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cimorene

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About cimorene

  • Birthday 09/02/1977
  1. I really like this thread! Haven't been here in a while, but it's been fun catching up. I agree that FHTZ and TLS have a lighter sound than some of David's other work. But I also think that they kind of had to be what they were, when you consider the contexts in which David debuted and performed them. FHTZ is as close as he's come to a love song in some time; it was premiered in an acoustic setting; I can't see the song as anything other than what it is. As for TLS, although I think Idol audiences could certainly have stood for something a little harder, TLS feels to me as poppy as DC might be willing to go, on his own terms -- and the song is hooky enough to feel like it was written with a possible radio release in mind, whether it turns out that way or not. As a stand-alone single, it's good, but not great, IMO. And I say this knowing how high he's set the bar for himself with songs that ARE great. As for edge, well, if you look at the last 3 albums, you've got... angst; excitement; weight. One word each. And idk if edge is coming next. Maybe we'll have to wait for album #5. I do think that there's a greater possibility than I might have guessed 3 months ago that the next album will be more... airy, as I think someone said above, if these two songs are any indication. I don't think that's all there will be, though, and I do think there's a lot more intricacy to be mined than some people might expect even when David is happy and in love, yk? And while I have no way of knowing anything about the latter, every picture and interview I've seen him in over the last few months convince me that he is in a really, really good place mentally and emotionally. But that doesn't mean that every song is going to be about puppies and rainbows -- and I hope it doesn't. (Even though I could live with one song like that, just for the novelty. ) I really think you can still be happy, and even in that rose-colored shiny new-romance stage of a relationship, and still write honestly about any number of things that are deeper than "Ooh, baby, I love you." Just off the top of my head, there's... the first fight you have with someone -- the one that crashes you back to reality and makes you wonder whether that person is the right one; there's the second-guessing you do when you begin to think you ARE in love and how it can take you by surprise (and be pretty scary in its own way); and (this shouldn't be a stretch considering who we're dealing with here) there's letting go enough to BE in love in the first place. All these things can cause enough internal conflict to provide plenty of depth to a song and still remain emotionally honest for someone who's happy with the way his life is going. And that's just a short list of things I imagine might drive David to write with regards to a romantic relationship. He can also write about his relationships with his friends; his label; moving away from LA; the state of the economy; Dublin (the city); Dublin (the dog). And all of these things contain enough conflict or are imperfect enough that there is plenty of fodder for something edgy. 'Cause I admit it -- I'd love to see that edge, too. But my musical tastes are pretty broad, and I don't have an aversion to all things pop, just to some . (Example: I liked Katy Perry's first album and hated her second.) So I'll still be here. Speaking strictly about David's music, I like his melodic choices, his tendency to write about his internal processes, and the language he uses when writing. And I doubt those will change enough for me to stop listening any time soon. As for his being Springsteen or Bono or some incarnation thereof, well, I've never thought of him in those terms, exactly. Yeah, I want him to have their ubiquitousness and their longevity. But both of the aforesaid artists are generally motivated to write about things in world outside -- or at least that's where they've found much of their success, as far as I can tell. David tends to write about the processes in his own head -- his beliefs (yes, there's that word again), his doubts, his declarations (there's that word, too). When he's said he writes as therapy, he wasn't just throwing out a good quote for the press -- he was being more truthful than I think a lot of people realize. And for people who connect with their music primarily lyrically, that sort of thing could very well be a take-it-or-leave-it thematic style. I happen to love it. But then I'm the kind of person who gets stuck in her own head a lot, and David's music has often helped me figure out what it is that's creating my own internal conflict when I can't quite put a finger on it myself. That's not everyone's cup of tea, and I recognize that. I actually think that his connection with Richard Marx not too long ago was a fascinating thing, mostly because *that's* the first established artist he's been in touch with that I think has the same thematic tendencies. So, yeah -- lots of words to just say please pass the .
  2. Stacy, well, that's always it -- he's never going to show us all his cards, 'cause what would be the fun in that, right? I'd like to think that at least the subject of FHTZ knows it's about her. As for the subjects of the other songs, I guess that depends on how soon after the event he's writing/performing the song, and why he's writing it -- as therapy or also to send a message? And not to be too snarky, but I've gotta wonder -- if it's the same girl who's been the subject of Paper Heart, and TLG, and We're Only Honest, and Souvenir, and Porcelain, and Stitches, etc.? (And yes, that's making the assumption that they're all about the same girl.) Then I wonder if she's thinking "Do you promise?" In any case, I'm really hoping this song is the "spit and vinegar" take we've all been waiting for. I'd like a kiss-off song that, well, ISN'T TLG.
  3. Thanks for bringing this over, Dinna! I love the sentiment in this song. We were having the discussion here, I think in the Paper Heart thread, about what a DC song about "letting go" would sound like. I don't think this is it, but it's probably the closest thing David's written to a straight-out love song since his Axium days. (And hey -- it actually uses the word "love" -- when has that ever happened before? ) In any case, the lyrics really remind me of RHWY, for some reason. Maybe it's the theme of faithfulness. And the reappearance of the stars metaphor. Also, I've said it elsewhere, but -- I adore the line
  4. I love the imagery in the lyrics. The line "Like a flower pressed in your favorite book by the windowsill" is my absolute favorite.
  5. Late to the party, but I have to join in about the new song!!!! And possible Richard Marx collaboration!!!! Karen, I thought about RM's being a pianist *immediately* -- Right Here Waiting was possibly the first non-classical song I ever learned how to play on piano -- I loved it, and it was such an earworm. Can you tell I've been freaking out over the last week or so?
  6. Squeeing belatedly.... And -- yes!!! I can't go, and wasn't expecting to make it out to any new concerts until David's playing in the NJ area again, but Jovi's history with Daughtry is the first thing I thought of -- isn't that how Daughtry kind of blew up, post-Idol, by getting all the Jovi fans on board? Really, really want that to happen for David -- it sounds like just the thing he needs right now. Does anyone know whether Bon Jovi will be touring anywhere (rather than a single appearance like this one) anytime soon?
  7. I vaguely remember that the band with the original version, Injected, called it that because of the part of the song that goes "Oh, where I've been sold" -- it goes up the various notes (root chord, third, fifth, minor? seventh) that you hear a lot of barbershop quartets sing. Barbershop quartet -> shaving cream -> Bar-ba-sol.
  8. I guess I could jump in with my paltry 2 cents... Honestly, I think that if all conversation about his looks, and his clothes, and his hair, suddenly stopped cold? It would throw him. A lot. (Now THAT would actually be a funny practical joke... but it would have to be on such a large scale, and take place over such a long time, that I don't think it would be possible to actually pull off. ) He's human, after all, and not oblivious enough to know that women find him attractive and will say so. (Otherwise, why not shave that beard off after the Little Sparrow performance, yk?) That said, if I were him, I'd want to know that my fans were in it for the right reasons, and for the long haul. That they'd still be there even when he's older and maybe not quite the heartthrob he is now. That they wouldn't scurry off once he finds the right girl and gets engaged, and married, because they're disappointed he didn't pick them. And I think, by this point, most of us fans do fall into that category of long-haul types, and he knows that not everyone is in it just because of his looks. So I think it's just a question of finding a happy medium. And as for being awkward when we talk to him, well, I only met him for the first time at this tour. My VIP was a surprise, and I was not expecting to be standing in front of the entire band, and I started out so awkward, not knowing what to say to all of them... and then fortuitously, someone spilled some coffee right next to me (thankfully not on me), and it snapped me out of it. And I was actually able to have what may have passed for a normal conversation for about 30 seconds, when I again put my foot in my mouth. (The conversation ended ok, but there were a couple of moments that I truly wish I could take back.) I really think that under the absurdly limited constraints we have in communicating with him that it just may not be possible to say all the things we need to say, or even in the right way, especially since we're not allotted much if any opportunity to correct any misimpressions. And that's a pity, but... I have to hope that he understands that. Because otherwise, he's bound to have such a skewed view of what this fandom is about, and who we are as fans... and I don't see how he would put so much time into all those M&Gs (the security guard at my venue mentioned he spent more time with fans than any other artist he'd seen) if he didn't get that what we really care about is the important stuff. At least that's what I like to tell myself. :/
  9. Well, I wouldn't consider this an official recording -- a demo, more likely. And he was just about as bad during the writing process last time. It's during the production & recording process that we can look forward to actual snippets -- I hope.
  10. Heh. Current standings: David Cook 55.80 % David Archuleta 44.20 % Which basically puts DC at... 0.40% short of -- get this -- a 12% lead over Archie (and at exactly that if you choose to round up).
  11. I was thinking about this lately, especially since Jason Mraz's new single came out. Because it occurred to me that what really sets apart JM, and Adele, for instance, from most of the other pop crap on the radio is one thing -- and that's simple, spare production work that doesn't go overboard on the instrumentation, and puts the singer's voice front and center, so that the focus is on that and on the song's melody. There's no horrible dance beat, no autotune -- and both of these singers are currently radio darlings. Certainly, JM's single already got upwards of 2 million hits on YT before it was even released to radio -- and granted, much of that is riding on the success of "I'm Yours," I'm sure, but I think it also says a lot about the song itself. So here's my thought -- and I'm not suggesting that DC either create a whole album in this manner, either -- but a song or two, produced like that? THAT might actually work on the radio. And the reason I think it's actually feasible is that it's something he's done before. Permanent was performed and produced that way. And FIM was regularly performed that way, once he realized how well the acoustic version worked. It's not something that's foreign to him, or that would feel fake -- because, again, he's done it already. Granted, I don't really know if it would have been possible to do that with a song on TLM within the context of the entire album -- the production work on it was done with the entire album in mind -- but with a new album, everything is wide open. And maybe this would only work with a ballad, but honestly, he really, really needs a radio hit right now, and I'll be happy with whatever gets him on people's radars again. Once people know he's back then an uptempo song can knock their socks off. (And yeah, maybe I'm delusional, but I really think it might work.) ETA: I agree with Jeannie. His tears in NYC were an emotional outlet, because he was touched by the response from the crowd -- and the things he said afterwards back that up, IMO. I can't possibly believe he'd cry on stage because he was disappointed by the album and tour reception -- and certainly not at the "show of the night/tour" .
  12. Good for you, Dina! The guitar parts are my favorite thing about PH. (Also, in case you want them -- a few guitar-playing fans have figured out the chords and tabs for quite a few DC songs. You can find them in this blog; there are also other chord (and other musical) resources in the OP of the music thread on DCO, which I run -- link in my sig.) Good luck in your playing! I'm very excited for you. I still wish I had a guitar, but currently buying one isn't in the budget -- and it's not like I get a chance to play the piano, which I do know how to play, often enough as it is. But it's people like you who decide to go ahead and start learning it that inspire me.
  13. No need to get into a fan war with them. Let the numbers speak for themselves.
  14. Actually, my bet's on the rubber chicken.
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