Release date: May 4, 2010
The recording of this classic by Céline was produced by Peer Astrom and Vito Luprano. The original version is recorded by Cindy Lauper on her album A night to remember aired in 1989. A version by Roy Orbison, of whom the song was originally aimed, is aired in 1992.
(Duet with Jean-Jacques Goldman) This is an up-tempo song with flights of voice which reveals Celine's energy.
This song reveals Celine's life, it is a kind of a mini-biography of her career as a international singer.
"Taking Chances" was written by Kara DioGuardi and David A. Stewart from Eurythmics, and produced by Grammy Award-winner John Shanks. It was recorded in April 2007 and released as the first single from the album.
(Kristian Lundin / Savan Kotecha / Delta Goodrem) I know that once in love You don't think of The devil who's inside And maybe there'll come one day When you'll feel safe And I wont have the time You'll hear what you wanna hear Blink once I could disappear Some rules to the game will […]
Celine covered in Spanish version this song which talks about AIDS, Aún existe amor, on her album A New Day Has Come.
With this track, it is the action, the change, the travel. Celine is beating and powerful. The guitar is less used to leave more place with the keyboard and the percussions which revitalize the piece.
For the recording of the album Falling Into You, David Foster asked to Celine to do a remake of "All by myself". "David informed me that he changed the orchestrations of the last part of the song, Celine tells. I had to sing a little higher, until a F# that almost reached the limit of my voice. The worst was that he wanted me to hold this note during several seconds... I knew that I couldn't do it more than two recordings without risking to break my voice. The day of the recording, Rene and I quarrelled, for a mere trifle... He decided not to acompany me to the studio. I left all by myself, to the Record Plant (in Los Angeles), where I found a rather cold, condescending, almost contemptuous David Foster... While the technicians were finishing to put the orchestra tracks, I was going around in circles. I think that David was delaying everything on purpose... At one point, innocently, he told me: "If you don't manage... I could ask it to Whitney". Whitney Houston was recording on this day in the nearby studio... I did not say a word... I sang "All by myself" with all my strength, with all my soul. When I came to the time to climb towards the F#, I put my voice at maximum, until it was hurting, and I held the note a very long time, without weakening. When I finished, the musicians on the other side of the glass were standing to applause. I left without greeting David Foster...I was thinking of Rene. I was looking for the reason of our fight. And suddenly, I understood... He put once again the difficulty harder to give me new challenges, to force me to surpass myself." Now, Celine speaks about the impact of this song when she sings it on stage: "Before, people did not expect this note, she says, and when I was doing it, they were surprised, amazed or not, but they did not expect this note... And now they expect this note, and there is a silence which moves me, and which paralyses me, it's incredible! And then, I say to myself, "well, I can't leave them now", so, there is a hand inside me, this performer who loves singing, who's saying to me "go girl, do your note, make them happy, do it right!" Eric Carmen originally recorded it.
(Theme song in "Stuart Little II") From the team that wrote That's The Way It Is, this is one of the lighter moments on the set A New Day Has Come; the rhythm is particularly stimulating. "It's cute, it's fun, it's fresh, Céline offers. You don't have to listen to the lyric to enjoy it."
This song speaks about a woman who couldn't imagine her life without her man, like Celine with Rene. We can remember that during the concert at the Stade de France in 1999, Celine was crying singing it, as we just learnt about Rene's cancer.
(Linda Perry) My love we have seen it all The endless confession The rise and fall As fragile as a child But lately I'm sorry I can't hold a smile But I stand tall to get by No matter how hard I try to hide How did you know I'd take the time for you? […]
The music and the voice are sweet and soothing. "When Jean-Jacques sang in front of us 'S'il suffisait d'aimer', Celine tells, Rene and I, we cried like babies." "If there were one track to choose on this album, Celine reveals, it would be without hesitating, 'S'il suffisait d'aimer'... because for me, it's like 'Quand on n'a que l'amour' by Brel, it's strong." "Sometimes, Celine follows, the technique is perfect and the emotion is not there, so well it's not really good, we have to coordinate both at the same time, it's difficult, but I think I almost managed with 'S'il suffisait d'aimer'."
(Billy Steinberg / Thomas Kelly) I hear the ticking of the clock I'm lying here the room's pitch dark I wonder where you are tonight No answer on the telephone And the night goes by so very slow Oh I hope that it won't end though Alone Till now I always got by on my […]
This song was originally recorded by Ike & Tina Turner in 1966.
(Theme song in "Titanic") "In April (1997), Celine remembers, composer James Horner came to Las Vegas and proposed a project to Rene : 'I'm writing the music for a movie about the Titanic'. The three of us met in a suite of the Caesar's Palace. Horner played My Heart Will Go On on the piano. On his back, I was making signs to Rene, pouts, I was looking sternly at him, so that he understood I didn't want this song : I really didn't want to record it. First, I didn't like the song, he couldn't sing right, it wasn't really alright on the piano at the moment, I had already performed several songs for movies, one more? We wanted to take a break, another project? More especially as director James Cameron didn't want any songs for his movie. We weren't in the middle of the song that Rene was pretending not to understand me. When Horner turned towards us, he said : 'In one month, we will be in New York, at the Hit Factory, where Celine records her new album Let's Talk About Love. If you give us an orchestral track, she could make a model, then Cameron could listen to it. It would be, I think, the best way to convince him.'" "One month later, James Horner was at the Hit Factory in New York with his orchestral track. He told me with many details the story of the movie. I began to feel the atmosphere of the movie... There is a scene with a couple of old people who are hugging, who are seeing the water come in from under the door and who are deciding to go to bed, and who are going to die together... And there is also a mother who is singing lullabies to her children, and she knows that they're all going to die... And then I imagined it. And on that day, I wasn't totally in top shape vocally and usually I don't take caffeine when I sing, but here it was a model 'no things to worry' so I took a black coffee with two sugars... Then I sang, there were all the Sony team, Tommy Mottola, John Doelp, Vito Luprano... Everybody knew, since the first take, that we had a big hit." "But the model, the coffee and the two sugars remained the original, I never recorded the song again : the model is on the disc. They built the orchestration with my voice... I never recorded it again, so much so that the tremolo is faster on the song than on stage, than usual, because of the caffeine."
It is Celine's favorite song on the album D'Eux. Jean-Jacques Goldman wrote it late in 1994. "Pour que tu m'aimes encore, Celine tells, the first song heard, the first recorded, at once reminded me L'hymne à l'amour by Edith Piaf. The same subject, the same structure, the same woman consumed by love. It is a hymn to wild, possessed, possessive, definitive love, as mine... We knew while we were recording that now it will be part of my life."