September 21, 2021


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Diane Warren brings Celine, the other star’s mic, for the ‘cave session’

4 min read

We know the songs of Diane Warren, a universal, always empowered musician and lyricist, long before we knew him as an actor. Because unlike legendary songwriters such as Carol King and Valerie Simpson, Warren waited 38 years to produce his solo album, “The Cave Sessions Volume”, from his first chart-topping tune (1983 Laura Branigan’s “Solitaire”). 1. “And even with that, he didn’t put his own voice on the record above his name, but brought it in front of friends like Celine Dion, John Legend, Maren Morris, Louis Fonsi and Tie Dola Egan.

Without a lick, however, Warren’s resonant voice still comes out loud and clear during his debut, with a variety of aerated dramas and somber romances, the likes of which Power Ballads wrote for Celine Dion (“Because You Love Me”)), Aerosmith (“I Don”). ‘Want to Miss a Thing “), Toni Braxton (” Un-Break My Heart “), Britney Spears, Beyoncé, Pet Shop Boys and many more. Following in the footsteps of his soundtrack to your 90s profile, for example, cut Warren and James Arthur’s “Cave Session”, “You Go First,” sung by the equally impressive Michael Bolton 25 years ago. Here’s his boyish Brio.

Warren’s propensity for joyfully humming drama, the progression of the epic-lifted chord, and the universality of the masses (and what hurts and cleanses us), new music that fills “The Cave Sessions Volume”. 1 “- Named for his long-held Hollywood Hills office – features, too, an amazing subtlety and shadow to go with his powerful music-song. Warren’s brilliant, passionate songwriting may never have an edge, but” The Cave Sessions ” There is plenty of shade to balance this light.

In fact, Warren seems to use these “sessions” as a clearing house in a style that is not typically associated with him – such as his G-AG / Carlos Santana Colabe’s mid-tempo, Latin-laced R&B, “She Fi” and Rita. They, Sophia Reyes and the atmospheric sea-spirit roaring “from the beach” from the rake. The former comes across as a “supernatural” outtake, and the latter may be overly literal in its melody to match its title, but outside of that, it doesn’t immediately come to mind as a Diane Warren element.

In some ways, “Cave Sessions” is reminiscent of a DJ Khaled album (Minus the Self-Referential Scream): it’s a great, smooth R&B hop-filled Latin touch, with a superstar cast lifting all the heavy studio, and not spoiling the mood. Lots of anger-filled urgency for. Unlike a DJ Khaled album, not music by his committee. Warren is a woman who writes everything herself and paints out of her line if necessary. This “old fashioned” writing brand is laser-centric and relies on the best qualities of each person in front of it, which sometimes makes them the best in their own game.

Take John Legend’s piano-heavy ballad “Where’s Your Heart,” which is Warren’s wounded song, a cascading melody and a bridge so dynamic, it could be a hit in itself. The melody allows the Legend’s patented vocal quiver to roam free, and with less, but pleasant control. Sounds good Just like that John Legend hits. Only good.

The same is true of Maren Morris’s “I Save Me”. His acoustic-breaking vocals with a thin slip of auto tune, a cool narrative with a good twist, and a brushed denim rush on his acoustic guitar, sounding natural and organic like Morris-Warren teasing spring peas.

Even giving the ever-arrogant Paloma Faith an update like Supercilius “Blessing” like “Age of Seventeen” is a smooth, best-of-breed double-down. Meanwhile, Tie Dola $ Egon hasn’t made any musical decisions since 2016’s “Work from Home”, so Warren’s “Drink You Away” has met a lyricist worthy of his dream dramatic Drumbei-on-Ice Krun. The best and smoothest song of the era. The cushion contour of his melody / format not only suits his voice and demeanor, it proves that he will probably have to move away from the edge more often.

Warren Fifth Harmony vocalist Lauren Jurgui is not disguised in another Ariana Grande, but rather a ’60s girl-group-cum-bite / Amy Winehouse-Lite soliloquy “not ready.” If Jouregui wants to differentiate himself from the fifth, he could do worse than hire Warren for the full record.

Not everything in the “cave session” is great, good or light fun. The John Batiste / Pentatonics track, “Sweet,” with so much saccharin and cornball, will shake your teeth from the syrup. Darius Rocker’s “Times Like This” shows this kind of heavy hand feeling that leads fewer people to Lee Greenwood’s record. Luis Fonsi’s “When We Slow Slow” is softly tea-tea stuff, but in the end sounds like a bad movie soundtrack where the main character of his destiny survives through “music”.

In addition to the previously mentioned Warren / James Arthur track, “You Go First” and its breast-beating splendor, there are also two great tracks that reinforce Warren’s epic and lyricism, proving the subtlety and shadow of all “cave sessions”, his trademark style. And the situation still works wonders.

LP, a great vocalist and a hit lyricist by name, has never created such a fashion for himself, exemplifying and enhancing his own qualities. The fact that Warren did it for the synth-touched, self-empowered “Domino” for LP is remarkable. If a cut like Shania / Carrie’s came out 20 years ago, it would have been even greater if it had come from her gig-hozy sound and the spark of the chart, but time is not always the best friend of a great song.

The same goes for Warren’s long-awaited reunion with Celine Dion for the new “Superwoman”. The mildly contagious song is dated in the manner of Huff, Puffs and of course Tony Braxton-Meeting-Cher. But if music like Diane Warren is so wrong in an age where such a big diva Balladri is rarely at the top of the charts, who is to be right?

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