AliCat
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We have now just probed into psychoacoustic analysis, Petrarose! :computer:
http://www.prosoundweb.com/article/print/the_legendary_bruce_swedien
http://www.prosoundweb.com/article/print/the_legendary_bruce_swedien
It is our precious ears, our senses, that lead us to believe in what we hear!Petrarose;3766235 said:^^Ha you know once you start talking about something you don't know where you will end up. Let me take a look at it.
Just finished reading it, and what a coincidence since I ordered 2 of his books from Amazon yesterday. I copied this part from his article: "In my next article, I’ll be discussing speakers, amplifiers, control room volume levels and much more." This should increased the listening pleasure of Billie Jean.
L.T.D;3766799 said:About Michael admitting he copied Hall and Oates on Billie Jean, I've never believed that.
That song came out in about December 1981 and I'm pretty sure Michael had already recorded demos of Billie Jean before then.
Tonight at President Obama inaugural ball, they rocked to Billie Jean. Right after the president's and first lady's dance, Billie Jean was played. And Chris Tucker was interviewed at the same time.
If that baseline alone had saved pop music then it would have been "I Can't Go for That" that would have elevated the album that contained it to stratospheric success. It wasn't, which shows a baseline alone can't save pop music.
Billie Jean's intro sounding similar to I Can't Go for That by Hall and Oates is no big deal. Lots of songs sound similar to one another. A few examples i can think of is Stevie Wonder's Part Time Lover sounding like Hall And Oates Maneater and 1999 by Prince sounds similar to Susudio by Phil Collins
''Not everything is 100% original'' - Billy Ocean
AliCat;3767413 said:Thanks to heavy airplay on urban contemporary radio stations, "I Can't Go for That" also topped the U.S. R&B chart, a rare feat for a non-African American act. According to the Hall and Oates biography, Hall, upon learning that "I Can't Go For That" had gone to number one on the R&B chart, wrote in his diary, "I'm the head soul brother in the U.S. Where to now?"
http://en.wikipedia.org/wiki/I_Can't_Go_for_That_(No_Can_Do)
How Hall & Oates Saved Pop Music
JOHN HUDSON 10,833 ViewsAUG 31, 2012
If "Billie Jean" is the cornerstone track of Michael Jackson's 1982 album Thriller, and Thriller is the album that saved pop music, then Hall & Oates, in some not-insignificant way, rescued pop music in the early 1980s, at least according to The New York Times Magazine's Rob Hoeburger. This much will be clear when you read Hoeburger's revisionist history of Thriller (it turns 30 this year) in the Magazine's Riff column. It's an interesting look at how the musical aesthetic of Thriller cut through “the ruins of punk and the chic regions of synthesizer pop” at the time and revitalized the music industry. According to Hoeburger, the key moment was when Jackson heard Hall & Oates' 1981 single "I Can't Go for That (No Can Do) and borrowed its baseline for "Billie Jean." Per Hoeburger:
Of course, in the end, “Thriller” had several money tracks. There were four solid cornerposts: a blistering rock song (“Beat It” a sublime ballad (“Human Nature” an R&B dance sizzler (“Wanna Be Startin’ Somethin’ ” and a video-friendly story song (“Thriller”. And at the center of it all, connecting the entire work and providing access routes to its outer regions, was a song whose musical basis came from the lone bastion of hope on pop radio in those dark days, Daryl Hall and John Oates. Their solid amalgams of pop, soul, rock and even light electronica had been breaking through the dross for a few years. In January, their “I Can’t Go for That (No Can Do)” logged a week at No. 1 ... Jackson liked “I Can’t Go for That” and heard in it the basis for his own album’s elusive unifier. He lifted its bass line for a song that made him want to dance. (And no wonder; that bass line was itself an echo of ’60s soul.) He could hear it. He could see it. That track was “Billie Jean.” It was one of the last songs completed for “Thriller” — it was reportedly mixed 91 times — and even though Quincy Jones fought Jackson about its inclusion, Jackson insisted. By early November, he was finally satisfied, and the album was rush-released into stores at the end of the month.
We can sort of hear what he means: Both songs have that steady thumping baseline that drive the melody, and Jackson has certainly copped to this in the past. But It's certainly nowhere near Vanilla Ice-David Bowie caliber theft. Still, you be the judge: http://www.theatlanticwire.com/entertainment/2012/08/hall-oates-history-pop-music/56426/
I was listening this song in my car radio today, sounds familiar if you take off the singing