back to LTAL, I still think as an album it adds up to less than the sum of its parts, and in some ways (obviously not all given its huge, huge success!), it did a bit of a disservice to the potential future career Céline could have had by essentially making her an old-school heritage artist before she was even 30. And I'm STILL NOT OVER the travesty that is the last 45 seconds of Us, which is a masterpiece up until the major key transition.

[woodstock]

Celine actually covered her, or they had the same Single out in the same year

 

https://youtu.be/po2IVYk566Q

https://youtu.be/oMfyJkcqC7w

It's not actually a cover.

Tina Arena was Esmaralda in the first english cast of the Notre-Dame de Paris musical, for which Céline sang the song in the studio album as a "special guest".

[woodstock]

What?! Tina Arena is one of Australia's best known musicians, but moreover, she is quite big in France. She has 3 albums in French, 8 top 15 songs on the French charts, 4 of those are top 5 hits, plus a French National Order of Merit. So a tiny bit of Celine overlap. They sung together on a huge program in Italy called Les Enfoires back in 2007 or '08. Here's one song.

Most of her french songs have been written and produced by Erick Benzi and Robert Goldman (aka you know who's brother) under the name of J. Kapler, who both worked on Céline's french albums in the '90s and the 2000s.

One can easily imagine that some of her songs had been turned down by Céline.

[comingback]

I'm a big Tina Arena fan, too - in some ways, she's kind of an Australian Céline in that she was a child star (she started in the mid-'70s at age eight and became known as "Tiny Tina"), she managed the successful transition to "adult" pop through a bit of an awkward phase, she has killer pipes, and she's been working in the industry for more than 40 years even though she's around the same age as Céline. She's had major French success since the late-'90s, but only short-term success elsewhere, mainly in the '90s.

 

She was a priority artist for Sony after the breakthrough success of her 1994 album Don't Ask (which won five ARIAs - Australian Grammys - and gained some traction internationally). They tried lots of things - a Diane Warren song, a duet with Marc Anthony on the theme from The Mark Of Zorro, a guest slot duetting with Donna Summer on her TV special, US TV appearances, a US tour, she performed at the opening ceremony of the Sydney Olympics, etc. - but she never really managed to break through to become a big star outside of Australia/France (and related territories). Although she's sold 10 million records worldwide, so while Céline's total of course dwarfs that number (significantly!), Tina's obviously done alright for herself. Sony ended up having a similar experience trying to break Lara Fabian in the US just a couple of years later.

 

Regarding a couple of the songs noted above:

• If I Was A River was the supposed ringer Diane Warren track recorded for inclusion on the international release of her album In Deep - it wasn't on the original Australian release, but they expanded the album and added higher profile tracks (i.e., Diane Warren) to try to give her a major boost in the US and Europe. The song did nothing in the US and had only limited success elsewhere.
  
• 
  
• Live For The One I Love was recorded by Tina Arena because she was part of the official English-language cast recording of the musical Notre Dame De Paris and starred in it on stage in London in 2000. Both Tina's and Céline's versions are on the English-language album, but Tina's was given priority as the official single release in the UK since she was starring in the show. The musical was composed by Luc Plamondon and Richard Cocciante, which is how Céline came to record her version. Plus she already had a connection to the musical and some of the original French-language cast performed at her Millennium show - Garou, Bruno Pelletier, Luck Mervil, and I think one other that I'm forgetting (Daniel Lavoie?). I prefer Céline's version overall - her vocal delivery on the track is more nuanced and emotional - but Tina Arena's version is enjoyable, too, and matches more to the tone of the whole soundtrack.
  

 

Back to LTAL, I still think as an album it adds up to less than the sum of its parts, and in some ways (obviously not all given its huge, huge success!), it did a bit of a disservice to the potential future career Céline could have had by essentially making her an old-school heritage artist before she was even 30. And I'm STILL NOT OVER the travesty that is the last 45 seconds of Us, which is a masterpiece up until the major key transition.

 

Do you know which D. Warren song was refused for LTAL? Was it IDWTMAT?

 

Edited March 22, 2021 at 10:00 AM by comingback

[PuraVida]

I'm a big Tina Arena fan, too - in some ways, she's kind of an Australian Céline in that she was a child star (she started in the mid-'70s at age eight and became known as "Tiny Tina"), she managed the successful transition to "adult" pop through a bit of an awkward phase, she has killer pipes, and she's been working in the industry for more than 40 years even though she's around the same age as Céline. She's had major French success since the late-'90s, but only short-term success elsewhere, mainly in the '90s.

 

She was a priority artist for Sony after the breakthrough success of her 1994 album Don't Ask (which won five ARIAs - Australian Grammys - and gained some traction internationally). They tried lots of things - a Diane Warren song, a duet with Marc Anthony on the theme from The Mark Of Zorro, a guest slot duetting with Donna Summer on her TV special, US TV appearances, a US tour, she performed at the opening ceremony of the Sydney Olympics, etc. - but she never really managed to break through to become a big star outside of Australia/France (and related territories). Although she's sold 10 million records worldwide, so while Céline's total of course dwarfs that number (significantly!), Tina's obviously done alright for herself. Sony ended up having a similar experience trying to break Lara Fabian in the US just a couple of years later.

 

Regarding a couple of the songs noted above:

• If I Was A River was the supposed ringer Diane Warren track recorded for inclusion on the international release of her album In Deep - it wasn't on the original Australian release, but they expanded the album and added higher profile tracks (i.e., Diane Warren) to try to give her a major boost in the US and Europe. The song did nothing in the US and had only limited success elsewhere.
  
• 
  
• Live For The One I Love was recorded by Tina Arena because she was part of the official English-language cast recording of the musical Notre Dame De Paris and starred in it on stage in London in 2000. Both Tina's and Céline's versions are on the English-language album, but Tina's was given priority as the official single release in the UK since she was starring in the show. The musical was composed by Luc Plamondon and Richard Cocciante, which is how Céline came to record her version. Plus she already had a connection to the musical and some of the original French-language cast performed at her Millennium show - Garou, Bruno Pelletier, Luck Mervil, and I think one other that I'm forgetting (Daniel Lavoie?). I prefer Céline's version overall - her vocal delivery on the track is more nuanced and emotional - but Tina Arena's version is enjoyable, too, and matches more to the tone of the whole soundtrack.
  

Back to LTAL, I still think as an album it adds up to less than the sum of its parts, and in some ways (obviously not all given its huge, huge success!), it did a bit of a disservice to the potential future career Céline could have had by essentially making her an old-school heritage artist before she was even 30. And I'm STILL NOT OVER the travesty that is the last 45 seconds of Us, which is a masterpiece up until the major key transition.

 

 

It's very hard for foreign female artists to break through if they are not R&B or hip-hop/rap I think. I'm not sure why.

 

I'd have to guess it's down to songs and genre. You need the right songs to break through. Her single "Chains" could have done well, don't know much of her other music. I think Tina is right when she said it's easier when people don't know who you are. As that happened in France. Also thanks for pointing out she was a child star, I saw an interview with her and I could not understand why they were saying she was getting recognized and getting special attention/picked on at school after being known. Now I know why.

[comingback]

 

 

 

It's very hard for foreign female artists to break through if they are not R&B or hip-hop/rap I think. I'm not sure why.

 

I'd have to guess it's down to songs and genre. You need the right songs to break through. Her single "Chains" could have done well, don't know much of her other music. I think Tina is right when she said it's easier when people don't know who you are. As that happened in France. Also thanks for pointing out she was a child star, I saw an interview with her and I could not understand why they were saying she was getting recognized and getting special attention/picked on at school after being known. Now I know why.

 

Yes, I know that Chains was a hit in the UK and Europe and I remember watching the video on the MTV charts. But after that she went nowhere. At the same time Celine was big in the UK and Europe with TT and TCOML. I think Celine was lucky to have Rene as a manager. Because with FIY and LTAL she became a megastar and Popdiva. And she worked hard for it.

[Unisono]

 

 

It’s been mentioned many times. There was either an article or a book excerpt that has been repeatedly shared over the years.

 

If I'm not wrong there even was a poster promo with the old track list on it. But I could be wrong. I'm sure that there were posters or cardboard promos that said that the title of the album was The Reason. As can be seen on the "the reason" cd promo for instance.

[PuraVida]

 

 

Yes, I know that Chains was a hit in the UK and Europe and I remember watching the video on the MTV charts. But after that she went nowhere. At the same time Celine was big in the UK and Europe with TT and TCOML. I think Celine was lucky to have Rene as a manager. Because with FIY and LTAL she became a megastar and Popdiva. And she worked hard for it.

 

What is crazy is that TCOML is Celine’s longest charting album in the UK of all time. It beats FIY by like 20 weeks!!! It was in there for ~140 weeks or something!

[CelinesDIVO5]

 

 

I'm actually happy we got Where Is The Love instead of Is Nothing Sacred. I don't know what people think about Where Is The Love, but I love it and I always have. I remember getting the Tell Him single before I got the album and that's when I first heard it.

 

I think Is Nothing Sacred still should have been on the album though, but they could have replaced it with Why Oh Why or I Hate You Then I Love You.

 

I also think When I Need You is too short. I hate that is just fades out. That song needs to be at least another minute long with a proper ending. The one we got sounds like a radio edit.

 

I love that we have WITL. It’s very special to me.

[CelinesDIVO5]

I'm a big Tina Arena fan, too - in some ways, she's kind of an Australian Céline in that she was a child star (she started in the mid-'70s at age eight and became known as "Tiny Tina"), she managed the successful transition to "adult" pop through a bit of an awkward phase, she has killer pipes, and she's been working in the industry for more than 40 years even though she's around the same age as Céline. She's had major French success since the late-'90s, but only short-term success elsewhere, mainly in the '90s.

 

She was a priority artist for Sony after the breakthrough success of her 1994 album Don't Ask (which won five ARIAs - Australian Grammys - and gained some traction internationally). They tried lots of things - a Diane Warren song, a duet with Marc Anthony on the theme from The Mark Of Zorro, a guest slot duetting with Donna Summer on her TV special, US TV appearances, a US tour, she performed at the opening ceremony of the Sydney Olympics, etc. - but she never really managed to break through to become a big star outside of Australia/France (and related territories). Although she's sold 10 million records worldwide, so while Céline's total of course dwarfs that number (significantly!), Tina's obviously done alright for herself. Sony ended up having a similar experience trying to break Lara Fabian in the US just a couple of years later.

 

Regarding a couple of the songs noted above:

• If I Was A River was the supposed ringer Diane Warren track recorded for inclusion on the international release of her album In Deep - it wasn't on the original Australian release, but they expanded the album and added higher profile tracks (i.e., Diane Warren) to try to give her a major boost in the US and Europe. The song did nothing in the US and had only limited success elsewhere.
  
• 
  
• Live For The One I Love was recorded by Tina Arena because she was part of the official English-language cast recording of the musical Notre Dame De Paris and starred in it on stage in London in 2000. Both Tina's and Céline's versions are on the English-language album, but Tina's was given priority as the official single release in the UK since she was starring in the show. The musical was composed by Luc Plamondon and Richard Cocciante, which is how Céline came to record her version. Plus she already had a connection to the musical and some of the original French-language cast performed at her Millennium show - Garou, Bruno Pelletier, Luck Mervil, and I think one other that I'm forgetting (Daniel Lavoie?). I prefer Céline's version overall - her vocal delivery on the track is more nuanced and emotional - but Tina Arena's version is enjoyable, too, and matches more to the tone of the whole soundtrack.
  

 

Back to LTAL, I still think as an album it adds up to less than the sum of its parts, and in some ways (obviously not all given its huge, huge success!), it did a bit of a disservice to the potential future career Céline could have had by essentially making her an old-school heritage artist before she was even 30. And I'm STILL NOT OVER the travesty that is the last 45 seconds of Us, which is a masterpiece up until the major key transition.

 

“Chains” was actually a top 40 hit here in the US (top 20 on AC).

[Céline RO]

DIdn't she write "I Don't Wanna Miss A Thing" around that time? Celine turned it down and went to Aerosmith

 

Such a shame though. It would’ve been amazing if Céline had recorded (and released) IDWMAT!

[Céline RO]

1616367169[/url]' post='2401093']

What?! Tina Arena is one of Australia's best known musicians, but moreover, she is quite big in France. She has 3 albums in French, 8 top 15 songs on the French charts, 4 of those are top 5 hits, plus a French National Order of Merit. So a tiny bit of Celine overlap. They sung together on a huge program in Italy called Les Enfoires back in 2007 or '08. Here's one song.

 

https://www.youtube.com/watch?v=cJSDy05IVro

 

https://www.youtube.com/watch?v=HCmuvpK_hzU

 

‘Les secrets des Enfoirés’ (2008) was in France.

 

JJG in that thumbnail though

Edited March 22, 2021 at 09:21 PM by Céline RO

[Céline RO]

 

Back to LTAL, I still think as an album it adds up to less than the sum of its parts, and in some ways (obviously not all given its huge, huge success!), it did a bit of a disservice to the potential future career Céline could have had by essentially making her an old-school heritage artist before she was even 30. And I'm STILL NOT OVER the travesty that is the last 45 seconds of Us, which is a masterpiece up until the major key transition.

 

For me the last part of “Us” is the best. The song is beautiful without it but that just takes it to another level and gives it that amazing rock energy.

[Céline RO]

What is crazy is that TCOML is Celine's longest charting album in the UK of all time. It beats FIY by like 20 weeks!!! It was in there for ~140 weeks or something!

 

Why is it that crazy? TCOML was huge in Europe. The mid 90s (before FIY) is when Céline really got big here.

[comingback]

 

 

Such a shame though. It would’ve been amazing if Céline had recorded (and released) IDWMAT!

 

Nah, I can't imagine this song with Celine's voice, Tyler's voice is perfect for it.

[PuraVida]

Such a shame though. It would’ve been amazing if Céline had recorded (and released) IDWMAT!

 

It would have given her another great rock n roll genre song.