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Posted: Aug 7 2010, 12:27 AM
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Member No.: 35,575
Joined: May 13th 2010
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Can someone put full scan of this album?
Posted: Aug 7 2010, 02:30 AM
Member No.: 1,871
Joined: May 20th 2004
"Screaming out the Power" might be something good. It's got good verses. Other than that, "Labyrinth of Love" and The Snake's track are my winners.
Ace and Kaioh weren't bad either I guess, but I could never race or go running to Hawaiian Roller Coaster Ride.
Posted: Aug 7 2010, 11:30 AM
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Member No.: 20,990
Joined: Oct 16th 2006
Location: Update Profile
Here's my review for anyone that's interested. I don't buy the remixes as they don't interest me, so it's only the 12 new tracks:
01 AAA / HAWAIIAN ROLLER COASTER RIDE
Hey AAA! Kiki & Fancy want their backing track back!! Seriously, this is like a little hit of sweet summery sunshine. There's not a lot of depth to the song at all, but with a title like that I'm sure that no-one really expected that. The hook is probably the best part of the whole song to be honest, which probably reveals how I feel about AAA's vocals (when the guy chants that section in Hawaiian, I honestly thought he was single-handedly trying to take the rip out of every person of Hawaiian descent - it just sounds a bit ridiculous!) I find it hard to really comment a lot on this song since it's quite repetitive, but thankfully the super-short cut stops it from sounding too old. In the absence of the more established "kiddy" Eurobeat names, this song acts as a welcome break from the more serious tracks (and the endless debates about the state of the Eurobeat scene as whole!) and for that, you really can't hate this song too much. Still, be sure to brush your teeth thoroughly after each listen, or they could be rotting and falling out quicker than you can say "Tuttifrutti Lollipop!"
02 THE SNAKE / FREEDOM RIDE
Speaking of teeth - what is with the lyric "I got a taste under my teeth"? Excuse me?? Bizarre lyrics aside, this sample was the SCP entry that had me most excited for the full version, and I'm happy to hear that for the most part I am contented with the finished product. We have the trademark testosterone fuelled guitars all the way through, but I like the added synth dimension in the background of the hook that gives the melody a little more substance. The intro is pretty much what has me hooked to this one, as I love the arpeggios on the guitar and the simple chord structure. If anything, the vocal sections of the song seem to find it hard to keep up with the quality of the production - I've heard more passion and conviction in songs like Queen of Mean and The Snake Around. They sound a little tired here, like they were the second choice to perform this track (I'm sure someone has already mentioned how much this sounds like a Fastway track, and I definitely feel that his boundless energy would have worked wonders here). All the same, this is still a very listenable track with a good balance - not too many guitars trying to over-power the vocals like certain A-Beat C productions to surface of late. Love those guitar solos!
03 KAIOH / IT'S LIKE A FIRE
This one left a lot to be desired from the poor sample, and to be honest I was more than a little worried when I heard the intro of this full version. The really obnoctious "FAAAAIIIIYYYYYYAAAAARRRRR!!" drones do nothing for the song at all, and I almost stopped it to save my ears. I'm glad I pushed through this rocky section however, as the hook is an absolute peach - a nice degree of controlled aggression with a trademark bouncing melodic flow; this is good work from Sandro and I hope to hear more hooks like this in the future. Kaioh's vocals are developing, but I'm really undecided as to whether they are going in the best direction or not - he seems to have a tendency to sound a little sharp during the verses especially, and he lacks the raspy bass tone that older more established male vocalists have that help to set the tone for this kind of song. Having said all that though, he does a sterling job of putting everything into that final "FIIIIIIIIRRRRRRREEEEEE!!!!" of every chorus, which sets us up nicely again for that awesome hook line. The production towards the end of this song is really excellent - I love the sparse synth lines accompanied by just the anguished screams of Kaioh, and the final hurrah with the segmented chorus lines interspersed with the hook really helps to bring the whole song together. A very nice surprise and hopefully the start of good things for Kaioh.
04 LOUISE / SCREAMING OUT THE POWER
This one has been torn a little, as there was something in the sample that really appealed to me which I am now failing to hear in the full version. In an attempt to find this "thing" again, I'll list the sections of this song I really dig, The bass and beat seems to have a bit more "beef" than a lot of other speedy female HRG tracks (which suffer from a sense of bad treble-heavy mastering for me). Also, I enjoy the little synchopated synth lines running behind the verse that give the song a bit of verve and punch. Oh wow...hang on...that breakdown!!! How awesome is that breakdown around the 03:17 mark?? The way the saw-style synth dances around the toy-piano is just soooo cute - I could easily listen to that section over and over again. But hang on - that section wasn't in the sample that avex released! Man, this is difficult, as I do feel that there is something slightly more special about this track than all the bog-standard run of the mill HRG female tracks that have had the audacity to invade the SEB series of the years with their blandness. Sadly, I just can't put my finger on it. In terms of negatives, the major one is probably the tone of the vocals - they have very little power to them and sound like they are on helium. Now that, my friends, is classic Hi-NRG Attack right there!
05 GARCON / ON THE TOP AGAIN
Is Garcon growing up? The melancholic string melody through the intro suggest that he may be. Gone are the ridiculous grunts and frantic speeds of Super Kaiser (which I loved actually), and instead we have a far more melodic and musical Garcon. My iPod has a habit of choosing this track either first or second any time I put it in shuffle mode, so it's normally one of the first tracks that plays on the way to work in the morning. Whether that helps gain it some brownie points in my affections I'm unsure, but I definitely love that hook line - it's a bit more restrained than the epileptic fits heard in the likes of "Control Alt Delete And Blow" and "Super Kaiser", but it has a lot more melodic merit to my ears. I am also really digging the breakdown section of this one - a whole 20 seconds of almost exclusively instrumental Hi-NRG that showcases what I love about the labels productions and writing. Having said that, I do find that upon hearing the chorus for around the fifth time towards the end of the song, I have started to grow a little tired of unique Garcon vocals and the melody - if ever there was a case for the labels all doing the 4 minute cuts again, this could be it. Nevertheless, Hi-NRG Attack continue a strong run of form.
06 NATHALIE / I'LL REMEMBER WHY I LOVE YOU
I'll try to be restrained and polite about this track as possible as I do still want to take what I say about this song seriously. My first thought during the intro is "hey, that sounds like "Waiting For A Star To Fall"..." - my next thought (as soon as the hook starts) is "damn, I really wish I was listening to "Waiting For A Star To Fall"". Two things really irritate me about SinclaireStyle's modern productions - firstly, he over-uses the ugliest, most watered-down synths you could find. However, and perhaps more importantly here, he relies too strongly on really ordinary sounding vocalists. From the moment the first verse begins, I already find my face frowning at the really annoying way that Nathalie seems to over-pronounce the start of almost every word. You probably notice it most in the chorus - I do wonder whether the sheet of A4 paper that had the lyrics on it actually read "In my HAnd THose LOneLY DAys" (lyrics probably aren't correct because they are mastered pretty badly...) For those that know me well, you will be aware that the most important thing for me in any song that I listen to is a good melody delivered clearly and effectively, and this song has none of those things. I could look really hard and possibly find certain sections of the song that hold some value to me (the middle 16 measures with the 4th beat synths is cute and reminds of music from DDR), but I would be hard pushed to find a lot to right about. The overwhelming desire I get when this song comes on is not to sing-along or bop my head to the beat, but rather to reach for the skip button pretty quickly. And another thing Sinclaire - please quit the gratuitous key changes that are just there because you have run out of inspiration and you don't know what else to do to jazz up the production... Oops, so much for remaining restrained and polite...
Score: 2/10 (for the middle 16 measures from 02:43)
07 POWERFUL T. - LOUDER & FASTER
I've been a fairly loyal advocate for Powerful T recently in the face of criticism from the die-hard fans who believe he is perhaps past the peak of his Eurobeat career. For me, he can still present a competent (if fairly generic) style of Eurobeat that has slowly died out since the first half of the SEB 100's. This track had a certain degree of fanfare in the community being sort-of the "debut" of Sun-Fire, so the expectations were high. The intro is a mish-mash of ideas and styles, which in a way is comforting as we know that Pasquini hasn't deserted his old style completely! For me, the marmite quality of the main synth hook - most people either seem to the love it or hate it - has come as a bit of a shock, as I think it has a really great old-school feeling to it. The stuttering muted saws dance frantically over a wailing sea of guitars - only Powerful T could really pull that style off. However, the verse is another story. I'll never understand why anyone thought it would be a good idea to take a fairly tuneful (if slightly unremarkable) melody and then let a group of 5 year olds thrash guitars, pots, pans and anything they can find in the background! Seriously, it's just a mess, and it's quite unsettling listening to this part of the song, as you just want to march right to the Sun-Fire studios and make them re-do that whole part of the song. The bizarre thing is that as soon the bridge begins, we have none of the awful racket in the background that blighted the verse. The chorus and hook are definitely where this song shines though, and it is probably the second catchiest song on this album (using my office scale - the more I find myself singing or humming the melody while I'm in work, the higher a song will place on my catchiness list). Still, I find it really hard to forgive the really poor effort that went in to the verses - especially as this is supposed to showcase to the world what Sun-Fire is all about. More effort please Grandpa Dave - and keep the grandkids out of the studio next time when you're recording!
08 MOMO / FLASH & LOVE
Send Me An Angel was always going to be a tough act to follow, but I never expected Momo to struggle as much as she has here. Even with all of the best twinkles and whooshes that the SCP production team could find, this song was never going to allow her to reach the lofty heights of her previous release. Everything is very polished - you wouldn't really expect anything less from the label nowadays really - but what you have is a really weak song itself. The melody really doesn't go very far - from the simplistic piano based hook, to the descending scales during the chorus, I just feel that everything was a bit half-hearted. It also really exposes Momo's vocals as being really quite normal - Irene has her unique twang, Pamsy has the overflowing emotions, but what does Momo have from this track? An inability to carry off adlibbing? (Listen to 02:48 to hear what I'm talking about! A-SEELEET-EENY-UUUUHH-WWWWHHOOOOOOO???) Really, this song is probably a great example of a very rare occurence - an SCP song that I really don't like at all. Bland, uninspiring, and just....meh! Next please...
Score: 4/10 (for production quality only)
09 MICHELLE ROSE / HARD TO SAY I'M SORRY
WOWWW!!! Okay, I'll get this out the way quickly since I want to get to the good parts, but has anyone else noticed how much the very start of the intro with the piano sounds like the style of songs produced for Wii Music?? Anyway, moving on... this is what SAW tracks would sound like if they still had an ounce of talent and the desire for the genre left. The deep galloping bassline is mesmerising, the cutesy little "Whoa-Whoa-ah!" is adorable, and the overall production just seems to have this really strong melodic quality. The vocal melody from start to finish is wonderfully written, and the lyrics actually tell a coherent story (no mean feat for the Hi-NRG Attack writers!) I adore the way the piano chord triplets back-up a lot of the vocal sections - I also love the fact that the background layers are all complimenting one another rather than competing for attention. I'm actually listening to the track as I am writing this review, and I am really finding it difficult to concentrate on what I'm writing as I just find the whole song so enchanting and captivating. I don't think anything I can say can express how much I really am starting to adore this production. Perhaps I could compare it to another Hi-NRG Attack song which I didn't really think much of (which seems to be the case with this track in some peoples' eyes) but that others thought was their best production in years - Stargate. This track, to me, is what Stargate was to a lot of people when it was released - just a magical combination of melodies, synths and beats to create an amazing aural treat! P.S. on the vocal front, I actually feel that another vocalist would ruin the feel of this track. The slightly coarse and squeaky nature of the vocals seems to add to the track's overall appeal to me, but hey - I was already sold on it anyway before I even heard the vocals.
10 KATE PROJECT / IN MY ARMS
I noticed that mistake in the intro the first time I heard this song (the backing singers singing "you" and the lead vocalist singing "I") but it was only after it was actually pointed out that it really started to stick out. Anyway, on to the song behind the error - and what a song it is! The melancholic intro gives way to the gradual build-up of synths and beats punctuated by tom-tom blasts as the vocals wistfully dance alongside the approaching storm. The anticipation that the full intro of this track creates is just awesome, and by the time the main hook drops I am already taken in by its charm and contained power (more about that in a second). The hook, as others have mentioned, has its roots firmly in the Eurodance world which isn't really a surprise considering that's how this song started out life, but the Asia production is given that little bit of added verve and oomph to give it the necessary attack of a Eurobeat song. The vocals throughout are awesome - I think I said previously that Mari-San should really learn a thing or two from this girl if she wants to be a true diva! This is where the contained power comes in - whereas Mari-San can lose control and almost shout phrases when she gets a bit too excited, this girl just takes everything in her stride - the power and volume increases without you ever feeling like she is going to lose control. Melodically, this track does sound quite familiar and comfortable - like an old pair of slippers. I'm unsure of how close it is to other tracks released in the past, but what I do know is that with this track Saifam have shaken off their generic samey style that has blighted them over the past few years and they have really brought themselves to the forefront of the series. The debates of the styles will rumble on, but what will remain is a perfectly crafted tune (almost) impeccably delivered!
11 ACE / ME & YOU
This track sounds so much like sibling rivalry. That young whipper snapper Jager bursts on to the scene with a track that borrows heavily from the pop-world, and next thing we have is one of SCP's big brothers jumping on the band-wagon with his own crossover track. This one seems to straddle the ground between what is probably Ace's last masterpiece - Wait For You - and a lot of my favourite slower SCP tracks of the past - Switch!, Wanna Be With You and So Fragile. Great, you must think, what can go wrong?? Well, that's certainly what I thought, but the more I listen to this track there is that niggling thing in the back of my head telling me that something is missing. It isn't the vocals - Ace's trademark style is present and correct and he does his best impression of a middle-aged crooner during certain parts of the verses that had me laughing. It isn't the production either - as ever, SCP creates a wonderful soundscape that draws the listener in and instantly puts them at ease. Perhaps it's the fact that SCP's male line-up is becoming more diluted that Ace just doesn't sound as special anymore - he has lost some of the spark that made Futureland such a massive winner for me back in the 170's. I can't really find a massive amount of faults in this song - it's easy to listen to, has a pleasant melody and is well delivered both vocally and in terms of the production itself. But much like Screaming Out The Power where I'm still deperately trying to find what makes me want to love it, I just feel compelled with this song to find that one thing that just makes me feel slightly indifferent towards it. It reminds me a lot of From Heartache To Heaven by Momo for some reason (which of course was trying to be a Pamsy track at a time when Pamsy was dominating the female side of SCP), so maybe Ace is just a victim of male competition at the label. I'm sure he'll produce a new masterpiece soon, but for now, this track is just really good - and I'm sure he'll be disappointed with that.
12 ALEKY / LABYRINTH OF LOVE
It makes me laugh how when after the samples were released and I claimed that this was pure bubblegum Eurodance, hardly anyone took a blind bit of notice. Now that the full version is out, it seems to be the hot topic... catch up people! Anyway, let's look at the song itself. The very start of the intro does irritate me as it sounds really mono - not sure whether it's the hi-hat sound used or the mastering of the track overall, but it just doesn't sound quite right to me. Thankfully, things improve when the beat kicks in. We have so many different influences in this sound - from the disco-esque Donna Summer bass riff in the intro to the synth bass in the verse and bridge, that remind me of Evacuate the Dancefloor by Cascada. Then of course we have that classic Eurodance style chorus, which is still the highlight of the whole song for me. I could easily loop that chorus over and over and not get bored. There are a few more points to add though that surprisingly stop this track from claiming the top spot on this album. First of all, Aleky really needs to work on her English pronunciation, as I cannot make out half of the words she sings, which is a big deal when it's a track that really makes me want to sing-along! Finally, I just can't help but feel that there could have been a big synth hook that would have added some extra depth to the song rather than the cutesy flute hook (which is nice, but it doesn't really add anything to the song). Overall, this is another very strong track from Dima, but I'm becoming more critical of the tracks as I have such high expectations, and although I reckon this one is up there with the best, I can't quite give it a perfect score.
MICHELLE ROSE / HARD TO SAY I'M SORRY
KATE PROJECT / IN MY ARMS
ALEKY / LABYRINTH OF LOVE
NATHALIE / I'LL REMEMBER WHY I LOVE YOU
MOMO / FLASH & LOVE
POWERFUL T. / LOUDER & FASTER
Posted: Aug 8 2010, 09:09 AM
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Location: Somewhere in the Rocky Mountains
Honestly I think that Louder & Faster is some of Powerful T's best work in a while. His previous three songs were good, but fairly mediocre. Louder and faster seems to have some kind of soul to it as opposed to King of the Race & Face the race. The synth seems to have almost an old school kind of feel to it.
Anyways, in my opinion SEB 206 is a fantastic album. Hi-NRG made a really good showing with Garcon and Louise making some good stuff. The Snake comes out with another fantastic song, Kaioh impressively shines in his first solo song (that I know of), and Hawaiian Roller Coaster Ride eurobeat mix is the perfect song to eurobeat-ize.
Anyways that's my two cents
Posted: Aug 8 2010, 04:29 PM
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Location: Burlington, VT
I've only listened to the first 2 tracks... but holy CRAP The Snake has outdone himself! Freedom Ride is UNBELIEVABLE. I think this might be my new favorite track. WOW! Looking forward to hearing the rest!
Posted: Aug 8 2010, 07:00 PM
Super Eurobeat 206
Member No.: 36,069
Joined: Aug 8th 2010
Location: Update Profile
Album Cover Art, Lyrics, and Extras - 300dpi -
(Click to Enlarge)
Downloads - CBR 320kbps q0 LAME -
(Right Click to Save As)
Notice To Leechers
The current requirement is somewhere between 50 to 100 posts or 6-month membership. If you are not motivated enough to make that many posts or wait that long, consider donating for the cause - http://idforums.net/index.php?act=donate Your account will be automatically exempted from the requirements when you donate $5 or more through that link. Whether you choose to make meaningful posts or donate, your actions will help the project further. Thank you !!
Album Purchase Instructions
If you are a member of the forums, you are eligible to purchase this album for 50% off the original price. It will be $16.00 (including shipping & handling) shipped to your door by USPS First-Class Mail. If you live oversea, please contact Perry for further inquiry. In the event that no one is interested, the album will go on eBay for $21.50 (free shipping) with the Buy-It-Now option.
Sorry for the delay of this release. There has been some technical difficulties with the album art scanning. MSRP (Music Section Revival Project) is now accepting donation of computer scanner that is compatible with Windows 7. If you have a spare one laying around and want to help IDW out, please contact Perry for further details. Thank you very much!
For all further inquiries, please consult with Perry.
Posted: Aug 8 2010, 11:11 PM
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Member No.: 22,053
Joined: Nov 25th 2006
I've just woke up this morning to go through my bookmarks and what do I find? A brand new SEB album I had no idea was released! Thanks so much for the upload, that's Augusts play list full for the month!
Posted: Aug 9 2010, 03:59 AM
Member No.: 21,320
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2 SEBs CDs in one day??? It's a dream
A millon thanks!!!
Posted: Aug 9 2010, 06:04 PM
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thank for the album....
Posted: Aug 25 2010, 05:53 PM
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Location: Long Beach, CA
I've been out of the SEB game for awhile now, needed some music to help with my workouts, and what can I always rely on? SEBs! Nice to see that some faces are still around, chronohawk and his red font! Thanks for the up IDW
Posted: Sep 12 2010, 01:43 PM
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Location: Near the eurobeat furnace
Hrr, I really like 206. I'm really considering the idea of buying it.
As for MSRP, the scans are of really good quality now, they are done with great care now (no dust on the scanbed or anything like that). Thanks!
It was really interesting to see that A-Beat C has evolved into Sun Fire... I'm eager to read what's behind that...
Posted: Sep 12 2010, 03:21 PM
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If you have the idea of buying the album, please, buy it from MSRP. You will save money AND you will help the project survive. Thanks in advance
Posted: Sep 20 2010, 05:22 PM
Doin' It Right
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Well I have to admit, I didn't think I'd say it this year, but I have to here: I am disappointed.
This is by far the weakest SEB this decade, with a grand total of zero mind-blowing songs. That's not to say there aren't any good songs here, but overall, it's nothing special.
And I'm not without my opinions either, so let's get the review on!
01. AAA - Hawaiian Roller Coaster Ride <Eurobeat Remix>
First thing I noticed about this track is the length. At just over three minutes, this is hardly an extended - in fact, I've seen radio edits longer than this.
Also, this is a cover of a Disney song featured in one of their movies by the name of "Lilo & Stitch". I've never been a Disney fan, and I certainly don't think their music makes for good eurobeat, but I was pleasantly surprised by this track.
It's nice and upbeat, but not childish like you would expect from Disney. The vocals are pretty good, and the synths and beat compliment the melody nicely. It's a great example of songs you wouldn't have expected to sound good in eurobeat form.
SCP continues to demonstrate it's experimentive side, and continues to succeed.
02. The Snake - Freedom Ride
I'm gonna get a ton of flac (pun intended) for this, but I've never been a big fan of The Snake.
It's not like his songs are bad or anything, (I think they're pretty good) but I just don't think he executes aggressive eurobeat as well as artists like Fastway or Manuel.
This song's alright, and reflects The Snake's style pretty well, but it's just not my cup of tea.
03. Kaioh - It's Like A Fire
Hahaha, ok, so I really couldn't wait to hear this song, because I've been around the block and seen some things, and I know just how much of a hellraiser this son of Dave Rodgers seems to be.
So it looks like he'll be making/singing eurobeat at least on the side for a while. Which is good to hear, since he's not that bad. I always have a ton of fun picking up on the nuances and similarities his voice has to Dave's.
This song's not bad, but I keep scratching my head every time I hear the synth riff. I really don't like that sound, but that's just me.
That said, this is a good song in most other aspects. The bridge is great, and I really like the end of the chorus.
04. Louise - Screaming Out The Power
Alright, this is nice to see. HRG is still sounding good.
The chord composition is pretty basic and simple, so I definitely won't give it too many points for creativity, but it certainly does sound nice.
The vocals are pretty good, and a welcome departure from the typical "pitched-way-too-high" vocals I've come to expect from most of HRG Attack's female-sung tracks.
It's a pretty good song. Nothing as special as Cataclysm Night, but it's a whole different style, anyway.
05. Garcon - On The Top Again
Two HRG Attack songs in a row, eh? Daring move.
I really love the percussion and beats in this song, and the bridge and chorus are fantastic.
It's a nice balance of crazy and composed, I like where this song goes.
06. Nathalie - I'll Remember Why I Love You
So finally a good song from SinclaireStyle this year!
The melody is nice, and a bit out there (i.e. the bridge, which I love.) The chorus is bright and catchy, and paired with the synth riff gives this song a nice mood.
It's also a nice throwback to the structure and sound of eurobeat in the late '80s.
07. Powerful T. - Louder & Faster
A typical Powerful T. song - if you know his style, you know what to expect here.
Sounds good, but nothing too special.
08. Momo - Flash & Love
This song gets off to a good start. You can tell how well the melody is composed right away.
It's a very bright song, but not childishly so (as SCP has shown in the past.)
It's got a good bridge, and a great, dreamy chorus. The vocals aren't shabby, either, but that's to be expected of Momo, one of SCP's best female vocalists.
09. Michelle Rose - Hard To Say I'm Sorry
"Hm? Why is Cy-Ro's All Up To You playi-- oh, it's not."
A friend of mine recently said this and Cy-Ro's track would make a good double-A-side maxi-single. Truer words have never been said.
I'm kind of torn here, because it's really a great song (even better than Cy-Ro's, honestly) but the two are so similar, I feel like I have to dock it points for lack of creativity.
But then, maybe this song was produced first, so since I don't know, I'll just turn a blind eye to the similarity.
This is a great example of how flexible HRG Attack is in music production. Great melodies all around, from the synth riff to the chorus.
10. Kate Project - In My Arms
Holy shit, eurobeat, what the hell. This melody... again?!?!
I mean really, first "Never Ending Love" AND "When The Sun Goes Down" on 201, and now this song?!
Look, SAIFAM, I love you, but this chorus melody has been so overdone you would have to REALLY make up for it with lots of creativity elsewhere... which I'm not finding anywhere in this song.
Surprisingly enough, the verse and bridge are my favorite parts of the song, for me. They're nice and creative enough until the chorus comes on.
Points for effort and my unrelenting, overwhelming, inappropriately extensive SAIFAM fanboy-ism.
11. Ace - Me & You
For some reason, this song feels just a tad out of Ace's comfort zone. Which is good.
Naturally, it's a melodically powered song, with the kind of genius chord structure we've come to expect from Ace.
And that crisp, clear voice helps too, of course. Everything about this song sounds great, and then the chorus comes along and catches you somewhat by surprise, as it's quite energetic in comparison to the rest of the song.
It's great to see a new Ace song this year, and "Me & You" doesn't disappoint one bit.
12. Aleky - Labyrinth Of Love
"Hey this is a pretty cool intro." 60 seconds later, "...when does the riff start? Wait, it already started?"
It's kind of weird in that it gets right into it without an easily discernible riff. It really threw me off the first listen.
Giving it a proper listen, however, it's very good. It's a pretty good song, if a bit unorthodox.
13. TRF - Boy Meets Girl <GoGo Mix>
Well, it's a decent enough song to begin with, and this eurobeat version is mixed nicely.
J-Euro, for me, is a bit more than "hit-or-miss," but not much more. I can appreciate songs in between "hit" and "miss," but I really only listen to songs I really love.
This is a good song, but I just won't want to listen to it very often. I'm not sure why that is.
14. Dave Rodgers - Music For The People <Rock Mix>
"IF YOU DARE BRING SHAME TO THE EPIC WIN NAME OF JENNIFER BATTEN, SO HELP ME GOD-- oh wait, that's not too bad."
At least I thought it was fine when I heard the synth riff, which is the only decent part of this remake.
I've griped about Dave losing his voice for a while now, but this is the worst I've ever heard it in his (now) almost 30-year career.
It's really weird, because in this song it's as powerful as it was in the original, but the pitch is so different. I think it may be the original vocal, but if it is, then it's had a lot of (VERY unnecessary) editing done to it.
Either way, this (like most of the rock remixes this year) is absolutely terrible, at least in comparison to the original.
TOTAL SCORE - 98.5/140
Best Song(s): Nathalie - I'll Remember Why I Love You, Momo - Flash & Love, Ace - Me & You
Worst Song: Dave Rodgers - Music For The People <Rock Mix>
Not many. I can only reiterate what I said before, that this is (so far) my least favorite SEB this decade. It's got a few good songs, but a grand total of zero stand out (except for maybe Nathalie's track.)
I'm sure things will get better though, as almost every album before this has been exceptionally well done.