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Otaku

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About Otaku

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  • Birthday 03/28/1987

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  1. Haha well a lot of people just post random requests in here...
  2. It never leaked, at least not to the general public.
  3. Probably insufficient social credit points. Remember to visit your grandparents, abide by traffic rules when driving your moped to the blood bank to donate and always properly separate and dispose of your waste,
  4. Obviously these aren't the full credits but these are the writing credits for that album. I'm guessing John Shanks may have produced the whole album with Dave Stewart though (since he produced Celine Dion's version of Taking Chances)? 01 Happiness [Kara DioGuardi, Dave Stewart] 02 Taking Chances [Kara DioGuardi, Dave Stewart] 03 Will You Be Around [Kara DioGuardi, Dave Stewart] 04 Nobody Sees [Kara DioGuardi, Dave Stewart] 05 Crying At The Disco [Kara DioGuardi, Dave Stewart & John Shanks] 06 Avalanche [Kara DioGuardi, Dave Stewart & John Shanks] 07 Somebody To Love [Kara DioGuardi, Dave Stewart & John Shanks] 08 All My Sorrow [Kara DioGuardi, Dave Stewart & John Shanks] 09 Love Can Kill The Blues [Kara DioGuardi, Dave Stewart] 10 Mississippi Valentine [Kara DioGuardi, Dave Stewart] 11 I Pray [Kara DioGuardi, Dave Stewart] 12 When We Met [Kara DioGuardi, Dave Stewart]
  5. It's always hard for me to pick favorites...I think for me Daybreak/Feel/Machine, Know You By Heart/Come To Life/Avalanche & Shoulda Been Simple stood out the most. A lot of the other ones are just sort of there, to be honest. I wouldn't play most of the rest on their own but I can easily listen to the album as a whole. Even though there are some random different styles on the album it still flows together really well cause of how she worked with different but a limited bunch of writers and producers and . I really didn't know that about the 'documentary'. I don't even see a mention on it on wiki now...but looking at IMDB that sounds about right. Random actors, none of the people that worked on the album are in it etc. Looks more like a film, and it kinda seems like it may involve situations connected to the songs of the album, not even so much the process of recording it... Less interested now but I'd still like to see it. Yeah exactly. That happens all the time but usually the original producer still gets credited. I never would've thought of her recording Dancing With A Stranger...could be very interesting though. I loved that Marié album and I'm probably about the biggest StarGate fan around but I've honestly never thought of her working with them (they'd probably be too expensive even back then anyway tbh). There are some StarGate tracks from (roughly) around that time that actually would've suited that album fine though, like some of the stuff they did with Frankie Storm & Amanda Ghost. LMAO at how this topic has been hijacked and completely converted into a Marié topic...
  6. Oh yeah I didn't care much about her first album either. Think it had some tracks that I sorta liked but nothing special to my taste. That second album is it's own thing entirely though...it couldn't have been recorded at another time than the late 00s and there's nothing quite like it. The odd little touches of country and singer-songwriterness were still there, but the overall MASSIVE transition into a pretty dark electronic Pop/R&B sound was ridiculous but somehow it worked amazingly. Overboard wasn't one of my least favorite tracks though to be honest, kinda in the middle I guess. I found out later there was this whole document series about her recording that album, I really wanna see that shit... Kinda forgot just now, but Jordin's Turn This Car Around was also written for Marié. Random how artists record each other's rejects sometimes... No, I mean...Marié's version was registered and it only credits Frankie, Marié, Hillary, Troy Verges & Brian Kennedy, not StarGate. I'm gonna assume Brian Kennedy's version sounds drastically different, but StarGate should still get a writing credit unless they choose to waive that right. Y'know - usually in Pop/R&B/Hip-Hop the producer is the one that makes the instrumental, and a songwriter (or several) does the topline (lyrics) to that already existing track. Of course that's not always the case, but in those genres, they're more or less exceptions. So since usually the song wouldn't have existed without the instrumental, the producer(s) pretty much always get(s) 50% of the splits. Even if 1 person produced it and 18 writers did the lyrics, the producer still get half of the royalties, because he's the one that came up with the whole concept. If a writer then re-works the song completely with another producer that really changes the chords and sound etc, the new producer is also getting writing credit plus full production credit. If they just change some stuff or re-work the instrumental, they're more likely to be credited as producer alongside the original producer, or get a co- or additional production credit. But either way, the original producer is still entitled to a writing credit and 25% splits (since the new producer also gets 25% if he really made a completely new track for it). With most of the songs she's done this with it seems to be producers she worked with regularly, so it would be easy for her to just ask "oh hey, are you doing anything with that song, cause I wanna use it for someone with a different producer". So they probably just don't really care about a 25% split that they have to split between the 2 of them on a track that's probably just going to be an album track, if it gets released at all. This is also partly why songwriting often just isn't nearly as lucrative as being a producer. Aside from the fact that some producer get massive deals, a basic salary, a fee per track and get paid for studio time, they also get half of the royalties, plus random perks and often don't have to split between too many people (if the beat's not sample-based). Songwriters usually don't get much if any of that, sometimes have to split between tons of people and unless they're writing massive worldwide hits, royalties don't make them that much money either.
  7. Oh yeah that album was EPIC, shame it didn't fare better... There's a bunch of other tracks Hillary co-wrote for that album that weren't released or leaked in any way but Marié re-worked this with Hillary & Troy Verges, produced by Brian Kennedy for the album as well: https://wi.to/561da6f4e3624523 Pretty sure it was written for PCD or Nicole, but Jordin Sparks picked it up: https://wi.to/9817b43258d86a22 Just...FYI - Frankie Storm used to take her songs to other producers a lot back then. Since Jordin obviously didn't release it and the instrumental was likely on hold for another artist (probably Ne-Yo's Better Today) she was free to use it. Strictly speaking StarGate should still get credits & cuts but they probably could care less. This happens from time to time, funny enough the same thing happened with at least one other Ne-Yo track: NKOTB's Twisted was written to the same beat as Ciara's Don't Remember.
  8. I think she actually wrote a ton of songs for Carrie Underwood... She did a bunch of tracks for Gaga's Joanne album and the A Star Is Born soundtrack so that catapulted her status a bit more. But she's been a massive Country songwriter for years that has done Pop from time to time ever since the Nashville/LA crossover thing started happening. These tracks were done at the very beginning of that: Breathing Underwater https://wi.to/0a65f88ae867dd92 Obsessed https://wi.to/422d1179dbba2ea1 Wrong To Get Right https://wi.to/d7413df160f31823

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