#orchestral pop

[the-90s-music-colosseum]

The 90s MV Melee - round 1 match 58

Voter-submitted propaganda:

Tonight, Tonight -

"Hesitated on this because it was so critically acclaimed (video of the year) at the time but it’s a beautiful video"

Loser -

"Nothing flashy but it's just so quintessentially '90s."

[my-chaos-radio]

Release: November 30, 1991

Lyrics:

I can′t light, no more of your darkness

All my pictures, seem to fade to black and white

I'm growing tired, and time stands still be-fore me

Frozen here, on the ladder of my life

It′s much too late, to save myself from falling

I took a chance, and changed the way of life

But you misread, my meaning when I met you

Closed the door, and left me blinded by the light

"Ladies and gentlemen, Mr. Elton John"

Don't let the sun go down on me

Although I search myself, it's always someone else I see

I′d just allow a fragment of your life, to wander free

But losing everything, is like the sun going down on me

I can′t find, oh, the right romantic line

But see me once, and see the way I feel

Don't discard me (baby, don′t)

Just because you think I mean you harm

(Just because you think I mean you harm, no)

But these cuts I have (cuts I have)

They need love (they need love, they need love) to help them heal

Ho, don't let the sun go down on me

Although I search myself, it′s always someone else I see

I'd just allow a fragment of your life, to wander free, ho

′Cause losing everything, is like the sun going down on me

"Mr. Elton John"

Don't let the sun go down on me

Although I search myself, it's always someone else I see, yeah

I′d just allow a fragment of your life, to wander free, yeah oh

′Cause losing everything, is like the sun going down on me

Songwriter:

Bernie Taupin / Elton John

SongFacts:

👉📖

Homepage:

George Michael

Elton John

[haveyouheardthisband]

[yourfavealbumisgender]

OK Human by Weezer is Pansexual and Transgender!

requested by anon

[r0mali3]

NEW TROLL TRIBES???

Very very much entertained by the idea of introducing new genres in the DreamWorks trolls world solely for the fact that I like imagining how the canon tribes react to their existence. I like the idea of a new genre of music that diverges from how the main tribes interpret their music (which you can see with the tags below)

Also it might just be me but if OPM (Original Pinoy Music) exists there (lmao just pushing the Filo rep agenda here), I can imagine them just being yet another Trollstopia but smaller bc DANG this genre of music has EVERYTHINGGGGG

Well that and recent singles have this very unique sound with the likes of Pagsamo, Mahika, Pano (a personal fav), Pasilyo, Habang Buhay and much more. I have no idea if this kind of music is a subgenre of its own but something about it just scratches my brain, which says a lot bc despite being Filipino I actually don't listen to OPM very often

Anyways this was a shitty rant like I have so much to say abt this but I also feel like the details are all over the place

PLS PLS PLS SHARE UR THOUGHTS BRAINSTORM WITH ME I NEED TO KNOW I AM NOT ALONE IN THIS

[rickie-the-storyteller]

Here's a nice song for you:

It's a rerecording of an old Cody Fry song with a cinematic, orchestral twist. It describes the feeling of falling in love by comparing it to finding yourself in a dark tunnel and then suddenly being hit unexpectedly by an oncoming train. It's kind of a dark comparison, but it works in how extreme it is, in my opinion. It's sudden, disorienting, unexpected but inevitable— a quickly approaching light coming in out of nowhere and charging against you.

There's also a video on YouTube showing the live performance with the orchestra! It's one of my favourite things ever:

This song has inspired me with my writing. This specific version is one of those things that I like to play with my eyes closed visualise a whole music video/story playing in my head lol.

[spilladabalia]

Connie Lingus - Fuck Me Forever

[guerrilla-operator]

The Beach Boys // Little Bird

Where's my pretty bird? He must have flown away If I keep singing He'll come back someday

[theodorethechipmunksworld]

the most underrated and beautiful sleeping at last songs. i hope that i can choreograph in the future bcz the lyrical large groups i see with these songs keep me up at night UGH THEYRE SO BEAUTIFUL

[ladycharles]

My "no one owes you anything" twinky baroque pop number 😁🌍

Manic Pixie Dream World is out March 10th

This song isn't out till then but here's a little something else:

[slowfirecords]

Come già anticipato con la pubblicazione della compilation No need to fear con i Manicburg si aggiunge un ulteriore, eccitante tassello al mosaico delle nostre collaborazioni. Presto ci saranno importanti aggiornamenti sulla pubblicazione del primo album ufficiale del progetto Newyorkese capitanato da Ray Lustig e Luigi Porto, per il quale abbiamo registrato le linee di basso di due brani, Silken Pavillion e One for you and one for me (quest'ultima registrata e co-prodotta nel nostro studio).

Stay tuned!

As already anticipated with the publication of the compilation No need to fear a further, exciting piece is added to the mosaic of our collaborations. Soon there will be important updates about the publication of the first official album by Manicburg, the New York project led by Ray Lustig and Luigi Porto, for which we recorded the bass lines of two songs, Silken Pavillion and One for you and one for me (this one recorded and co-produced at SlowFi Recording studio).

[odk-2]

Bee Gees - To Love Somebody (1967) Barry Gibb / Robin Gibb from: "To Love Somebody" / "Close Another Door" (Single) "Bee Gees' 1st" (LP) "Their Greatest Hits: The Record" (2001 Compilation | Disc 1)

Orchestral Pop | Blue-Eyed Soul

JukeHostUK (left click = play) (320kbps)

Personnel: Barry Gibb: Lead and Backing Vocals / Rhythm Guitar Robin Gibb: Harmony and Backing Vocals Vince Melouney: Lead Guitar Maurice Gibb: Bass Guitar / Backing Vocals Colin Petersen: Drums

Orchestral Arrangement by Bill Shepherd Produced by Robert Stigwood / Ossie Byrne

Recorded: @ The IBC Studios in London, England UK April, 1967

Single Released: in mid-June, 1967(UK) July, 1967 (US)

Album Released: on July 14, 1967 (UK) on August 9, 1967 (US)

Polydor Records (UK) ATCO Records (US) Spin Records (Australia)

RSO Records: (1978 Reissue) Reprise Records: (2006 CD Reissue)

♪♪♪ ♪♪♪ ♪♪♪

To Love Somebody (Song) https://en.wikipedia.org/wiki/To_Love_Somebody_(song)

[stevenvenn]

Weyes Blood - Twin Flame (from And In the Darkness Hearts Aglow)

Whoo hoo! New Weyes Blood video for the track Twin Flame dropped today. It’s got some real 70s Hammer Horror / Poe vibes to it. Enjoy!

[randomvarious]

Today's compilation:

Great Records of the Decade: 60's Hits, Vol. 1 1990 Pop / Pop-Rock / Orchestral Pop / Surf Pop / Country

Kinda weird that a pretty sizeable and very eclectic label like Curb Records would license every single track for this budget comp of theirs from Capitol Records and then try to sell it as their own. Like, you guys have a big catalogue yourselves, with a lot of very recognizable names on your roster too. Why put together a budget CD of 60s hits that amounts to nothing but a sampler for another label? I get maybe going outside of your own vaults for a few tracks, but the whole thing? I know you received their permission and all, but, at the end of the day, this kinda feels like Toyota trying to sell a Honda or something. Can't really say that I fully understand the thought process that went into putting a release like this together.

That said, though, this is still a pretty terrific assortment of 60s pop hits, with a bunch of well remembered classics, like The Beach Boys' "Help Me, Rhonda" and Manfred Mann's "Doo Wah Diddy Diddy," presented alongside some tunes that, I think, have proven to be far less popular as time has proceeded to continuously march on. One such example is Little Anthony & the Imperials' "Goin' Out of My Head," an excellent piece of soulful orchestral pop from 1964 that starts out soft and then transcendently soars at its climactic peak, with lead singer Anthony Gourdine's naturally high pitch aided by a combination of strings and bounding beats of a drum. An epic, unorthodoxly constructed, and theatrical tune that peaked at #6 on the Billboard Hot 100 chart.

And another example is "Love Is a Hurtin' Thing," a classic soul joint by the great Lou Rawls, which marked both his first time atop the Billboard R&B chart and his first entry into the Hot 100's top 40 as well, making it all the way to #13. Rawls flexes his always full and butter-smooth voice on this one, never showing any rasp, despite getting movingly passionate in a couple different spots. And it's another one with superb accompanying instrumentation too.

Speaking of Rawls, did you know that there's another song on this album that at one point was actually intended to go to him as well? When Bobbie Gentry penned her gothic country chart-topping classic, "Ode to Billie Joe," she had him in mind to record it. Gentry wanted to sell the song to Capitol, who might then have given it to Rawls themselves, but rather than deciding to pay someone else to sing on a demo for it, she opted to sing on it herself instead. It was only supposed to be a B-side, but Capitol liked her raw, unpolished voice just fine, and then they decided to add some strings to it, and ultimately chose to release it as an A-side. "Billie Joe" would then end up serving as one of the biggest country songs of the entire decade, back when the genre wasn't so segregated from the rest of the pop charts in general, and it would be the biggest hit of Bobbie Gentry's own career, marking her very unexpected breakout with just her second single.

So, I don't really know why Curb Records decided to release this album in the first place—perhaps they thought there was a good chance at making a profit despite the licensing fees for each song—but they certainly did a good job anyway. A brief, but eclectic selection that mixes enormous hits with less remembered ones. It sort of feels like they wrote the name of each 60s Capitol hit on a small piece of paper, tossed all those pieces of paper into a hopper, gave that hopper a few tumbles, and then selected 13 songs at random from it and pressed them all to a CD 😅.

Good stuff, but no real consistent theme to any of it.

Highlights:

The Beach Boys - "Help Me, Rhonda" Jackie DeShannon - "Put a Little Love in Your Heart" Jan & Dean - "Surf City" Manfred Mann - "Doo Wah Diddy Diddy" Little Anthony & the Imperials - "Goin' Out of My Head" Bobbie Gentry - "Ode to Billie Joe" Lou Rawls - "Love Is a Hurtin' Thing" Glen Campbell - "Galveston" Wayne Newton - "Danke Schoen"

[dustedmagazine]

Mutual Benefit — Growing at the Edges (Transgressive)

As Mutual Benefit, Jordan Lee creates rich, complex, baroque folk-rock that rewards close listening. On his new release, Growing at the Edges, he employs the talents of a dozen other players to craft an album on which many of the songs patiently move though several movements via sophisticated arrangements. Part of the record’s undoubtable appeal is how it veers between swooningly romantic and chillingly melancholic, often during the course of a single song.

The fact that the instrumental interludes feel as intrinsic to the whole as the full-blown songs says a lot about how much attention Lee and co-producer Gabriel Birnbaum have paid to the arrangements. Early in the track list, “Remembering a Dream” is an elegant waltz featuring vibes, piano and strings, soon followed by the prominent woodwind intro of “Prefiguring.” Later in the record, “Winter Sun, Cloudless Sky” foregrounds wavering keys, and finale “Signal to Bloom” is an instrumental epilogue with prominent upright bass that revisits the melody of the opening title track, accompanied by wordless coos and lilting flute.

On the vocal songs, Lee’s voice may prove a hurdle for some. However, it sits so discreetly in the mix that it becomes a texture, the lyrics melding into the flow rather than a prominent feature. “Season of Flame” builds into a haunting coda, while “Wasteland Companions” offers up a crisp syncopated beat and rich swells of woodwinds. As the album progresses, there’s a gradual accumulation of themes and atmospheres that proves mesmerizing and deeply satisfying. This perhaps betrays the influence of Brian Wilson collaborator Van Dyke Parks, who had a winning way with the kinds of arrangements whose filigrees and elaborate instrumental contributions could prove intoxicating. Not to say that Lee quite belongs on the same plane, but this is a beautifully realized series of songs, and certainly his finest since 2013’s Love’s Crushing Diamond.

Tim Clarke