EP 3 - The Colour of my Love - Celine Dion (1993)

[00:00:00] Speaker A: I feel like they all kind of COVID different elements for me. Selina's water, for sure. And then I'd say Mariah's heir. And then Whitney's fire. [00:00:08] Speaker B: Yeah. With those whistle notes, Mariah must be air. And I've never thought about this, but holding out the. With holding out the notes and the power. Yeah. Whitney might be fire. [00:00:18] Speaker A: Yeah. [00:00:19] Speaker B: And then who would be Earth? There's no fourth one, though. [00:00:23] Speaker A: What do you mean? Gwen Stefani. [00:00:25] Speaker B: Oh, my God. Hello. [00:00:43] Speaker A: Hello, everybody. [00:00:44] Speaker B: My name is Cam. [00:00:45] Speaker A: I'm Nelly. [00:00:45] Speaker B: And welcome to Decoded. What are we covering this week, Nelly? [00:00:51] Speaker A: We are covering the Color of My Love, Celine Dion. Oh, my God. You already knew. You already knew. If we're going to be talking about divas, we have to talk about Selen Dion. [00:01:04] Speaker B: Yeah. I especially like an early moment. You know, it's kind of going with the eras that we're covering right now for this season. So this is her third English studio album and her first one that really broke worldwide. And I think the main reason for that was the billboard U.S. billboard number one, the power of Love, which is a cover of. Who sings that original song? [00:01:29] Speaker A: It's not her song. [00:01:30] Speaker B: Jennifer Rush. Jennifer Rush sings the original. Yeah, it's a. It's a cover. [00:01:36] Speaker A: Celine Dion, the woman that you are. She's also my mom. [00:01:39] Speaker B: She. She's actually. I probably am somewhat distantly related to her because I'm French Canadian. [00:01:44] Speaker A: Oh, my gosh. [00:01:45] Speaker B: Yeah. [00:01:46] Speaker A: Well, I think I'm a descendant of her, just based on vocals. [00:01:51] Speaker B: I can see that. [00:01:51] Speaker A: Yeah. [00:01:53] Speaker B: Oh, yeah. [00:01:55] Speaker A: I'm so excited for this one. I feel like, honestly, to have the album start off with such. We'll get into the tracks as they come, but, like, having the album start off with such a bang is. It's just, Ah, goosebumps. [00:02:10] Speaker B: Yeah. This album really starts out with the bang. With the Power of Love. It's such a vocals showcase, and it's just a. Such. Such an iconic moment for her. And, yeah, it was her first real breakthrough hit other than Beauty and the Beast. Beauty and the Beast. [00:02:26] Speaker A: Who's the Beast? [00:02:28] Speaker B: Pebo Bryson. He's the Beast or whatever his name is. The guy she does the duet with the. That. That went number two in the U.S. so that was, like, her first real breakthrough single. Other. I mean, in the previous album, she had a moderate hit with Where Does My Heartbeat Now. But this is her third album, so this is, like the real big hitter for her. [00:02:50] Speaker A: Yeah. [00:02:51] Speaker B: I think her first few albums sold maybe 5 million worldwide each. This one sold over 20. So it's quite a big jump for her. [00:02:58] Speaker A: Yeah. [00:02:59] Speaker B: And this is where we started to see her become the Celine Dion we all know and love. [00:03:04] Speaker A: Love her down. I think the Beast, unfortunately is actually her ex husband, but it's okay. [00:03:09] Speaker B: Well, not ex. He's dead. [00:03:11] Speaker A: Yeah. Well, he's anyways, rest in peace kind of. But yes, I feel like this album just like something about getting in. Like this feels like such a launch for her, as we'd mentioned. Like, this is like her paving the way for herself. And I think something that's so iconic about going into the deep dives of an album where like, we're able to. Or like going to the deep dives of an artist discography where we're able to like see. See what made them who they are. And I think we could go into the big. The like the bigger albums or the more. The more well known songs like attracts. But something about this album where you're able to go into the deep dives just allows us to see Celine like the side C. The side C of the. Of the Celine entire entirety of her discography, which is super, super cool. Yeah. I feel like they're. I mean, spoiler alert. I do think that there are a couple of snoozers on this album, but I think the bops are bops. [00:04:21] Speaker B: Yeah. It's nice to. It's nice to have this album and explore the project as a whole because a lot of the time these days we get like compilation releases or playlists and it's just the hits to see what the full project was intended to be. From A to Z. Yeah, is really fascinating. And especially for this album, there's a lot of. There's a lot of hidden gems. A lot of good. A lot of good songs here. Yeah. So, yeah, in terms of why we chose this album, because it was her first real heavy hitter in the English commercial market. She had been doing French albums from the 80s and then she learned English for her 1990 album, Unison Cutie. And then, you know, she. She had some. Some great songs there, but this is the first one where it's like. Feels like a proper Celine Dion album. And yeah, it's one of my favorites. I have it on vinyl. I have the turquoise vinyl. It's super cute. [00:05:16] Speaker A: We should all take a field trip to Cam's house. [00:05:19] Speaker B: We need to. Maybe one day we'll do like a video and like showing. Showing what divas I got about because I got all the cool. Like I like to collect the cool shit. You know what I mean? [00:05:27] Speaker A: I'm also gonna, like, talk. I'm gonna. I'm gonna speak out Cam's address. If anybody wants to go, I'll speak out Nellie's address. Just. Cause it's. It's just so cool to see music through your eyes. Yes. [00:05:42] Speaker B: Do you mean my literal address? [00:05:44] Speaker A: Yes. [00:05:45] Speaker B: Okay. That's okay. [00:05:49] Speaker A: I feel like. I feel like. Yeah, like, what. What you had mentioned, this is her breakout into the English world. [00:05:56] Speaker B: Yeah. [00:05:57] Speaker A: And, yeah, like, kind of has mentioned before, like, this just allows us to get into the deep cuts. And her. It feels like. It feels like. It's like she's putting the oil. Like she's pouring the oil into her voice through this album. And, like, seeing her. It's all of her power isn't just in the power of love. [00:06:16] Speaker B: Yeah. [00:06:17] Speaker A: It's like she's, like, ramping up. Like, she's, like, grinding the gears a little bit. [00:06:22] Speaker B: Yeah. [00:06:23] Speaker A: Through this album, it feels like she's testing the waters too, and, like, seeing what's working. Like, which is like, what you can hope for for anybody doing a debut is like, they're just testing the waters and seeing what works and what doesn't. But, like, with her, I feel like I can hear it. I feel like I can hear it through the ballads. I can hear it through the. The upbeat songs as well. Is that, like. She's like, let's. [00:06:45] Speaker B: Let me. [00:06:46] Speaker A: Let me. Let me sneak something in there to see what can be done for future albums. So, like, she. It feels like she's, like, setting. Setting the pace for the future. [00:06:54] Speaker B: And not to be confused with her English debut, Unison, but we feel it's kind of like her first proper, big English album, like, big heavy hitter. [00:07:06] Speaker A: Yeah. [00:07:07] Speaker B: So I. Maybe one day we'll do Unison, but I think it'd be a cool album to. To tackle. But she also finds her look, her style, and this is what really. Because with Whitney and Mariah's first album, it was an instant hit. [00:07:18] Speaker A: Yeah. [00:07:19] Speaker B: But with Celine's. Of the. What is it called? Like, the trio. The Vocal Trinity. [00:07:26] Speaker A: Yeah. [00:07:26] Speaker B: She was the only one whose English debut album didn't really hit super hard. So that's why I think we're gonna start here with her. Yeah, I think that. I think that makes sense. [00:07:35] Speaker A: Yeah. I'm excited to take you guys on this journey. I mean, we are, collectively. [00:07:41] Speaker B: We are. Yes. [00:07:41] Speaker A: We're the vocal duo. The vocal. And, you know, they say vocal Trinity will be like. We'll be the vocal. The vocal. We'll figure it out by the end of this episode, actually. [00:07:56] Speaker B: Okay. So Nelly, how'd you feel about this album? What'd you think? [00:07:59] Speaker A: Overall, I feel like, as I mentioned before, this wasn't. I feel like this was an interesting album to see an artist testing the waters. [00:08:08] Speaker B: Yeah. [00:08:08] Speaker A: While I caught like a couple. A few songs, I don't think hit for me. [00:08:12] Speaker B: Yeah. [00:08:13] Speaker A: I think as a body of work, this is her grinding the gears and like testing the waters, which I appreciate, as opposed to fully indulging herself in a path that just wasn't for her. [00:08:24] Speaker B: Yeah. [00:08:25] Speaker A: And I feel like the singles, or at least the most well known singles are known for a reason or as. Or as well known for a reason that shows her range and shows her power. But I like a little bit more of the experiment. I like how experimental she gets with this within this one. [00:08:41] Speaker B: Yeah, she does try a lot of stuff, whether it works or not, like Refuse to Dance being one of them. In my opinion. That's. That's like pretty. Pretty experimental kind of song sounding song. Kind of weird. But. Yeah, I mean, we'll get into the track list. But yeah, that. That was a particular interesting one for me in terms of my opinion on this album. I really like this album. It's. I think the singles are what stand out for me the most. But doing the listening for this episode, I was kind of surprised by a lot of the deep cuts and, you know, how much I enjoyed them. And you know, the thing is with. With anyone from the vocal trinity, you're always going to have a really high level of quality, even if the song isn't super amazing just because of the quality of the vocalist. [00:09:32] Speaker A: Exactly. [00:09:34] Speaker B: So, yeah, I. I think that's to be noted. But like I said, I do like the sound of the album. I. It's very nostalgic. It's very dreamy. Yeah, it's so 90s and some songs are more timeless in that regard, but some songs are so dated. Yeah, but it doesn't. It doesn't really like diminish anything for me. But it's very of the time. A lot more than Mariah's debut and Whitney's debut. And this is the most recent of. Not that this is the debut, but this is the most recent of those albums that we're covering. [00:10:09] Speaker A: I feel like thinking of this album, I think of funny of my Haitians out there. Whenever you hear a Celine Dion, the Haitian. Because she's Haitian. She's not Haitian, but she's Haitian. [00:10:20] Speaker B: I was gonna say. What. [00:10:23] Speaker A: She definitely is Haitian. We've claimed her. She. She is at every single wedding. [00:10:28] Speaker B: Oh, is she. [00:10:28] Speaker A: Every single Haitian. [00:10:29] Speaker B: Which songs? [00:10:30] Speaker A: Cause I'm your lady. [00:10:36] Speaker B: Taste. They got taste, man. [00:10:38] Speaker A: That is like, a classic song that I remember specifically brides making their entrance to. [00:10:44] Speaker B: And so that's an intense song. [00:10:46] Speaker A: I'm like, this is also such a bold song to come down to, which I guess. Yeah, but. But yeah, actually, you know what's funny? Because all the Haitian weddings that we've gone to were, like, religious. Right. And there's something sultry about that song, too, a little bit that is, like, interesting. I feel like there's a big romantic aspect of it. But I'm like to say, like, you are my man. I'm like. I feel like there's a bit of, like, ugh, like, grit to it a little bit that I'm like. That's interesting to have with the minister at the beginning, like, at the end of the aisle. Yeah, sorry. All that to say. I think of, like, the big veil. I think of the multiple bride, the 12 million bridesmaids and 12 million groomsmen. We used to do, like, choreographed dances. Like, I think of all of that, but I also think of, like, a bedroom lit by moonlight with a robe when I listen to this album. [00:11:36] Speaker B: Oh, my God. I think, like, I'm in the 90s. [00:11:39] Speaker A: Exactly. [00:11:40] Speaker B: You know, you're in an old living room, maybe. You know what this album makes me think of? It makes me think of my cottage. Oh, we have. [00:11:46] Speaker A: Interesting. [00:11:46] Speaker B: We have, like, a really old cottage that was made in 1911. I've been going to it since I was born, and that place has been through all these different eras, so for some reason, I just think of that. There's, like, wood paneling on the walls. The kitchen hasn't been updated in a minute, so it's very cute. It's very of the time. So I think that's what it reminds me of. And also, there's old pictures from that time, like, the 80s and the 90s everywhere, so. [00:12:13] Speaker A: Well, I see what you mean about the idea of the song. Kind of feels like an escape sort of thing, being, like, away. I feel like a trip as well with this. [00:12:22] Speaker B: Yeah. The video, too, is super artsy. I don't know if you've ever seen the video. [00:12:25] Speaker A: I think I have. [00:12:26] Speaker B: It's. It's, like, super, like, avant garde. I'm Celine Dion and, like, you know, like, that kind of thing. And that's kind of what the album visuals provided. So I enjoyed that quite a bit. But, yes, what's interesting about this song is that it's very different from something that Whitney and Mariah would do because it is so vocally demanding. With this song, it's a lot of high notes held for a long time. Whereas I feel like Whitney and Mariah, they'll go for mid range notes and hold that for a while, but not quite like this song. Or they'll go for a high notes kind of abruptly and then just for a second and then come back down. [00:13:10] Speaker A: Yeah. [00:13:11] Speaker B: Whereas this, you're holding out notes the whole song. So I found that very interesting. And yeah, it really shows her strengths in that regard. Especially the high note at the end. The power of love. That is such a crazy note. And you can hear the rasp in her voice and how much she's giving in that moment. [00:13:35] Speaker A: Since we're doing a little bit of a compare and contrast moment. Oh my God. Grade 5 English I feel like something that's so interesting about Celine versus Whitney and Mariah is that with Whitney and Mariah, like they play into the effortless aspect of it. So like when they perform, it's almost as if they're yawning while performing. [00:13:57] Speaker B: Yeah. [00:13:58] Speaker A: Whereas with Celine, you see every muscle contracted right while she's singing. And that's so admirable. And it's funny because I'm like in the irony. The ironic part of it is that you think the average person can put the same amount of power and get the same result, but they don't even get to a quarter of what she can do. [00:14:19] Speaker B: Yeah. [00:14:19] Speaker A: And I'm like, that just proves that she is singing on a treadmill 24 7. Like she is giving everything she's got, which I do need to see. Live, please. [00:14:31] Speaker B: Yeah, I would, I would love it if she came back and did something even like a one time show. I would be gagged. Yeah, we'll go to Vegas. We'll go and do it. [00:14:43] Speaker A: Is it Vegas or Vegas? Vegas. [00:14:45] Speaker B: Vegas. [00:14:46] Speaker A: Vegas Cam is Canadian, guys. Vegas. I'm also Canadian. That's funny. But I feel like it's just. It's just something that's just so cool to see. And I'm like. I can picture her abs like while she's singing. And specifically with this song, which. Or with this album rather, I feel like you can see, you can see all the muscles tensed while she's singing. [00:15:10] Speaker B: Another thing I totally agree with the whole effortless point you were talking about because Whitney and Mariah, it is very much meant to seem like it's so easy for them. And it sure sounds that way. And I think that's what is part of what makes them so incredible and blows the listener away. Right. You know, the greats make it sound easy, and Celine does as well, but with her, you get to hear a little bit of rasp that you wouldn't necessarily hear from Mariah or Whitney, especially on the song Misled, which we'll get into soon. But, yeah, you really. You really hear that struggle and that intensity, and I think it just adds texture rather than seeming like it's unprofessional or doesn't make her a good singer. It's the opposite. It's. It adds to the performance. [00:16:02] Speaker A: And I think one more thing to add to that would be. There's something so lovely about how, like, she blends the two worlds together of being like damsel and like fallen angel, while also this same fallen angel would hop on a horse to go get what she wants. I think that's just something that's so cool. I think about her and I just. Yeah, I feel like she's. She's one of the greats for a reason. She is part of the vocal trinity. I feel like anytime that we talk about any of the three of them, we're always going to be, like, fully enamored. Being like, they could do no wrong. [00:16:39] Speaker B: Yeah, I'm pretty gagged by all of them. [00:16:42] Speaker A: Oh, too good. [00:16:43] Speaker B: And I like them all for different reasons. I'd say Selene, out of the three of them, is the most different sonically in terms of the themes of the music. I mean, Mariah does kind of delve into R and B later in her career, and same with Whitney, but Selena is pretty much the only one that stays on that adult contemporary route the whole career. But I think there's something about Seline on a ballad, like, very different from Mariah and Whitney, where they can shine on both. Something about Celine Dion. She is most at home and sounds the best on a ballad. [00:17:22] Speaker A: It feels like I'm swimming when I listen to random ballad. I feel like it's like smooth sailing, but also like, pushing back, like pushing against the current, which is like something I actually want to do in that moment, which is. I would never want to do that in real life, but, like, I'm prepared to take on this storm of waters with her, which, yeah, I feel like with. I feel like they all kind of COVID different elements for me. Selena's water for sure for me. And then I'd say Mariah's air and then Whitney's fire. [00:17:53] Speaker B: Yeah. With those whistle notes. Mariah must be air. And. I mean, I've never thought about this, but holding out the. With holding out the notes and the power. Yeah. Whitney might be Fire. [00:18:04] Speaker A: Yeah. [00:18:06] Speaker B: And then who would be Earth? There's no fourth one, though. [00:18:09] Speaker A: What do you mean? Gwen Stefani. [00:18:11] Speaker B: My God. [00:18:13] Speaker A: Wait, what do you mean? It's actually. It's. What's. What's her name? Oh, my gosh. Jennifer Lopez. [00:18:19] Speaker B: Oh, my God. No. [00:18:21] Speaker A: Is Jennifer Lopez. She's Earth. She's holding it down. [00:18:28] Speaker B: Was that good? Was that a good take? [00:18:29] Speaker A: Is that a good take? [00:18:30] Speaker B: But, yeah, this is also how I got into Celine Dion was listening to the My Love compilation album from 2008 while I was playing Star Wars Battlefront. [00:18:41] Speaker A: Wild. So wild to me. [00:18:43] Speaker B: I will, like, listen to Mariah and, like, play, play gta. Like it was. It's kind of. Kind of a weird mix. [00:18:50] Speaker A: You are so random. [00:18:51] Speaker B: It's. Yeah. There's a little everything in me, you know, I don't know how to say it nicely, but a little. A dash of gay and a dash of. Hey, hetero. Yeah, Hetero, bro. [00:19:06] Speaker A: Y. Yeah. Full skater. [00:19:14] Speaker B: Yeah. Oh, my God, bro. Like, I just went out with this girl. [00:19:17] Speaker A: Holy crap. I'm scared. [00:19:20] Speaker B: Yeah, Sorry. But, yeah, no, I. And the live performances, too. Like, she's. She sang this until her last tour, the courage tour in 2019, and handled it so beautifully. So also, I'm. Unpopular opinion before we get into the next track. Misled. I think Celine Dion, out of the three divas in the vocal trinity, her voice has aged the best, like, as she got older. [00:19:52] Speaker A: That's true. [00:19:53] Speaker B: Her voice stayed the most consistent, that is. And, you know, I don't want to get into. I don't want to get into ageism or anything, but she was able to. I think maybe it was her lifestyle, too, but. And I don't know if it was her technique or what it was, but she was able to be the most vocally consistent over, like, years out of the. The three of them. [00:20:13] Speaker A: Well, I think that comes from the power that she put within her voice, too. Right. What we had mentioned about, like, how she used every muscle while she sings where that, you know, for the average person. That would put the average person in a wheelchair. But, like, I feel like with her is that she's able to train her body so well to be able to. To provide that strength. [00:20:34] Speaker B: Right. [00:20:35] Speaker A: And she's using her core, like, you can see it. Whereas I think Mariah relied. It's hard to talk about Mariah sometimes with her voice, because I feel like her voice did rely a little bit on youth. [00:20:48] Speaker B: Yeah. Well, Mariah. So Mariah is an alto. I believe that's the lower one. Right. [00:20:54] Speaker A: Is she not as mezzo? [00:20:56] Speaker B: Maybe she's a mezzo, but I just know. I don't know. I don't know terms like that, but I know she's a lower to tone voice. And when she was young, she was able to hit higher notes and kind of experiment with the upper part of her voice. That's why she had those booming lows as well as the, the really high highs. And we're even just talking about Belta notes. We're not necessarily talking about whistle notes. So I find that extremely fascinating. So. And then with Whitney, it's a bit of a different conversation which we won't get into today. But yeah, in terms of, of. Of those two, I would say also just how they sing. Mariah was using the extremes of her voice from the very beginning. Even with the Motions on her second album, she was going from extremely high whistle notes to extremely high belted notes to the bottom of her range. And that is going to age your voice a lot faster than if you're kind of staying more within your comfort zone. [00:21:54] Speaker A: Exactly. [00:21:55] Speaker B: So I think, I think that's worth noting as well and it's kind of interesting. But that being said, we spent so much time on the Power of Love. Let's get to Misled, the second track on the album. What do you think about this one? [00:22:07] Speaker A: So this one was interesting to me. I feel like this one would be the type of song that I'd play in like a dance class. [00:22:16] Speaker B: Yeah. [00:22:16] Speaker A: Like this would be. This felt very aerobic. [00:22:19] Speaker B: It is kind of giving that. I don't know, it's very. It. It's an up tempo, but it's very different from the kind of up tempo that I feel like Whitney or Mariah would do. Sorry to keep comparing to them, but this is still a very adult contemporary up tempo. And I will say, sounds dated. [00:22:40] Speaker A: Yeah. This one is not. And hey, listen, I listen to dated songs that are great, but I feel like this one didn't hit for me. [00:22:49] Speaker B: I, I still enjoy it quite a bit and I really enjoy the vocals, especially towards the climax. The. Just another page. Like the. Those high notes, but just the. I mean, it's a Celine Dion song. The vocals are always going to hit, but sonically, yeah, it's a little bit. A little bit odd. [00:23:07] Speaker A: It felt like it was made for a project. Like it felt specific to a project that got scrapped. [00:23:14] Speaker B: Yeah, it's kind of giving like, Like a movie or like. I don't know, it's it was a single, and it makes sense. Like, at the time, I'm sure it sounded trendy, but. Yeah, I just think this. This didn't age super well. [00:23:30] Speaker A: I feel like this is the sort of song that would have played over, like, a montage. [00:23:34] Speaker B: Oh, my God. Yeah. [00:23:36] Speaker A: I imagine, like, the protagonist having their Rocky moment, but like, not Rocky. It's specifically, like, in, like, an 80s dance class. [00:23:45] Speaker B: Yeah. [00:23:45] Speaker A: So this isn't. This is. It's. It's less 80s and more, like. I feel like it has a visual inspiration of like, maybe like an 80s, like, dance video, like home video. But, like, this is feeling. Not that. [00:23:59] Speaker B: But it's just so dated. [00:24:01] Speaker A: It just doesn't. It's not working for me. Yeah, I feel like it just doesn't. It doesn't fit with the album for me. [00:24:08] Speaker B: Yeah. [00:24:08] Speaker A: Which is like. [00:24:10] Speaker B: Oh, oh, okay. [00:24:14] Speaker A: Okay. Next. [00:24:15] Speaker B: No, but I think everything works for me. But the production, like, the production is what syncs it for me. No pun intended. Because it's Celine Dion. Yeah. Get it. But. Yeah, so. But I. I still listen to this song. I still enjoy it, and it's still definitely in my. In, like, the top half of the album for me, like, because it's dated. That doesn't bother me much, you know? [00:24:40] Speaker A: Well, Cam is ageist, so let's start there. He told me privately. [00:24:48] Speaker B: I actually, Yeah, I. I didn't want. [00:24:51] Speaker A: To say, but he hates old people. Yeah, I kick them. But, yeah, no, I. Like, that's what I'm saying. Like, I feel like I listen to. Not ageist. Oh, my God. Aged songs all the time that are, like, very of the time, that I wouldn't consider timeless, as opposed to just as a really good song of the time. But this one, unfortunately, is one of them for me. [00:25:16] Speaker B: Yeah, this. It's. It's cute, but it's definitely one of the lower singles for me. Lesser favorite singles. [00:25:26] Speaker A: Real. [00:25:28] Speaker B: The next track is Think Twice. What do you think about this one, Nelly? [00:25:31] Speaker A: This one's cute. That's pretty much, like, for me, where it reaches is just cute. I feel like this one reminds me. It does remind me of a Shania Twain song. [00:25:42] Speaker B: Which one? [00:25:43] Speaker A: From this moment on. [00:25:44] Speaker B: Oh, it reminds me. I didn't think about that. [00:25:48] Speaker A: Like, the build up in the chorus. Oh, I feel like I'm wondering if Shania Twain tried to be her country daughter maybe in another life. But, like, this one is just cute for me. I like the guitar a lot in this song, though. [00:26:05] Speaker B: Okay. I like the moodiness of it. It feels like a fall day. It's cloudy out. It's like, you know, maybe you have a. Maybe you have a psych out psl. But no, it's like, it's giving moody. And I think the vocals are a big standout on this, especially the. No, no, no, no. Like that. That's a really good part. And there are a lot of held notes that are. Are very, very good as well. [00:26:41] Speaker A: I do like the way the song swells. Like, I feel like my arms are like. Have you ever done the thing where you, like, press somebody's arms together for 30 seconds and then you have them like, Like a bubble? [00:26:54] Speaker B: No. [00:26:54] Speaker A: Oh, my God. I'm gonna do that to you afterwards. [00:26:55] Speaker B: Okay. [00:26:57] Speaker A: But, like, I feel like it swells in a way that's really, really nice. Yeah. [00:27:02] Speaker B: I don't know. [00:27:02] Speaker A: That's. I guess that's why it reminds me of from this moment on. Like, specifically the chorus. I feel like that the chorus swells in a way. [00:27:10] Speaker B: Yeah. I, I. Now that you say that, I could hear it because I love Schneider Twin as well, and I love that song. Specifically the solo version, the tour version. Darling off Greatest Hits, we'll get into Shania Twain eventually. [00:27:23] Speaker A: Amazing. [00:27:24] Speaker B: But, yeah, no, for me, it's like, it's definitely a standout, and it's definitely one of my favorite tracks on the album. Probably in my top five. [00:27:33] Speaker A: Is it true that Shania Twain loves Trump? [00:27:35] Speaker B: I don't think so. Isn't she Canadian? [00:27:38] Speaker A: Hey, there are Canadian magas. [00:27:41] Speaker B: I think you might be thinking of Carrie Underwood. [00:27:44] Speaker A: Oh, yeah. Oh, I. I have a theory that Carrie Underwood is maga. But we'll see. [00:27:50] Speaker B: This is all alleged. I have no idea. I have no idea. I do not know. But I mean, a country singer. I could see it. I could see it. [00:27:59] Speaker A: I mean, come on. [00:28:00] Speaker B: But I. I feel like Shania Twain's, like, pretty, like, liberal. She's, like, pretty aware of stuff. Maybe I'm wrong. I don't know. [00:28:09] Speaker A: Sorry, Shania. We'll cover you in another episode. [00:28:11] Speaker B: Yeah, well, let me. Let me do my research and we'll come back to that. But no, I love this song. Great moment. I'd say it's very similar to the next song, which we'll get into. The next song is Only One Road. [00:28:24] Speaker A: What are your thoughts on this song, Cam? [00:28:27] Speaker B: So, like, every song that we've covered so far, this was a single. I love this song. I think it's such a beautiful ballad. I think it's a different vibe. A different vibe than the Power of Love. It's kind of similar to Think Twice. But this is a little bit sweeter than Think Twice. Sweeter sounding. And I. I love the high note. For me, the climaxes, like, all these songs have really, really, really great moments and iconic moments. And this for this one, it's the. And I need you here beside. And she holds the note, so she's really giving us stunning, stunning vocals. So I'd say, yeah, this is probably maybe my top two. [00:29:12] Speaker A: I love this song. [00:29:13] Speaker B: Oh, good. [00:29:14] Speaker A: I love this song. [00:29:15] Speaker B: I wasn't sure. [00:29:16] Speaker A: Do you know what it is about Celine? [00:29:17] Speaker B: What? [00:29:18] Speaker A: She is one of the greats. [00:29:22] Speaker B: Yes. [00:29:22] Speaker A: Top two. And ain't too. I don't know, actually, but I feel like she is. She is who she is. But, but when you listen to her sound, you can see inspiration. Like, you can see who she listened to. [00:29:35] Speaker B: Yeah. [00:29:35] Speaker A: And I think she listened to Aretha because this song reminds me of Natural Women. [00:29:39] Speaker B: Oh, I've never thought about that. You have so many comparisons that are so interesting. [00:29:45] Speaker A: I, that's the thing, too, about Celine. It's not until actually that I listened to this album that I realized that I'm like, she is a woman of so many covers. Like, she covers so many songs, so she has to also be a woman that stems inspiration from so many different places. [00:30:01] Speaker B: Yeah. [00:30:02] Speaker A: And something about this song, even if on its own, is still so incredible. But there's something that calls back to the song that has, like, a callback to, like, for me, you may disagree. And if you disagree, wrong. That's to all of you listeners out there. [00:30:15] Speaker B: Yeah. Nelly's always right. [00:30:16] Speaker A: Like, listen, thank you. But there's just, like, something so natural you make, like, something so soulful about the song. I also love the waltzy aspect to the song. I, I, I'm a fan of a waltz. [00:30:31] Speaker B: Yeah. I never thought about that comparison. And it's funny you bring up Natural Woman because she would eventually go on to cover that on her next English album, Falling into youo. And she does such a good job with it. It's such a great song. But yeah, I. There's so many comparisons I hadn't, I hadn't thought of. I'm sure we'll cover Falling into youo one day. Dare you say that. [00:30:54] Speaker A: It's okay. It's okay. Some things are worth mentioning over and over again. [00:30:59] Speaker B: Yeah. Well, we're gonna cover Falling. No, I'm just kidding. So, yeah, no, this is definitely a standout for me and my top. My top two, probably. [00:31:08] Speaker A: I love this one. This one's a great one. [00:31:10] Speaker B: I say we should move on to the next track on the album. Everyone's talking down my baby Everybody's talking down my baby Are we gonna talk about. [00:31:18] Speaker A: Everybody's talking about down my baby I always said talking about. Everybody's talking about down everyone Everybody's talking down my baby oh, my goodness. This one is so fun. I absolutely love this one. And do you know what it reminds me of? What, Sister Act 2. [00:31:38] Speaker B: No way. That's such a surprise. [00:31:42] Speaker A: Specifically the part where Whoopi, Sister Mary Clarence, and the other nuns are fundraising for the choir to go and do the final performance, and they're performing on the side of the wall. It's. It's funny because I love this movie so much, but the song is escaping me. But it's a cover of a song, and I don't know why specifically that. That part of the movie is what this song reminds me of. It's so fun. It is so. It is. Like, the beat of it is so early 90s. [00:32:11] Speaker B: Yeah. [00:32:11] Speaker A: So, so, so, so early 90s. And while I feel like it's of the time, it's. It's something that I'm like it. I would go easily on the streetcar and listen to this. [00:32:21] Speaker B: Okay. [00:32:21] Speaker A: Cute. [00:32:22] Speaker B: I'm glad you liked it. I like the song. I wouldn't say it's like. It's probably one of the lower ones for me. Don't piss me off in my lower half. I don't know. Maybe just the up tempos don't do it for me as much as the ballads on this album. I mean, I think lyrically it's interesting, too. Even though Celine Dion doesn't write, she could relate to this song because, you know, her man is like. Was, like, old and, like, knew her when she was okay, basically. For those of you don't know, she met Renee Angelo when he was something like 39. She was 12. And then. Yeah, she ended up marrying him. So, you know, do with that information what you will. If you want to do a little inference, there's a little something going on, but we're not here to judge, but I'm sure she could. [00:33:10] Speaker A: I'm judging him. [00:33:11] Speaker B: Yeah. No, I. Not her, though. [00:33:14] Speaker A: No. She didn't know any better. Well, that's the thing with. Well, when we talk about grooming. [00:33:18] Speaker B: Yeah. [00:33:19] Speaker A: That is. It's never, never the fault of the victim, But I am 100 putting 100 onus on him. [00:33:25] Speaker B: Yeah. [00:33:26] Speaker A: I hope she's okay with still probably reeling from his passing, but. [00:33:32] Speaker B: Yeah. Well, it's interesting because, like, she. They were in love. There's no doubt about that. It's just, you know, what is the. What is the ethics of that love? [00:33:40] Speaker A: Oh, God, there. There are no ethics, Unfortunately. She was somebody that was brought along to a journey that she had no idea. Yeah, unfortunately. [00:33:49] Speaker B: I will say it's interesting to. Like I said, lyrically, she could probably relate to the song. And this album is how she announced that her and Renee were together. In the liner notes, she said, renee, you are the color of my love. [00:34:04] Speaker A: Oh. [00:34:04] Speaker B: And that's how she. That's how they announced the relationship. And then the next year, they got married in 94. So that's kind of how this all went down. So it's also kind of a. This album also plays a part and her personal life history and, you know, as a public figure, having that be announced because it was controversial then and it's controversial now. But, yeah, similar to Tommy Mazzola and Mariah Carey, but these two stayed until he passed away. Stayed together until he passed away in 2016. So, yeah, I would say I like the song. It's cute, but it's. There. There's better in terms of an up tempo. Ms. Led is better. [00:34:45] Speaker A: You know, I'm one. I've been wondering where I should place Cam's address to dox him, and I think this might be the perfect time. Catch her there. Catch the address there. Do it what you will, listeners. Yeah, whatever. [00:35:05] Speaker B: Okay. That's pretty much all I have to say on this one. Yeah. [00:35:08] Speaker A: Shall we move on? The next song is next plane out. Cam, what do you feel? [00:35:16] Speaker B: I think this is cute. I love how it starts with rain. And this song, above all, gave me such a strong visual in my head of, you know, especially with the rain at the beginning of. Of her desperation, as you were saying earlier. Not desperation, passion. And going to. To. To catch the plane. Because she just needs to be with this person. Exactly. So I think. I think that kind of really adds to the vibe of the song. And yeah, I think it's a beautiful melody. I think. I think it's a great sentiment, and I think it's done really well. It was another single, this single off the album released I think, in 95, which is interesting because she had done her second French. Big French album on major label, Duh Duh Duh. But yeah, this was. So they would still have an English single to release, and it got a video and it was cute. It was a cute moment, but probably lower for me in the singles area of the singles. But I. I did really like it. What about you, Nelly? [00:36:27] Speaker A: This might Be one of my faves. [00:36:28] Speaker B: Yeah. [00:36:29] Speaker A: I think this is where me and Cam are just going to depart from one another. [00:36:33] Speaker B: The thing is, these songs are so similar. Like, they're. They're not. I don't want to say that in a bad way. They're just ballads, you know, this guy. [00:36:41] Speaker A: Just said just ballads to describe next play now. Whatever. [00:36:44] Speaker B: I don't mean. I don't mean it like that. Like, they're ballads. Wow. [00:36:49] Speaker A: I honestly, there's just something specifically about the bridge in the song that feels like literally the big crossroads moment that you, like, hear in so many of the 90s songs. I don't know. I feel like it has, like, formulaically. Formulaically? Is that a word? Formulaically? Formulaic, yes. Does it even sound like a word? Even if it was a word? Doesn't even sound real anymore. Has the components of, like, a classic 90s ballad, like Love Song, which is why I think I love it so much. And again, like, that sense of urgency. Next plane out. Like, I need to get. Or you need to get, or we need to get to where we're going right now. [00:37:30] Speaker B: Pre 911 world. Oh, it was. [00:37:33] Speaker A: It was. You're right. [00:37:34] Speaker B: They could just. Here, let me get a plane ticket for right now. [00:37:37] Speaker A: Yeah. And I'm going to meet you past security. I'm going to go and meet you at the gate. I'm not going to meet you in the car. [00:37:45] Speaker B: You know, we're going to eat steaks with. With. With real knives. [00:37:49] Speaker A: Exactly. Exactly. I'm going to bring my hairspray with me on the plane. But yes. [00:37:59] Speaker B: Yeah, that's. That's pretty much all I have to say on this one. What about you? Do you have anything to add? [00:38:04] Speaker A: Well, like, now that we're talking about one of my favorites. I. Again, we had mentioned. I love the rain in the beginning. I absolutely love it. I mean, you can't really have similarly to a lot of like, just like classic love story. You can't have the pinnacle moment without rain. Like that kiss in the rain, you know? And I'm like, for it to be set with rain, and you're like, melancholic. It's just so good. And I love a good acapella that shows your tone. Like, you got perfect pitch, baby girl. [00:38:35] Speaker B: Yeah. [00:38:36] Speaker A: You're able to just start right away, which is why I think the power of love also works so well because it just starts with the whisper. I think I'm. Do I have perfect. [00:38:46] Speaker B: I do. [00:38:47] Speaker A: But, like, I. I feel like it, It. It. Like she hits it right Away. Like, she hits it right on the nail and music come. It's almost like she brought in her friends to come and accompany her. [00:38:58] Speaker B: Right. [00:38:59] Speaker A: You know, as the music. I, I, I, I really do love the song and. Cam, you're going to hell. [00:39:04] Speaker B: No, I love this song. It's just. There's so many good songs. [00:39:08] Speaker A: Yeah. [00:39:08] Speaker B: So, yeah, it's definitely in the. Probably my top six. [00:39:14] Speaker A: Okay. [00:39:15] Speaker B: Yeah. [00:39:15] Speaker A: Okay. [00:39:16] Speaker B: This is a strong album, Nelly. [00:39:18] Speaker A: It is a strong album. [00:39:19] Speaker B: So I'm. I will say that. So the next song we have is Real Emotion. What'd you think? I have to agree. This really does not show off her voice. Well at all. [00:39:33] Speaker A: No. But also, like, it makes me think. I'm like, was this, Was this just written for somebody else? [00:39:40] Speaker B: Yeah, it's like, it's really not good. [00:39:46] Speaker A: It's like no bueno, but I. Less. No bueno. And just like, it's. It's like, a little bit more derogatory than. Doesn't hit for me. I feel like it just. It just isn't great. [00:40:01] Speaker B: It just doesn't provide dopamine, but it doesn't, you know, give me any. Any bad feelings. [00:40:07] Speaker A: I feel like something about this album is that, like, has so many memorable songs. Like, I'm somebody that struggles with titles, and you'll see it a lot like. Or hear it a lot in these episodes. The moment you play the beginning of a bridge, of a chorus, of a whatever, I'm like, I'm there. Like, I know. I know where we are. Whereas this one, I'm like, you could play it a million times over to me. You could sing it to me, you could deliver it to me, you could tattoo it on me and I would not remember it, unfortunately. So, no, this. This isn't something that's. I don't think this is good. [00:40:47] Speaker B: Fortunately, this is kind of a dud, but our first dud. Not bad. [00:40:51] Speaker A: Yeah. [00:40:51] Speaker B: Like, we're, what, seven, eight tracks in. [00:40:54] Speaker A: That's not bad, babe. And like, somebody. Some people have eight of these in their album. [00:40:59] Speaker B: Yeah. [00:41:00] Speaker A: And are you searching for something that you can actually listen to? So I'm looking at you, Torylands. Anyways, Shade, do you have anything else to say about this? [00:41:11] Speaker B: No, it's pretty simple, just not good. Yeah. So the next song on the album is When I Fall in Love with Clive Griffin. What do you think, Nelly? [00:41:22] Speaker A: Something about Celine Dion and her covers. Unreal. [00:41:27] Speaker B: And movies. She always does, like, movie soundtracks. [00:41:30] Speaker A: Yeah. [00:41:31] Speaker B: Like, songs for those. [00:41:33] Speaker A: Cam just told me that this was a song off of Sleep. It's In Seattle. [00:41:36] Speaker B: Yeah. From 93 with Tom Hanks. [00:41:39] Speaker A: And. [00:41:39] Speaker B: And I, like, the movie was on tv, like the end where. I don't know what they mean. At the fucking Empire State Building or something. And it was a cute moment. It was a cute moment. And I don't know if I heard the song at the end, but I just remember being gagged at the fact that it was included. And then also, Nelly also just told me that this is a cover. [00:42:06] Speaker A: This is a beautiful cover of the iconic jazz song by Nat King Cole, When I Fall In Love. And I think there's just something so beautiful about her, like, contemporary take on it. I would be very interested to have actually heard a classic jazz cover of the song. I feel like she would nail it, but I do like this kind of New age take on it. And I feel like there was a small. Small sliver of, like, R and B. Yeah. Into this song. Not. It's not prevalent. Sorry. Prominent rather, as the more contemporary take on it. Like adult contemporary take on it. But I. There's something about this cover that I really, really do love. [00:42:45] Speaker B: Yeah. I would say I think it works really well as a duet, and I think their voices blend really well together. I think Clive Griffin's a good singer. I don't know any of his other songs, and obviously Selena's the standout, but I think they do really well on this together. And it's one of my favorites. I like the vibes of it. It's our only feature on the album. And, yeah, I think it's really cute. It was the first kind of single. I'd say the Power of Love was more like the lead single, but this was released before for the movie, and then they included it on the album. So in the video, she has long hair, and then in the Power of Love, she has her short little pixie cut moment, which is cute. So, yeah, I would say. I would say this is one of my favorites of the album. [00:43:31] Speaker A: This is. No, this is fantastic. I would say it's probably at least in my top four for this album. Last note about the song itself. I feel like something so beautiful about this song is that, like, it's so vulnerable, which is. Which matches Celine's approach so much about. She's putting it all on the table. And what's different about this sort of love song is that it's not really like they're not looking for somebody specific. They're just looking for a somebody and what they're hoping. Hoping to come with that somebody. And, yeah, I will say I Think it's interesting to have chosen Clive as the counterpart for this. I don't think he's actually very significant. Not to say that he's not. Like, his voice isn't nice on the song, but I feel like maybe an obvious choice would have been Luther. Like Luther Vandross to have paired with her. But, I mean, he was probably booked. [00:44:22] Speaker B: At the time, so he would have been wonderful. [00:44:24] Speaker A: Yeah. [00:44:25] Speaker B: He did Endless Love with Mariah the following year. 94. And that's such a beautiful duo. [00:44:31] Speaker A: Oh, my God. Do you want to sing it together next time? [00:44:33] Speaker B: Yeah, well, we'll do it. [00:44:35] Speaker A: We'll do it as our intro, lay down the vocals. Perfect. [00:44:38] Speaker B: But no, I do think Luther would have been amazing. But I do think while Clive Griffin isn't as iconic, he does a great job and he sounds great. But, yeah, obviously we would have loved Luther. [00:44:49] Speaker A: Yeah. [00:44:50] Speaker B: It's kind of similar to I Just Can't Stop Loving you by Michael Jackson. The first single off Bad, that was supposed to be Michael Jackson and Whitney Houston. [00:44:57] Speaker A: Yes. [00:44:58] Speaker B: I remember learning about that, you know, gags. We would have been. [00:45:02] Speaker A: I genuinely. I don't think I would do anything to have gone back in time, forced them into a room together, force them into my room, to be honest, and had them record With a gun. With a gun. And have had them record that song together. Just because I'm like, they. They just bring. Well, even when I think of, like, the video of, like. I don't know if it was like, a tribute to Michael as opposed to, like, she just came out on stage and was, like, dancing either towards Michael or for Michael or something. [00:45:35] Speaker B: Oh. [00:45:36] Speaker A: And I'm just like, oh, my God, I would have loved to have seen them together. [00:45:39] Speaker B: Yeah. So what that was for was for the. I don't know if it was for the anniversary of Motown or of the Jacksons, but That was in 2001. [00:45:48] Speaker A: That was actually right before 9 11. That was August. That was the VME VMA. The VMAs or the awards. [00:45:55] Speaker B: It was like a special concert at Madison Square Garden just for that. And Whitney was there and Brittany was there. She did. [00:46:05] Speaker A: Well, disregard everything. Everything I said about the VMAs and the. The BET Awards, but I guess I didn't. I remember watching that video recently and seeing the date and being like, oh, my God, that was a month before 9 11. [00:46:17] Speaker B: It was the day before September 10th. [00:46:20] Speaker A: What the. Okay. My entire memory, I feel like somebody took Mandela. You know, the Mandela effect. They just put it on top of my head. [00:46:27] Speaker B: It was the Night before, Michael Jackson was supposed to be at the World Trade Center. [00:46:31] Speaker A: Yeah. [00:46:32] Speaker B: But to return a watch or something. But he's. [00:46:34] Speaker A: He, he missed his alarm. [00:46:36] Speaker B: Yeah. [00:46:36] Speaker A: Yeah. [00:46:37] Speaker B: Thank God. [00:46:38] Speaker A: I know. [00:46:38] Speaker B: Eh. But would have left. [00:46:40] Speaker A: We would have left us sooner than he did. [00:46:42] Speaker B: Okay, next. Should we go to the next track? [00:46:46] Speaker A: Yes. [00:46:47] Speaker B: The next track on the album is Love Doesn't Ask why. What'd you think of this? [00:46:54] Speaker A: I liked this one. I feel like it wasn't like, I wouldn't, I wouldn't put it in, like, my top ones, but I really did like this one. I feel like this one. There's something specifically about the lead up into the verses that like, like there's so much, like, power with it into the lead up. [00:47:10] Speaker B: I want to talk about that. [00:47:11] Speaker A: Yeah. [00:47:12] Speaker B: You know what that reminds me of? It reminds me of where youe Are by Whitney Houston off the Whitney album. [00:47:18] Speaker A: Oh, my God, Cam. [00:47:19] Speaker B: Yeah, it sounds exactly like it. I checked. The producers are. They're not the same producers, not the. [00:47:24] Speaker A: Same writers, but they're in the room next door. [00:47:27] Speaker B: They were. They must have been like, you know, that sounded really good on the Whitney album in 87. So let's bring that back. [00:47:34] Speaker A: But they stole the hard drive. Oh, that is so cool. No, this is what I'm talking about, guys. Like, there's no copying with her. It's inspiration with her. [00:47:44] Speaker B: Well, she makes. When you make everything your own. [00:47:47] Speaker A: Yeah. [00:47:48] Speaker B: It's not that, not that she would copy, but it also helps when you're good. Yeah. [00:47:54] Speaker A: When you're, like, actually good. [00:47:55] Speaker B: Yeah. [00:47:56] Speaker A: The problem with copiers is that they don't make it good. [00:47:58] Speaker B: Yeah. It needs to be good. [00:48:00] Speaker A: Yeah. [00:48:00] Speaker B: And Celine really can always pull it off. I would say, for me, this is a really, really solid album track. [00:48:13] Speaker A: It is. [00:48:13] Speaker B: I. This is one of my favorites as an album track. I really enjoyed this song. There's so many good songs and there's, like, only a few songs that I don't really like too much. So I'd say, yeah, I, I, I really liked it. And the melody is super nice. And it's a ballad. You know, if you have Selena on a ballad, that's where she's at home. She's going to give it to you. [00:48:36] Speaker A: I also think I found my new karaoke song. [00:48:39] Speaker B: Yeah, this is. [00:48:39] Speaker A: This. I, I realized this would be a really good karaoke song. And it's for the power, but also there's just something about a key change that is more than one semitone higher. She goes for a full. I'm not gonna try and name? I. I. My music theory is off. But like a full. At least like, five tones. Maybe higher. Five semitones higher. Four semitones. Four semitones. Five. [00:49:06] Speaker B: I don't know. [00:49:07] Speaker A: Okay. [00:49:07] Speaker B: One of those I don't know. Music theory. [00:49:10] Speaker A: We have a music podcast. But, like, I feel like. [00:49:13] Speaker B: I feel like I just got gagged. [00:49:17] Speaker A: We both just got gagged. But like, there's just something just so powerful about just like, I'm not going to give you a key change that's just like the next tone hot. Like, semitone higher. It's. I'm going to take you to a different world. [00:49:33] Speaker B: Yeah. [00:49:33] Speaker A: With this key change. And I think if you're at a care. If you're at karaoke and you're trying to actually prove yourself, which. If you're not a karaoke trying to prove yourself, then what are you doing? That's my personal opinion. Okay. Yeah. Have fun. Sure. But, like, we're in a competition and I'm winning. [00:49:49] Speaker B: I only really like to sing in the car because no one can hear me. [00:49:53] Speaker A: That's embarrassing. [00:49:54] Speaker B: Oh, just kidding. [00:50:00] Speaker A: Oh, just kidding. Love you, Cam. [00:50:04] Speaker B: Love you, too. No, but I. I really enjoyed this song. [00:50:09] Speaker A: This was a very fun song. [00:50:11] Speaker B: So the next song on the album is Refuse to Dance. What'd you think? [00:50:14] Speaker A: Sorry? This song. What the. I'm sorry. I didn't get it. [00:50:18] Speaker B: I agree. I. Along with Real Emotion, I think. No, I think this is definitely worse than. No, I'd say real emotions worse. [00:50:27] Speaker A: Something that I had said at the beginning was, which I still appreciate is, like, the experimental aspect, like, she's trying something new. [00:50:35] Speaker B: That's cute. Yeah, it is very experimental. [00:50:37] Speaker A: But, like, this is giving me, like, alleyway trench coat vibes with a cigarette. Like, I haven't seen him in years, you know? And it's like, it's giving, like film noir. [00:50:49] Speaker B: It's giving Great Gatsby. I don't know why. [00:50:52] Speaker A: Interesting. [00:50:53] Speaker B: Well, no, this is. You're like, no. What the. [00:50:56] Speaker A: No, that's real. That's actually real. [00:50:57] Speaker B: Okay. [00:50:58] Speaker A: I feel like, like the. The. Like this. The scorned hero sort of things. Being like, I'm nothing without my lady in the green light. That green light I want. Oh, my God, Lord, we're covering you. [00:51:12] Speaker B: We'll get to you. I think it's fine. It's probably one of my least favorites. [00:51:20] Speaker A: Yeah. I will say real Emotion, while. It's just not good, unfortunately, I feel like this one is just. I don't. I don't know what. I don't know what's happening. I. Maybe I'm just not getting it. It's. I. I do admit. I know I. I know I'm always right, but like, I do admit the parts where I'm just like, maybe. I just don't know, actually. Maybe I'm not getting it. Maybe I'm not seeing the vision. [00:51:44] Speaker B: I. I mean, this was part of the Color of My Love TV special, so. And they had dancers and it was very smoky and very interesting and so seeing that kind of helped, but at the same time, it's just not my thing. I'd rather her sing a ballad. [00:52:01] Speaker A: Yeah, I love her on a ballad. Yeah, I love her. I love her in a waltz. I love her in a cover as well. Of a waltz, a cover of a jazz song. When I Fall in Love particularly. But yeah, this one just didn't do it for me. The next track on the album is I Remember la. And something ironic, I think about the title for me is that I don't remember this song, unfortunately. Don't remember her. This song sounded like something I heard a few songs ago. I. I did like the, like the. The pads that they used in the song. Yeah, it felt very. I say this lightly because it's. I don't know, this could. Don't take this wrong way, Selen. But it felt like very infomercially. [00:52:44] Speaker B: Okay. [00:52:44] Speaker A: Where like I imagined myself waking up at three in the morning when I was younger and the TV was still on and an infomercial was happening, like on the tv. Felt like that felt very lullaby a little bit. But yeah, not very memorable for me. [00:53:00] Speaker B: Okay. I actually really liked this one. It's like I said, another really solid album track. It was kind of giving like Old Hollywood was just like, you know, just it being set in la, the song and kind of helped, like stuff like that helps me visualize what's going on. But I think the melodies were super pretty. I just love a. I just love a really nice melody. This album is the ballads for me. So, like, if. If there's a good ballad, it's like really lending itself to the vibe of the album, the imagery of the album. So. Yeah, I. I really liked it. Oh, yeah. [00:53:44] Speaker A: Sorry to. On your song. [00:53:45] Speaker B: No, it's fine. I shot on another one of yours that. [00:53:47] Speaker A: Yeah, it's okay. [00:53:49] Speaker B: Did you like. No. You didn't like real emotion? [00:53:52] Speaker A: I like Next Plane Out. [00:53:54] Speaker B: I liked Next Plane Out. [00:53:55] Speaker A: You like Next play now. I did Don't Go Breaking my. No, not Don't Go Break My Heart. I keep. I couldn't if I tried it's okay. We keep breaking each other's hearts. It's fine. [00:54:06] Speaker B: Okay. [00:54:07] Speaker A: So this next song is called no Living Without Loving youg. This one was really fun. I feel like the beginning, the, like the. The guitar, it sounds very like kind of country inspired, which is where the Shania comes in for me, obviously, when I ever think of her. But also I think there's a song. Oh, my God. I'm actually gonna be mad at myself that I don't remember this. [00:54:34] Speaker B: Can I tell you what I think it sounds like? [00:54:36] Speaker A: Yeah. [00:54:37] Speaker B: To me, it's giving. Ain't no mountain high enough Ain't no mountain really interesting. Not done nearly as well. [00:54:44] Speaker A: Oh, that part. That part. This one is fun though. [00:54:50] Speaker B: I. This is probably in my bottom two. Oh, I find it. It's boring. It's not an up tempo. But it's not mysterious or anything. If it's a mid tempo, it's not. It's not done well, in my opinion. And the country just. You know how some country could sound, like, really interesting. And country for me is at its best with a really nice melody. This is not giving that for me. This is giving, like. I just. My cousin like that kind of thing. [00:55:23] Speaker A: Interesting. You know what? I'll. I will let you have that one. I'll let you have that one. I will say this is still fun. [00:55:31] Speaker B: It's fun, but it's just not my thing. [00:55:33] Speaker A: I feel like this would be the type of song that they play in a montage as well, but like, specifically a TV movie. In a TV movie. [00:55:40] Speaker B: Straight. [00:55:41] Speaker A: Straight to dvd, straight to home video. I feel like this one, Waitress. Have you ever, like, watched or like, heard of Waitress, the movie slash, also the musical that was adapted from it? I feel like this is the type of song that would play in the diner. [00:55:57] Speaker B: Okay. [00:55:58] Speaker A: Which is like, I think it's less incest for me on my end and more so like small town girls. All I knew it's all I knew. [00:56:09] Speaker B: Oh, my daddy shucks the corn I'm just living okay, so the next track is Love and Proof. What'd you think? [00:56:18] Speaker A: This one, I loved her runs on. Her voice was butter on this one. And I feel like while other songs lean into, like, the grit of her voice and where she can take it in terms of levels, I feel like this one is the one where she got to slip and slide. [00:56:37] Speaker B: Yeah, it's a cute moment. This is still probably my bottom two. This is a real lull for me. [00:56:44] Speaker A: Wow. [00:56:46] Speaker B: I. Because to me, these sound dated and they're not. They're not giving anything. They're. They're just really not giving for me. They're giving Grandma. [00:56:53] Speaker A: Like, here comes the ageist. [00:56:56] Speaker B: Sorry. Yes. But it just. It just doesn't. Just doesn't work for me. [00:57:04] Speaker A: That's real. [00:57:04] Speaker B: Yeah. [00:57:05] Speaker A: I don't think it's, like, a highlight of the album for me either. I wouldn't say it's in the bottom for me, but I would say that, like, this is, like. Okay. But I like the ways that she's able to have fun with her voice on this one. [00:57:17] Speaker B: I will say the melody is cute. It's. It's better than the last song we talked about. [00:57:22] Speaker A: Yeah, sure. I'll give that to you. [00:57:27] Speaker B: I don't like the country, Pumpkin. I like country, but depends. I like Shania. Next, Nelly. We're on to the second last song of the album, which is a bonus track. Yes. A non US bonus track called Just Walk Away. What'd you think? [00:57:43] Speaker A: I hear, like, some, like, Latin influence. [00:57:46] Speaker B: I love that about this song. [00:57:48] Speaker A: Oh, my gosh. Which is so, so, so cool. [00:57:51] Speaker B: It's Giving My all by Mariah. [00:57:53] Speaker A: Yeah, that's true. [00:57:55] Speaker B: Or I don't want to cry. That's true. [00:57:57] Speaker A: That is true. Or. Or to a dumber degree. Cheetah Girls 2, the beginning of Strut. There's just something very scorned lover about this song that I really like. And then even the visuals, like, it looks like she's in a jail cell. Like, the. I know the window blinds are, like, making. Which actually might be a creative choice with the blinded blinds, like, shining on her, and it just feels like she's in jail. [00:58:23] Speaker B: I will say this song matches so well with the visuals of the album. And even the single cover for the Power of Love is what I think of when I hear this song more so than when I hear the Power of Love. So, yeah, I. I just. I think it's a very strong song and very different from anything else we got on the album. [00:58:43] Speaker A: Yeah, I do. I will say also, this sounds a little bit more like her French songs than it would like her. [00:58:49] Speaker B: She has some good. I like her French music. I just. I'm, you know, French. I'm French Canadian, but I don't speak that shit. Like, I don't know what they're saying. So, yeah, I. Sonically, it's cute. Like, we'll get into, you know, some of the songs that were translated for falling into you. Like, I don't know. Or Fly or. If that's what it takes. [00:59:13] Speaker A: Oh, I know that if that's what it takes. [00:59:15] Speaker B: Yeah, that's a nice one. [00:59:16] Speaker A: I like that one. [00:59:17] Speaker B: It's a cute one. But yeah, I. I really loved this song and it was probably a album track highlight for me. [00:59:25] Speaker A: This one's a beautiful one. [00:59:26] Speaker B: Yeah. Not a single highlight because it wasn't a single, obviously. But yeah, album track highlight. [00:59:32] Speaker A: Have you ever heard of the. Did you ever watch the Hunchback of Notre Dame? [00:59:36] Speaker B: No. [00:59:37] Speaker A: Well, we're gonna end that right here. You're gonna watch that. And you're gonna also watch the original, like the French version with the. On stage, don't I? I just. When I hear this song, for some reason I think of Das Mon is Mel Alda. If anybody's heard that song. If you haven't, go listen to it. Dance Ma is bad anyways. Maybe I think I butchered that French. But like, I feel like there's just something very Latin influenced without the song, but also leans into like the. The French style of her other music. I like this one. This one's really, really nice. It's so beautiful. [01:00:15] Speaker B: Cute. Cute. Yeah. There's something like. There's something like spicy about the French in her. Like, even in Refuse to Dance, she's not saying refuse to dance. She's saying refuse to dance. [01:00:25] Speaker A: Yeah. [01:00:25] Speaker B: Refuse to dance. Refuse to dance. [01:00:29] Speaker A: Let me remind you that I'm foreign. [01:00:36] Speaker B: Yeah. [01:00:36] Speaker A: I feel like this. This one, it feels. It actually feels like a bonus. [01:00:42] Speaker B: I would have really switched this so quick with some of my least favorite on the album because this is really up there for me. I think the only reason it would be a bonus track is because sonically, it doesn't quite match as well. [01:00:57] Speaker A: Yeah. That's why I feel like in terms of the actual value of the song, 100%. I would swap this for another one for maybe. What's the other one that I really don't like? [01:01:09] Speaker B: Refuse to Dance. [01:01:10] Speaker A: Refuse to Dance. I would definitely swap that. But I feel like in terms of actual. I'm like. This actually genuinely feels like bonus. Here's a great song which is like, really, really nice about it. Yeah. That's all I have to say. [01:01:24] Speaker B: Okay. Cute. [01:01:26] Speaker A: And then we end off the album with its namesake, the color of my love cam. What do you think? [01:01:33] Speaker B: I think it's cute. I love a good title track. It's like the thesis statement for an album. [01:01:40] Speaker A: Yes. [01:01:41] Speaker B: And another title track I love is Music Box by Mariah Carey from the album Music Box. And I think it, you know, a non single title track. Oh my Tickles something in me or scratches something in My brain. Yeah. I love it so much. I do think. Well, I do think Music Box is a stronger title track. This is a very cute one. And I also think the idea of using colors as descriptors for your love for someone is interesting. And Taylor Swift stole it. [01:02:08] Speaker A: Right. [01:02:08] Speaker B: And read. But we're not going to talk about that today. [01:02:11] Speaker A: That part. [01:02:11] Speaker B: But, yeah, I think it's very nostalgic, sounding very of the time, very sweet, very chill. And it's a nice bookend to have the first song on the album be called the Power of Love, and then the last be the Color of My Love. And I just think it's a really nice bookend for the whole project. [01:02:30] Speaker A: It's also interesting that she chose to say it could have been the Power of my love or the Color of Love, but having the beginning be the power of love in general. Hey, let's talk about it. Hey, nobody talks about love. You know what I mean? And then the color of my Love is. Let's make this personal. [01:02:46] Speaker B: Yeah. [01:02:47] Speaker A: Here is what I have to give. I think feels very personable and adds to the vulnerability that I adore. [01:02:56] Speaker B: Right. [01:02:56] Speaker A: So much with Celine. And there's something that stands up, stands out about her is how, you know, we have to talk about the vocal trinity as a whole again. While Mariah brings the sexy, sultry, Whitney brings the spunky, hot, and Celine brings the adoring innocent that I feel like is so perfectly encapsulated with the album as a whole. But specifically this last song, too. [01:03:27] Speaker B: Yeah, I. I'd have to agree with that. And then, you know, the sentiment was true. What she's singing here, the last line is, I. I give what you cannot buy, Devoted love until we die. And she really did provide that for her man. So she really did believe in what she was singing, whatever you think about their relationship. [01:03:50] Speaker A: Yeah. [01:03:50] Speaker B: So I. I find that, you know, despite her not writing it, gives another layer of. Of authenticity to the. [01:03:57] Speaker A: Exactly. Exactly. What a beautiful way to end the album. [01:04:01] Speaker B: Yes. In terms of the music market at the time of the release, it was very much adult contemporary. Michael Bolton, Mariah Carey, Whitney Houston, these were the big hitters at the time. So it's very much adhering to that kind of market, and I think it delivered in that sense. This was the peak of adult contemporary, which is where Celine lives and breathes. So I'd say it really delivers in that regard. [01:04:29] Speaker A: She's also, like, peak, like the wedding music, Haitian wedding music. And, yeah, whenever I think of, like, I spoke about it a bit before, but like, when I think of like Haitian weddings, I think of Celine Dion specifically. Not only because she's Haitian. She is Haitian. Don't argue with me on this. Obviously, like, you know what I mean? I feel like there's a specifically, like 90s inspired Big Veil, Lots of Lace is what I think of when I think of Celine Dion. And I feel like that plays a lot into the early 90s era of like that style of romance which she leans into with this music and capture the right audience. [01:05:15] Speaker B: Yes. In terms of the album success, we touched on it a bit earlier, but this album sold over 20 million units worldwide, which is incredible. It's one of the best selling albums of all time and really hit big in US and worldwide. And I think that's thanks to the Power of Love. [01:05:34] Speaker A: Right? [01:05:35] Speaker B: Not the actual power of love, but the song. [01:05:37] Speaker A: But yes, also the power of love. [01:05:40] Speaker B: So it was hugely successful in terms of the single success in the us. Power of Love was the biggest hitter, being a number one. And then we had a couple of top 20 hits and then only one road and think Twice didn't do so hot in the lower end of the Hot 100. In terms of Canada, the singles were very successful, her being a Canadian artist and did fairly well worldwide. Think Twice went number one in the Netherlands and uk. Oh, number one. That's great. Yeah. [01:06:15] Speaker A: They know what. What are the Netherlands? No. Bustle and Dion. [01:06:20] Speaker B: And only One Road went to number eight in the UK as well. [01:06:24] Speaker A: Interesting. [01:06:25] Speaker B: That's really good. To give you some perspective, the Power of Love only went to number four in the uk. So that's. That's really interesting. [01:06:33] Speaker A: Interesting. I would have never guessed that. But also the uk, like, I feel like their priorities are wonked sometimes. [01:06:40] Speaker B: Like completely different songs will go number one. You're like, what? Like, it's a very different music market. [01:06:45] Speaker A: Yeah. [01:06:46] Speaker B: Interesting in terms of the artwork. It's a gorgeous cover of her in. Oh my goodness, it's sepia moment with some like, turquoise writing of her name. I think this is the first time we see the, like, cursive Celine logo that we will go on to see for pretty much the rest of her career, but very prominently in the 90s also. [01:07:08] Speaker A: Sepia and turquoise as a combo is like wild to think about. [01:07:14] Speaker B: They. It works here, though. [01:07:16] Speaker A: That's what I think. I'm like, what? Also, she looks so beautiful. [01:07:20] Speaker B: Like, she's stunning. [01:07:21] Speaker A: So, so, so beautiful. There's a thing of mouse beauty versus frog beauty. Have you heard of that? [01:07:30] Speaker B: No. [01:07:31] Speaker A: Or like rap beauty versus frog beauty. [01:07:33] Speaker B: Oh, my God. [01:07:34] Speaker A: And she's giving rap beauty in the best way possible. Like, so, like, her face is so centralized. I don't even know if that's a real term or that could be used in the context that I did. [01:07:47] Speaker B: I feel like that sounds mean, but. [01:07:48] Speaker A: But the thing is, it's actually. It's actually not. Because when you look at both animals, they have their own level of cuteness and beauty in their own way. And I feel like everybody falls into either the rap, the rat beauty, or the frog beauty. [01:08:01] Speaker B: What do I fall into? [01:08:03] Speaker A: I think you might be frog beauty. [01:08:06] Speaker B: Okay. [01:08:07] Speaker A: Like, in the best, in the most loving way possible. Okay, insert picture here. [01:08:12] Speaker B: And while we're here, I hope you. [01:08:14] Speaker A: Take it as a compliment. Yeah, I've always wanted to be compared to a frog. Her face is giving just like her bone structure. Like, when you think of a mouse, it's like they're like, you know, like, you know, like it's like they're kind of serving. And she's just so stunning. Celine, I hope you really did take that as a compliment. Like, you are so, so beautiful. [01:08:43] Speaker B: She's gorgeous. Gorgeous. All right. So as for the producers of the songs, we have a lot of familiar faces here. Actually. We have David Foster doing some of the biggest hits, including the Power of. [01:08:57] Speaker A: Love, let's Go David. [01:08:59] Speaker B: He also does the title track, the Color of My Love, and I think that's all his only contributions to this album. Rick Wake is on Misled, Only one road. Everybody's talking to my baby. He's all over this album and he did Someday by Mariah Prisoner and All in your Mind. Oh, yeah. From her debut, which we will get into later. In terms of other producers that we have, we have Walter Afanasieff who is known for working with Mariah. He's done songs with her like Love Takes Time, Anytime you need a friend, Underneath the stars, My all. Any ballad that you could think of from early Mariah, he's probably got something to do with it. Oh, and all I want for Christmas is you. Holy shit. [01:09:46] Speaker A: Oh, really? Oh, my God. [01:09:49] Speaker B: They wrote it together. In terms of the impact, we already talked about that. In terms of the commercial success, it made Celine Dion a household name in English speaking countries. While she was very well known in Canada and in France, now she was very well known worldwide and would lay the groundwork for the next two albums which were the biggest for career and the biggest, some of the biggest of all time with Falling into youo and let's Talk About Love. So, yeah, I think. I think it did a beautiful job of doing that. And it's kind of like a predecessor to those albums which we will get into one day. In terms of ranking tracks, what would you say your bottom two are? Nelly? [01:10:33] Speaker A: Oh, well, surprise, surprise. My bottom two, I would say would be Real emotion and refuse to dance. I refuse to listen to these songs again. [01:10:45] Speaker B: You refuse to dance? [01:10:46] Speaker A: I refuse to dance. And like, that's like no hate. Like, good job, you know, And I feel like they work for somebody. They've just. It's just not me, unfortunately. [01:10:57] Speaker B: Yeah, that's totally fair. I'd say for me, my two bottom would have to be no living without loving you and Loving Proof. To me, these are just very forgettable. And also they're in place of just walk Away, which is a travesty. Yeah, they're just. They don't do it for me. They're. They're. They're dated in the worst way. Oh, like a yellow kitchen. [01:11:29] Speaker A: It's so funny because I remember originally thinking a yellow shade for our kitchen. [01:11:34] Speaker B: Well, you know, maybe that's the wrong way to put it. You know, when porcelain used to be yellow tinted. [01:11:39] Speaker A: Oh, yeah. [01:11:39] Speaker B: And it's like, no, it looks like it's stained from piss, but it's not. It's just yellow tinted. Like, who designed that? But, yeah, so those would be my bottom two. [01:11:48] Speaker A: Interesting. Okay, well, now that you're here, how do you talk about your top three? [01:11:54] Speaker B: So my top three number three would be When I fall in Love with Clive Griffin. I think it's a beautiful song. I think it's such a great duet and they sound so good together. And then number two for me would have to be only one Road. I think it's such a beautiful song and the vocals are just insane. And in terms of a ballad, it's just like a standard Celine ballad. But standard as in she set the standard. [01:12:24] Speaker A: That's a great song. [01:12:25] Speaker B: You know, I love that one. And then number one, surprise, surprise. The power of love. This song is endlessly fascinating to me, whether it be live performances or, you know, the studio recording. And it's just so well done and totally deserves to be the bonafide hit that it is. [01:12:45] Speaker A: So my top three in third place for me, when I fall in Love. It is stunning. So, so, so stunning. [01:12:52] Speaker B: Good taste. Number three is good taste. [01:12:54] Speaker A: Too good. It is so, so, so, so good. I. Yeah, everything I said, we've already said. But I 100 agree with the fact that this is one of the best from the album. [01:13:05] Speaker B: This one stuck up on me. Too. I didn't used to like it this much. [01:13:08] Speaker A: Really? Yeah. [01:13:09] Speaker B: And then I kind of got into it more. I think seeing the video and stuff helped. [01:13:13] Speaker A: That's real. That's real. The thing is this. Actually, this work gets a little hard for me because I remember originally being like, next plane out, it's got to be up there. But I feel like it moved down a little bit, literally, in the span of this conversation. I think it's. Everybody's talking about baby down. Like, this one is so fun. And. Yeah, this one feels like all the upbeat aspects of a song that I'm looking for. Put it all in one. And I love this song so much. [01:13:45] Speaker B: That's an interesting choice for your number two. I wouldn't have thought that, but. No, it's a cute one. [01:13:50] Speaker A: It's a great one. [01:13:52] Speaker B: It's so good. [01:13:53] Speaker A: And then number one is the Power of Love. It's. It's. It's number one for a reason. [01:13:58] Speaker B: It's so good. [01:13:59] Speaker A: Too Good two. Top two and ain't too. [01:14:03] Speaker B: Oh, yeah. All right, now we're coming to the end of the episode where we grade the album. [01:14:10] Speaker A: Nelly, School is in session. [01:14:12] Speaker B: Yes. Be ready, kids. You don't want an F? [01:14:15] Speaker A: Yeah. If you get an F, go to hell. Sorry, I can't damn a kid to hell. [01:14:20] Speaker B: Nelly sends the report cards because she's always right, Period. But what would you give this, Nelly? [01:14:28] Speaker A: I would give this a drum roll. Momentary magic. [01:14:34] Speaker B: Fair. [01:14:34] Speaker A: I feel like there are many songs in this that were of the time and stay in that time. And that's not to say that it's not magical. I feel like this is something that I can always. I can come back to if I'm feeling nostalgic. [01:14:46] Speaker B: Yes. [01:14:47] Speaker A: But I feel like a lot of these songs would not hold up the same way it would today. [01:14:52] Speaker B: I would have to agree. I'm also giving this momentary magic. And while I do think the hit provided what it provided with the power of love, I don't know if this is something that would be really listened to as fondly today. I don't know if it's as timeless as something like Whitney's debut or Mariah's. Not that this is the debut, but I love this sound, this nostalgic sound. I love it. I enjoy it so much. It's such a particular vibe. It's such a particular moment in time, and it makes you feel such an interesting feeling. [01:15:25] Speaker A: Yeah. [01:15:25] Speaker B: But in terms of how much it's held up in time, it's just not quite there. But I Love this album and the vocals. It's timeless. Mainly the production is the only reason that this is dated. [01:15:40] Speaker A: That's real. That is real. Look at us agreeing. [01:15:44] Speaker B: I know. [01:15:44] Speaker A: Oh, my God. [01:15:45] Speaker B: We usually do. [01:15:47] Speaker A: Yeah, yeah, yeah. [01:15:48] Speaker B: We usually do agree. [01:15:50] Speaker A: That's true. Because we're both always right. [01:15:51] Speaker B: Yeah, well, you are. I have to agree or I'm wrong. [01:15:55] Speaker A: Like, easily. Easily. [01:15:58] Speaker B: Okay, well, that's it for us this week on Diva Decoded. We hope you enjoyed this deep dive into this amazing Celine Dion album. We love you, Celine. [01:16:08] Speaker A: We love you, Celine. And we love you, listeners. And thank you. Thank you always for listening to us as we rant, as we ramble. [01:16:15] Speaker B: If you could give us a five star review, that would be wonderful. [01:16:18] Speaker A: If you give us a Diva Decoded, that would be perfect. [01:16:21] Speaker B: Oh, my God, that would eat. Please do. [01:16:22] Speaker A: Thank you. [01:16:23] Speaker B: We will be gagged. Go follow our social media. [01:16:27] Speaker A: Yes. See all the beautiful work that our lovely Angelica has put in. [01:16:32] Speaker B: Yes. And thank you so much for listening. [01:16:35] Speaker A: This has been Diva Decoded. [01:16:37] Speaker B: I'm Cam. [01:16:38] Speaker A: I'm Nelly. [01:16:39] Speaker B: And we just reintroduced ourselves for some reason. [01:16:42] Speaker A: And with that, goodnight, divas. [01:16:45] Speaker B: Bye. Bye. [01:16:54] Speaker A: Before we end, we'd love to shout out our lovely team behind this podcast. [01:16:59] Speaker B: First, we'd like to shout out our amazing editor, Blake Walker. Thank you so much. You do all the dirty work and we really, really appreciate you. [01:17:06] Speaker A: We love you, Blake. We'd also love to shout out our lovely social media manager, Angelica Ortega. So everything you see visually, it's her. [01:17:14] Speaker B: Yeah. She's killing it. Thank you so much for listening. My name is Kam Barbeau. [01:17:18] Speaker A: And I'm Nellie Deverlis. [01:17:19] Speaker B: You've been listening to Diva Decoded.