![]() However, as Copeland remembers, the remaining two members of the band had to overdub onto Sting’s demo in the end: He was just like us actually." įeeling that the arrangement of the track was not enough like The Police style, Summers (who recalled, "as the guitar player I was saying, 'What the fuck is this? This is not the Police sound'") and the band tried to "Police-ify" the track by attempting different arrangements and styles, but none of them clicked. He must have played 12 piano parts on that song alone." Copeland, however, said that Roussel "wasn't pushy. Summers did not approve of Roussel's inclusion in the track, claiming that he was "incredibly pushy" and that "there wasn't room for him. The piano part was added by session keyboardist Jean Roussel, whom Sting would fly over to help re-record the track against the wishes of his bandmates Andy Summers and Stewart Copeland while they were recording the Ghost in the Machine album at AIR Studios, Montserrat. Sting, The Independent, September 1993 After a degree of hair-pulling and torturing on my part, I got the band to play over the top of my demo. I was saying, "But listen, it's a hit." We tried to do it from scratch as the Police, but it didn't have the same energy as the demo. I took it to the band, who were reticent, still thinking it was soft. I had written the song long before the Police were successful, but it seemed a bit soft for the band at first. This was first recorded as a demo, with the piano figure, in a studio in Montreal. A second demo was recorded in January 1981 at Le Studio in Morin Heights, Canada, with Nick Blagona engineering: Note that this was prior to the launch of the Portastudio in the late 70s, which Sting would later use for writing and demoing songs for The Police and so on. For Howlett, this demo is "a powerful testimony to the raw, undiluted talent that is Sting". An early (1976) demo of the song can be heard on the Strontium 90 album Strontium 90: Police Academy, which Sting recorded entirely by himself while the song was still fresh in his mind (according to Mike Howlett), using equipment in the loft of Howlett's home in Acton, London which included an acoustic guitar, a bass guitar, an African drum, a TEAC 4-track recorder and some cheap microphones. Background Īlthough the song was recorded in 1981, Sting wrote it as early as late 1976 prior to the formation of The Police. The lyrics concern unrequited love, telling the story of a hapless romantic who has attempted to pursue their romantic interest for a long period of time, but is too afraid to do so. Unlike other Police songs, it features an arrangement dominated by piano and synthesisers. The song also contains elements of avant-pop. It is characterised as a new wave, pop rock and power pop song with elements of reggae. ![]() Take it down, take it down Me bawl Just keep on movin, baby Yes me love the way you work up your body Me say, when I'm lonely Me bawl Woman you make me feel happy Come down get up, get up and move your body One time Say this a-woman like a bright star a shine Me bawl Gimme, gimme, me say, two time Have mercy, a wonders and sign Just keep on movin' baby Because your body lazy."Every Little Thing She Does Is Magic" is in the key of D major, in 4/4 and at 162bpm. ![]() ![]() Said I'm a moving all over Oh, the weight is on my shoulder Girl, if you can't be my lover Oh, what would I do Girl, I'm talking, I'm talking, I'm talking, I'm talking, I'm talking Well, come on, now baby (Sweet sweet) Oh, honey, twist and shout (twist and shout) Come on, come on, come on, come on baby now,now (come on baby) We can work it on out, (work it on out) You know, you twist so good, (twist so good) Wonderful You know, you twist so fine yes (twist so fine) Come on, twist a little closer now, (little bit closer) And show the world your mine (world you're mine) ![]() Have mercy one time, look sweet Now now now now darling yeah Like true Come on, come on, come on, come on yes now ![]()
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