"Si c'était à refaire" Second Single France- Official Topic

[donpi86]

It's a nice song that fits with the theme of the album but it's not really single material in my opinion.

Too slow and sad... I really wanted Sony to finally pick an uptempo song for radios to play Céline non stop! Or clubs why not - just like I Want You To Need Me.

Sony please shock radio stations and listeners with L'étoile or Tu sauras! Sony USA will have to pick an uptempo song if they want the new English album to get noticed.

 

IT's not a thing of radios playing sad or happy songs... Adele Hello is the longest and the most boring song I've heard in years an it has being in radios for months, along with Dancing on My Own... or All of Me.. and other sad or love songs.... typical ballads... Celine is not current and probably she will never be again... as almost all the famous singers and bands of the last two decades... but is not a thing of quality... it's a thing of fanbase... Radio is pure marketing... who choses what to play?... don't be a fool...MONEY BABY... companies pay radio stations packs of what to play for how much... Why is Sony going to pay too much for a new Celine single if the album is already sold for all her fanbase... and it's a HUGE fanbase... she doesn't need single succeess... that's for those who just arrives and need to fullfill arenas...

Bruce Springsteen or AC/DC spend money in successful singles.... NO.. No radio stations are interested because they are not current artists... they are LEGENDS... they have all the fan work made... they are not going to get a new teen fanbase.. it's absurd... Celine, as this legends, can keep singing in sold out concerts and being a top seller for a week as long as she wants... because she earned along this years.. when it was her time (that wonderful 90's...)

[Xpresso]

Even if older artists pay to get their singles played on radios, they won't get played more than one week!

I agree that Céline's major airplay is long gone. But I would like for Sony to release an uptempo song to shock (in a good way) the non-fans to show them that Céline is not just a ballad queen. (I don't consider LMBTL uptempo by the way.) And I think there are more chances that radios will be willing to give it a few spins if it's a song that rocks the boat so to speak.

It's not only Céline's look that needed a lift (thanks to Law Roach) it's also the single choices. I think we should also let Law Roach pick the singles in the future!!!

[mirage]

It's not that it's the public who will ignore the 2nd single, even when it gets the same treatment as the first one.

 

It's the 2nd single choice which in most times are the worst.

Don't say the songs are bad in general, but only as a second or third single to represent the album.

 

Sony just proofs that they kill her albums with second single releases.

They flop and they cancel the re-release. History repeats. Hopefully I am wrong, but I'm afraid.

 

I understand it is so easy for them having Celine, she sells, whether they do something or not. But she can sell so much more if she gets the same treatment others get.

[Javito]

It is always exhausting with you. One step at a time... So...

 

First. I said up-tempo. TTWII, ANDHC, IA are mid-tempo songs. IDAN is a good argument (still an average single release that barely sold 500k worldwide). But I give you that and I stand corrected there. The entire point I have is that the public has always accepted her ballads or cute mid-tempo songs more than the modern, cool, up-tempo sounds like LMBTL or TS or even OH which seemed too much for Celine back in the day.

 

Never heard Céline's songs categorised with such "mid-tempo" thing. We've always differentiated between ballads and up-tempo songs, which are those who are said to be "radio friendly" too, using another term. In any case you perfectly know what I mean and I'm sure everyone in this forum knows what Céline Dion songs are up-tempo and what are ballads. I've seen no one else introducing the category of "mid-tempo" here to refer to songs such as "I'm Alive", "ANDHC" and "TTWII".

 

Also, if you want to play particularly fussy here, I'll get that IDAN is much closer to a dance song, rather than an "up-tempo" one

Edited October 15, 2016 at 02:20 PM by Javito

[LukeD]

Never heard Céline's songs categorised with such "mid-tempo" thing. We've always differentiated between ballads and up-tempo songs, which are those who are said to be "radio friendly" too, using another term. In any case you perfectly know what I mean and I'm sure everyone in this forum knows what Céline Dion songs are up-tempo and what are ballads. I've seen no one else introducing the category of "mid-tempo" here to refer to songs such as "I'm Alive", "ANDHC" and "TTWII".

 

Also, if you want to play particularly fussy here, I'll get that IDAN is much closer to a dance song, rather than an "up-tempo" one

Whatever. I am not here to school anyone.

 

My initial point still stands. She has had FAR more success with ballads than anything else (call it up/mid-tempo, whatever). Just count her releases since 1981 and respective hits.

Edited October 15, 2016 at 02:42 PM by LukeD

[Alex_Incognito]

Let's face it: most people commenting about how they hate this song don't understand the words and need a tribal beat for them to be able to hum along.

[Javito]

What a low blow. Those who don't understand French language have also the right to opine and choose their favourite to be a single Since when in music do you need to understand the lyrics of a song to say that you like it for its melody or its catchy tune or... Whatever. This is music is not rocket science.

 

Where would have go Céline if she hadn't learnt French because only a limited audience could understand her, and she wanted to reach everyone with English?

 

That came almost as disrespectful sorry.

Edited October 15, 2016 at 03:22 PM by Javito

[mirage]

Yeah that's pure logic, since almost everything she ever released is a ballad, and not uptempo.

Some singles are even lyrically a mess.

 

And she will always be presented as a ballad singer. The fault of her own team and choices they made back in the day.

 

She herself says she loves the uptempo songs, and not getting much for her albums.

But when she does, she/they neglect them as they never existed.

And choose the always sing about love songs...

 

 

Whatever. I am not here to school anyone.

 

My initial point still stands. She has had FAR more success with ballads than anything else (call it up/mid-tempo, whatever). Just count her releases since 1981 and respective hits.

[québecflower]

What a low blow. Those who don't understand French language have also the right to opine and choose their favourite to be a single Since when in music do you need to understand the lyrics of a song to say that you like it for its melody or its catchy tune or... Whatever. This is music is not rocket science.

 

Where would have go Céline if she hadn't learnt French because only a limited audience could understand her, and she wanted to reach everyone with English?

 

That came almost as disrespectful sorry.

the french career is mostly for french people... when she wants to go global, she goes english. I don't know what was the objective in choosing that song for France, i don't live there, and that's why also i have no opinion on this. In Québec she can do whatever she wants by now. But she chose l'étoile , a good one. We don't enjoy drama so much over here, we know she lives it , no need to be reminded of it, The british spirit lives within us.

[scielle]

It's not at all surprising to me that she'd want to shine a light on this one because it's clearly very close to what she's feeling at the moment.

The song conveys precisely the same sentiments she's been expressing in interviews lately. Makes perfect sense; it's certainly one of the most honest, timely, and personal songs on the record. And a beautiful vocal performance to boot.

 

And yes, I do think you need to understand the lyrics to fully appreciate a song. You're only getting the tip of the iceberg otherwise. I just don't see how you can so easily discount the importance of the lyrical part of the package. There's a reason why Dylan just got a Nobel prize.

[Alex_Incognito]

What a low blow. Those who don't understand French language have also the right to opine and choose their favourite to be a single Since when in music do you need to understand the lyrics of a song to say that you like it for its melody or its catchy tune or... Whatever. This is music is not rocket science.

 

Where would have go Céline if she hadn't learnt French because only a limited audience could understand her, and she wanted to reach everyone with English?

 

That came almost as disrespectful sorry.

Ummm...no...it's for French radio. I think it will fit in nicely with what's currently playing. It's not a low blow. It's a fact.

[LukeD]

Yeah that's pure logic, since almost everything she ever released is a ballad, and not uptempo.

Some singles are even lyrically a mess.

 

And she will always be presented as a ballad singer. The fault of her own team and choices they made back in the day.

 

She herself says she loves the uptempo songs, and not getting much for her albums.

But when she does, she/they neglect them as they never existed.

And choose the always sing about love songs...

Maybe she is represented as a ballad singer because this is what she excels at? It is what puts her above the average singer who could pull off Unison, LCMM or Misled.

 

And please... in almost every album there is an ''up-tempo'' song to be released which either flops or is overshadowed by the ballads. Few exceptions do not change the rule.

 

Who remembers LCMM next to BATB? Misled next to TPOL or TT? DMQS, JDDMT next to Ziggy or LAEE? JIOTI next to PQTME or JSP? DUAM compared to SSDA or ONCP?

 

I can go on and on with this. And do not let me start with her 80s singles.

Edited October 15, 2016 at 03:52 PM by LukeD

[Alex_Incognito]

And furthermore, her ballads are her money makers. Nothing gets the applause after they do. She doesn't get the same applause when she girates her hips to Misled.

[Pangloss76]

the french career is mostly for french people... when she wants to go global, she goes english. I don't know what was the objective in choosing that song for France, i don't live there, and that's why also i have no opinion on this. In Québec she can do whatever she wants by now. But she chose l'étoile , a good one. We don't enjoy drama so much over here, we know she lives it , no need to be reminded of it, The british spirit lives within us.

Trust me, french people love two things in music: hyper catchy tunes or tearjerkers. SCAR fits the market perfectly. Plus, french people have a lot of respect for music legends but they also love to cathegorize sometimes. And here, Celine is known for her voice and deep/sad/inspirational songs. So SCAR is quite a nice move actually!

[québecflower]

Trust me, french people love two things in music: hyper catchy tunes or tearjerkers. SCAR fits the market perfectly. Plus, french people have a lot of respect for music legends but they also love to cathegorize sometimes. And here, Celine is known for her voice and deep/sad/inspirational songs. So SCAR is quite a nice move actually!

thanks, this is the imprssion i was having, a little more dramatic over there... I love that song, i think that Celine is looking for respect and she is going for the emotion. I like that . The true emotion not the fabricated one. Now if only she would transport that thinking in english....

[Ronny83]

10/14/2016

 

THE NEW EUROPEAN SINGLE

 

Céline presents "SI C’ÉTAIT À REFAIRE", the second single to be released in Europe from her latest album “Encore un soir”.

Written by Alice Guiol and featuring the music of longtime friend and collaborator Jacques Veneruso, the man behind such classic Céline’s songs such as "Je ne vous oublie pas" and "Parler à mon père".

 

http://www.celinedion.com/news?n_id=385

[Pangloss76]

thanks, this is the imprssion i was having, a little more dramatic over there... I love that song, i think that Celine is looking for respect and she is going for the emotion. I like that . The true emotion not the fabricated one. Now if only she would transport that thinking in english....

Yes and I think the lyrics and song are going to get her the respect she deserves. At least I believe people will be touched by such a testimony of her love for René. Especially when it comes off so genuine and powerful!

[Javito]

Yeah that's pure logic, since almost everything she ever released is a ballad, and not uptempo.

Some singles are even lyrically a mess.

 

And she will always be presented as a ballad singer. The fault of her own team and choices they made back in the day.

 

She herself says she loves the uptempo songs, and not getting much for her albums.

But when she does, she/they neglect them as they never existed.

And choose the always sing about love songs...

 

Remember her excitement about Somebody Loves Somebody and how she imagined the remixes after "being played on radios" as a single?

 

Maybe she is represented as a ballad singer because this is what she excels at? It is what puts her above the average singer who could pull off Unison, LCMM or Misled.

 

And please... in almost every album there is an ''up-tempo'' song to be released which either flops or is overshadowed by the ballads. Few exceptions do not change the rule.

 

Who remembers LCMM next to BATB? Misled next to TPOL or TT? DMQS, JDDMT next to Ziggy or LAEE? JIOTI next to PQTME or JSP? DUAM compared to SSDA or ONCP?

 

I can go on and on with this. And do not let me start with her 80s singles.

 

But of course! How on Earth her audience has ever had a chance to remember songs like DMQS or JDDMT when she has systematically ignored them since 1994? And included in every tour to boredom songs like Ziggy, Je sais pas, etc, without giving a chance to any new songs? Not until 1999 she performed those two again for the Millenium concert, and then 14 years later in 2013 she performed them again for the first time in Les plaines. And if my memory doesn't play tricks on me I remember pretty well how well that medley of Incognito/DMQS/JDDMT was welcomed by fans and general public, as a breath of fresh in a concert where the middle section was dull because was full of the same slow, old songs

 

Of course people can't have much chance to retain and remember those uptempo songs if Céline has worked really hard to make the general public forget them because she has always performed the SAME setlists for decades!

 

Because do you remember what happened this year during summer right? For the first time ever in decades she came with a tour which was different from every other she has done before only because it was loaded with new songs she has never performed before. Including up-tempo ones that were unjustifiably ignored like Apprends-moi and Tous les secrets. And if I'm not wrong again, everyone has raved about this

 

So in my view, it's not that these songs aren't good enough against her ballads. They just didn't have the same space and treatment as the ballads! And unluckily, Luke, so unluckily. Because only the two examples you've given of DMQS and JDDMT are two of the best well-written lyrics that Luc Plamondon has ever wrote for Celine They have nothing to be ashamed about next with ballads like Je sais pas or Ziggy.

 

So most of Céline's up-tempo songs haven't had the same success as her ballads just because they were never given the same space and prominence in her concerts as her ballads. Period! That's clear and obvious to see through all her repetitive tours and concert setlist through the years. And so unfair

[isurrender]

"Des mots qui sonnent" well written? haha... do you understand what she sings? and the way it's written?

 

Oh maybe you mean the music?

 

Well, if you really mean the lyrics. ..it's nothing but embarrassing ( for the song, and for you).

[Javito]

"Des mots qui sonnent" well written? haha... do you understand what she sings? and the way it's written?

 

Oh maybe you mean the music?

 

Well, if you really mean the lyrics. ..it's nothing but embarrassing ( for the song, and for you).

 

Oui, je comprends les paroles parfaitement The way he combines telling a story about someone who wants to receive a song and is pressured to have a #1 hit, the way he includes English words in a French song is witty, how he included the names of Sting and Michael Jackson in the song without sounding silly.... He makes it work. You don't like this song? Well, to me it's just a great example of the genious songwriting skills of Plamondon

 

And yes, the music is brilliant, with all the highs and lows in her voice, the beltings, the "hallo's?" and all those little nuances in between that only Plamondon knew how to include.

 

Just tell me someone else that has written this well for Céline after him. Only Jean-Jacques Goldman managed to provide the same quality.

Edited October 16, 2016 at 10:14 AM by Javito

[Celine Fan 77]

Her two current singles in both French and English relate to René. Both Recovering and Si C'était à Refaire. Yes, they could have picked Ma Faille or Tu Sauras as the second extract from 'Encore Un Soir', but perhaps they still wanted to pay one more tribute to René.

 

Don't forget how important single choices must be at this point of Celine's career for the image she gives to the general public. Yes, she has many uptempo songs that would have had way more chances of becoming radio hits than Si C'était à Refaire, but c'mon, she clearly wants to tell to the French audience that she's still grieving.

 

With that being said, I still don't think Si C'était à Refaire was the best choice. The best move to me would have been to include Ma Force on the standard version of the album and then release it as the second single, mainly because of its catchy chorus, the acoustic sound and, above all, the optimistic lyrics that go so well with the message of Recovering.

 

 

Just my two cents

[LukeD]

But of course! How on Earth her audience has ever had a chance to remember songs like DMQS or JDDMT when she has systematically ignored them since 1994? And included in every tour to boredom songs like Ziggy, Je sais pas, etc, without giving a chance to any new songs? Not until 1999 she performed those two again for the Millenium concert, and then 14 years later in 2013 she performed them again for the first time in Les plaines. And if my memory doesn't play tricks on me I remember pretty well how well that medley of Incognito/DMQS/JDDMT was welcomed by fans and general public, as a breath of fresh in a concert where the middle section was dull because was full of the same slow, old songs

 

Of course people can't have much chance to retain and remember those uptempo songs if Céline has worked really hard to make the general public forget them because she has always performed the SAME setlists for decades!

 

Because do you remember what happened this year during summer right? For the first time ever in decades she came with a tour which was different from every other she has done before only because it was loaded with new songs she has never performed before. Including up-tempo ones that were unjustifiably ignored like Apprends-moi and Tous les secrets. And if I'm not wrong again, everyone has raved about this

 

So in my view, it's not that these songs aren't good enough against her ballads. They just didn't have the same space and treatment as the ballads! And unluckily, Luke, so unluckily. Because only the two examples you've given of DMQS and JDDMT are two of the best well-written lyrics that Luc Plamondon has ever wrote for Celine They have nothing to be ashamed about next with ballads like Je sais pas or Ziggy.

 

So most of Céline's up-tempo songs haven't had the same success as her ballads just because they were never given the same space and prominence in her concerts as her ballads. Period! That's clear and obvious to see through all her repetitive tours and concert setlist through the years. And so unfair

Celine ignored these songs because the public reception was lackluster when they were promoted/released as singles. Especially when compared to her big hits. Ziggy and Je Sais Pas are smash hits which defined her career. The fact that you just called Je Sais Pas boredom shoud be enough reason for me not to bother reply, but I do so, because you have this tendency of taking things out of context. You even go on to compare the quality of the songs when nobody said anything about it.

 

When a song flops or does not hold a candle next to the real hits which people have loved, it only makes sense to perform the song rarely. We already have sufficient performances of Je Danse Dans Ma Tete, for instance, which failed to even chart in France. And nobody doubts that including rare songs every now and then adds freshness to her concerts.

 

However, space and prominence in concerts can do nothing when the public never cared about the song. The best she could achieve is make these songs standards for her fan base, which is what she did with Dans Un Autre Monde and J'irai Ou Tu Iras anyway.

Edited October 16, 2016 at 11:29 AM by LukeD

[LukeD]

"Des mots qui sonnent" well written? haha... do you understand what she sings? and the way it's written?

 

Oh maybe you mean the music?

 

Well, if you really mean the lyrics. ..it's nothing but embarrassing ( for the song, and for you).

The ignorance that oozes from your comments is embarrassing.

 

DMQS is a satire. It perfectly describes and mocks the anxiety of young singers to become big. Also a reflection of how the industry works. Yes, DMQS is very-written and on point.

[Frozen_Phoenix]

What a disastrous choice!!!

 

It's like "Give me the worst song of a fantastic album and I'll turn it into a single."

[Javito]

Celine ignored these songs because the public reception was lackluster when they were promoted/released as singles. Especially when compared to her big hits. Ziggy and Je Sais Pas are smash hits which defined her career. The fact that you just called Je Sais Pas boredom shoud be enough reason for me not to bother reply, but I do so, because you have this tendency of taking things out of context. You even go on to compare the quality of the songs when nobody said anything about it.

 

When a song flops or does not hold a candle next to the real hits which people have loved, it only makes sense to perform the song rarely. We already have sufficient performances of Je Danse Dans Ma Tete, for instance, which failed to even chart in France. And nobody doubts that including rare songs every now and then adds freshness to her concerts.

 

However, space and prominence in concerts can do nothing when the public never cared about the song. The best she could achieve is make these songs standards for her fan base, which is what she did with Dans Un Autre Monde and J'irai Ou Tu Iras anyway.

 

It's not the public who has to care initially about a song, it's the artist herself who has to give it a chance on the first place. It's Céline who has to BELIEVE on her own songs on the first place and give them the credit they deserve. And Céline has ignored too many times countless dozens of great songs already, both ballads and also up-tempo ones.

 

Also, Céline has contradicted herself many times with this, saying she loves and she needs these uptempo songs for her shows, and then she always has the worst choices for singles. I'm not saying SCEAR is a bad song because it isn't (GTSW wasn't a bad song but it was indeed the worst song to be sent to radios in ANDHC). But it IS the most unexpected choice, the least radio friendly song in the album, that's the next best candidate to be sent to radios with urgency. How do they explain that? Is there an explanation?

 

If Céline herself says that she loves a song and that she can't wait to have some remixes done of it and to be played on radios -like happened with Somebody Loves Somebody- (and this was right at the first steps of the song, right after it was born in the recording studio), but then she (or whoever is responsible) constantly neglects the potential of these songs who are clearly radio friendly and single material, then there's not much the public can do to care about the song and support it if the artist herself/her team has already sentenced the song to death and they have killed it before even considering it.

 

How can the public support something that the artist or her team has already ruled out from the start? They always kill the bird before giving him the chance to fly from the nest

Edited October 16, 2016 at 12:20 PM by Javito

[LukeD]

It's not the public who has to care initially about a song, it's the artist herself who has to give it a chance on the first place. It's Céline who has to BELIEVE on her own songs on the first place and give them the credit they deserve. And Céline has ignored too many times countless dozens of great songs already, both ballads and also up-tempo ones.

 

Also, Céline has contradicted herself many times with this, saying she loves and she needs these uptempo songs for her shows, and then she always has the worst choices for singles. I'm not saying SCEAR is a bad song because it isn't (GTSW wasn't a bad song but it was indeed the worst song to be sent to radios in ANDHC). But it IS the most unexpected choice, the least radio friendly song in the album, that's the next best candidate to be sent to radios with urgency. How do they explain that? Is there an explanation?

 

If Céline herself says that she loves a song and that she can't wait to have some remixes done of it and to be played on radios -like happened with Somebody Loves Somebody- (and this was right at the first steps of the song, right after it was born in the recording studio), but then she (or whoever is responsible) constantly neglects the potential of these songs who are clearly radio friendly and single material, then there's not much the public can do to care about the song and support it if the artist herself/her team has already sentenced the song to death and they have killed it before even considering it.

 

How can the public support something that the artist or her team has already ruled out from the start? They always kill the bird before giving him the chance to fly from the nest

I think you have comprehension issues when it comes to my posts. Or you are doing it on purpose. Why do you do this?

 

We are talking about songs that were released as singles and either floped or were completely eclipsed by the real hits. So they were given a chance!

Edited October 16, 2016 at 12:39 PM by LukeD

[Javito]

I think you have comprehension issues when it comes to my posts. Or you are doing it on purpose. Who told you Celine and her team have been ruling songs out from the start? Who said they never gave them a chance in first place? And please, do not mix her English career which is a mess compared to the French one. Stick to the topic which is the French songs.

 

We are talking about songs that were released as singles and either floped or were completely eclipsed by the real hits. So they were given a chance.

 

No Sir, that was your own deviation of the topic, the examples you put of songs that were singles and according to you, they "flopped". We are talking about how they chose Si c'était a refaire as the second single in France, before releasing other songs which had clearly much greater potential to be successful on radios, as L'étoile, Ma Faille, Tu Sauras etc.

 

You're always so lost in your own deviation/counter-argumentation of the topics that you lose the focus of the discussion

[Kyle_Jared]

Well, they go it right in Canada for single No.2 ......LOL.

[LukeD]

No Sir, that was your own deviation of the topic, the examples you put of songs that were singles and according to you, they "flopped". We are talking about how they chose Si c'était a refaire as the second single in France, before releasing other songs which had clearly much greater potential to be successful on radios, as L'étoile, Ma Faille, Tu Sauras etc.

 

You're always so lost in your own deviation/counter-argumentation of the topics that you lose the focus of the discussion

No. We were talking about how ballads have almost always worked much better for Celine. Then you jumped in with your casual complaining about rarely performed up-tempo songs. And once I replied to you that these songs were commercially overshadowed (hence performed rarely), you came back to tell me Celine and her team never give songs a chance. This time talking about songs that were never released. So you went back and forth. As usual. Edited October 16, 2016 at 12:48 PM by LukeD

[LukeD]

We are talking about how they chose Si c'était a refaire as the second single in France, before releasing other songs which had clearly much greater potential to be successful on radios, as L'étoile, Ma Faille, Tu Sauras etc.

 

What do you do for a living? Unless you work in the music business your certaintly is of no base. Especially since you lived in what... Spain and UK? Not France to know what people like. What radios play there. A member just informed us in this thread that people there love super catchy songs or tearjerkers. So they went with the tearjerker.

 

Also what radios are you refering to? The ones that barely supported the smash hit Encore Un Soir is? The song was #1 in charts and barely Top 40 in airplay.

 

Reality check please! You are just a fan, you cannot know what is ''clearly'' better for radios, and to talk about airplay is futile anyway.

Edited October 16, 2016 at 01:00 PM by LukeD