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The Weeknd - new single "Blinding Lights" (Max Martin, O. Holter)

Started by turnaround, April 20, 2015, 07:31:23 PM

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j.fco.morales

Quote from: B Steady on July 10, 2015, 11:59:09 AM
and YES! The Weeknd will have a Billboard Single #1 with this song! 8)

It's already #1 on iTunes US.

B Steady

Vila i frid Dag

turnaround

And I knew it from the very start that this song will be a Billboard Hot 100 #1. Yayness.
And I liked it..


B Steady

Vila i frid Dag

j.fco.morales


B Steady

Vila i frid Dag

turnaround

And I liked it..

georg_e

Quote from: turnaround on July 25, 2015, 12:03:08 AM
The other Max song "In the night" is now streaming here:

http://www.josepvinaixa.com/blog/the-weeknd-beauty-behind-the-madness
Wow, now this is a great song!!  In the verses, that "clipped" way of phrasing the last word of each phrase reminds me of some old school classic hit...it'll come to me...not copied, I mean just influenced. But I love every section of this, and the chorus has a dope, unusual chord change that makes it!!  And that percussion on the gorgeous pre-chorus.....💊💊

Rebecca

I love In The Night too.

Hey George, I thought the clipped phrasing is like like "If This is It" by Huey Lewis.

georg_e

Quote from: Rebecca on July 25, 2015, 08:56:00 AM
I love In The Night too.

Hey George, I thought the clipped phrasing is like like "If This is It" by Huey Lewis.
Hey Rebecca, I hear what you mean on that. It came to me the one I was thinking of-- this Carl Carlton song (end of first chorus phrase) http://youtu.be/7RCTF33wKfQ   

Rebecca

Thanks George, I've never heard that song before, and yes, it does have that phrasing.

j.fco.morales

http://www.nytimes.com/2015/08/02/magazine/can-the-weeknd-turn-himself-into-the-biggest-pop-star-in-the-world.html

Stymied, he turned to Wendy Goldstein, the head of urban A&R at Republic, for advice. ''The underperforming of that record in his own expectations of what it was supposed to do shook him to his core,'' she says. ''I said, 'You wanna be the biggest in the world?' He said, 'I absolutely wanna be the biggest in the world.' '' She and the newly malleable Tesfaye got to work. First, she arranged for him to record the duet he would perform with Ariana Grande at the A.M.A.s, ''Love Me Harder.''

That track came from the studio of Max Martin, the Swedish producer whose influence on 2000s pop is matchless — his guiding hand firmly behind the careers of Britney Spears, Kelly Clarkson and Katy Perry. He works with a large team of writers and producers out of a sprawling residential compound in West Hollywood that was once home to Frank Sinatra. Martin's hit-­factory typically solicits little creative input from the talent, who show up when it's time to sing. This process was alien to Tesfaye, who had always written his own lyrics and was unsure that he would be a good match for Grande's good-girl gleam. When he saw the lyrics that were sent to him, he found them to be tepid. He rewrote his verse, recorded it and sent it back.

What could have been a contentious exchange was actually edifying for both parties: Martin liked Tesfaye's changes and kept them; Tesfaye realized he could make sleek, accessible pop on his own terms. He asked Goldstein to secure Martin's services for his next album. ''If I'm gonna be the biggest in the world,'' he told her, ''I need a handful of songs like that.''

When Tesfaye went to Martin's complex last fall to begin work, he set up in a wing where Marilyn Monroe used to live. Martin's team presented Tesfaye with a selection of prewritten material, and he rejected it all. They worked from scratch instead, and the first song they wrote was ''In the Night,'' the new album's most electric moment, a homage to and an updating of peak-era Michael Jackson. Before going into the studio, Tesfaye was listening to ''Copacabana,'' the 1978 Barry Manilow disco jaunt about the showgirl Lola, the bartender Tony and the murder that took his life — and, in a sense, hers too. Its exuberant arrangement is a wide grin masking unspeakable pain.

''In the Night'' moves in similar horror-­story fashion. ''She was numb, and she was so codependent,'' he sings, pulling back from the notes with a splash of Jackson's vocal agility. The music suggests celestial escape. Later, Tesfaye reveals the wound: ''She was young, and she was forced to be a woman.'' Underneath its sunbeam-­bright euphoria hides a tale of childhood sexual abuse. For Tesfaye, ''In the Night'' was the sort of compromise he was excited to make, a glistening surface salving the wounds that are his stock in trade. When he first played the song for Ron Perry, the president of Songs Music Publishing, which handles Tesfaye's publishing, Perry couldn't contain himself: ''It's 'Billie Jean'! It's 'Billie [expletive] Jean'!''

georg_e

      ^   ^   ^
What a greaaat article, thanks!  The comparison with "Billie Jean" though, crystallized something for me something I've thought about for awhile: the SONICS of a a lot of records today (don't get me wrong, I really like aspects of it, butttt......): they don't really wear well on the ears. Including "In The Night". It's like a sledgehammer.... Something's missing. Listen on headphones to "Billie Jean" & maybe you'll hear what I mean......   http://youtu.be/Zi_XLOBDo_Y

Having said that though, there's one part on "In The Night" that's headed in the right direction, with DOPE sonics: the pre-chorus. Somebody on that team must've been listening to "Pet Sounds", because the percussion and echoey sound of it....there's NO pop records out in last 10 years that has that sound!!! :-)