Cinnie said:

midiscover said:

Celine Dion is a huge voice? Since when?

Since "Where Does My Heart Beat Now", nah git gon'

This response was a joke, but pretty interesting to see who showed up to try and get in my snizz.

Cinnie said:

Timmy84 said:

Here's a hip-hop inclusion:

Kanye said in the ending of "Last Call" from College Dropout that he intended for "Heart of the City" to be given to DMX but someone in his camp thought Jay-Z would like it so he played it for Shawn (Jay-Z) and he was sold on it. According to Kanye, Jay-Z really dug it.

I can't imagine what X would've done with it lol

Then there's that story about Jay-Z begging the producer Ski to give him "Luchini" by Camp Lo. That woulda actually been hot though, lol

No.

RebirthOfCool said:

Cinnie said:

Then there's that story about Jay-Z begging the producer Ski to give him "Luchini" by Camp Lo. That woulda actually been hot though, lol

No.

It already sounds like a Jay hook!

Cinnie said:

midiscover said:

Okayyyy

Did you read it like it was a put down to Faith Hill or something? How can you two both spin off into a tangent so quickly?

My point was it is ironic that certain songs were intended for certain voices when obviously it wasn't really crucial who it was.

No tangent here. I just don't like that old haggared bag o' bones.

ernestsewell said:

Cinnie said:

Did you read it like it was a put down to Faith Hill or something? How can you two both spin off into a tangent so quickly?

My point was it is ironic that certain songs were intended for certain voices when obviously it wasn't really crucial who it was.

No tangent here. I just don't like that old haggared bag o' bones.

Still off topic...

Cinnie said:

ernestsewell said:

Still off topic...

My point was it is ironic that certain songs were intended for certain voices when obviously it wasn't really crucial who it was.

Back atcha, pumpkin. Free speech, and all.

Timmy84 said:

Hudson said:

Patti also passed on "If You Don't Know Me By Now."

Chante Moore passed on SWV's "Weak."

Willie Nelson wrote "Crazy." for friend Billy Walker. He turned it down and it became a big hit for Patsy Cline.

Sophie Ellis-Bextor turned down "Can't Get You Out of My Head" which was a hit for Kylie Minogue.

Celine Dion turned down "There You'll Be." Faith Hill had a hit with it.

Patti said at the time she and Labelle (Nona and Sarah) were giving the song, that due to scheduling conflicts, they weren't able to do it. Kenny & Leon had gave them the song while they were working on Laura Nyro's "Gonna Take a Miracle".

The writer of "Weak", Brian Alexander Morgan, had a mad crush on Chante at the time he wrote it. He thought about giving it to her but he felt she would feel uneasy by the song's lyrics so he gave it to SWV, whom he was working with at the time.

That's interesting about Willie Nelson giving "Crazy" to originally Billy Walker before Patsy touched it. I couldn't see how it would've been a hit with anyone besides Patsy.

----

Patti was also giving "I Will Always Love You" to record for the Burnin' album but she didn't wanna do it at the time and then they gave it to Whitney and Patti said she felt REAL dumb. In fact she said that about ALL the songs she rejected, she said she felt real stupid not accepting them. But Patti herself got classics so I don't think it's that difficult. LOL

I think George Michael had originally recorded "Heaven Help Me" for himself but instead decided to give it to Deon Estus, who was working on a solo album. I do believe it may have been intended for George because the song sounds so George-esque. But that's just me lol

Yes, George had originally recorded it for himself. As a matter of fact, Deon's version is just George's version. All he did was take his main vocals out and keep his background vocals intact.

Cinnie said:

RebirthOfCool said:

No.

It already sounds like a Jay hook!

But the lyrics woudn't have been as tight as Lo's.

some more:

-1990 "Love Will Lead You Back". Diane Warren originally wrote this song with Whitney Houston in mind, but Clive Davis wanted to give it to Taylor Dayne. It ended up being her only #1 hit on the hot 100 chart.

-1990 "I'll Be Your Shelter". Diane Warren wrote this and offered it to Tina Turner, who turned it down. Taylor Dayne was the beneficiary again

-2005 "Get Right". This was originally recorded by Usher under the title "Ride" but it didn't make the final cut for his 2004 album Confessions. Apparently JLo's version is so similar to Usher's original version that Usher accused her of stealing the song I don't know how or why she ended up with this track though.

ernestsewell said:

Cinnie said:

Since "When Does My Heart Beat Now", nah git gon'

First off, that song is horrible, thin, and lacks any real hook or creativity.

Celine's voice is thinner. She can hold a note, but there's no soul, no depth, no bottom to it. She's lifeless in her long notes. She's not that great at singing more upbeat songs either. She's a squawker, not a hitter.

I would say her voice is VERY big... but I wouldn't exactly say that in a good way.

RKJCNE said:

ernestsewell said:

First off, that song is horrible, thin, and lacks any real hook or creativity.

Celine's voice is thinner. She can hold a note, but there's no soul, no depth, no bottom to it. She's lifeless in her long notes. She's not that great at singing more upbeat songs either. She's a squawker, not a hitter.

I would say her voice is VERY big... but I wouldn't exactly say that in a good way.

My brother also says, that she sounds like a stroke victim.....

Madonna and Pat Leonnord wanted Live to Tell to be song by a male voice, they only recorded Madonna's vocal as a demo guide vocal and was done in one take. Upon hearing it Pat decided that was the deliervery he wanted and the demo vocal became what we hear on the final version of the song.

ehuffnsd said:

Madonna and Pat Leonnord wanted Live to Tell to be song by a male voice, they only recorded Madonna's vocal as a demo guide vocal and was done in one take. Upon hearing it Pat decided that was the deliervery he wanted and the demo vocal became what we hear on the final version of the song.

No way. There's way too many layers going on there.

I could be wrong,

but wasn't half of JT's "Justified" written for MJ?

shonenjoe said:

I could be wrong,

but wasn't half of JT's "Justified" written for MJ?

Yes, it was.

shorttrini said:

Timmy84 said:

Patti said at the time she and Labelle (Nona and Sarah) were giving the song, that due to scheduling conflicts, they weren't able to do it. Kenny & Leon had gave them the song while they were working on Laura Nyro's "Gonna Take a Miracle".

The writer of "Weak", Brian Alexander Morgan, had a mad crush on Chante at the time he wrote it. He thought about giving it to her but he felt she would feel uneasy by the song's lyrics so he gave it to SWV, whom he was working with at the time.

That's interesting about Willie Nelson giving "Crazy" to originally Billy Walker before Patsy touched it. I couldn't see how it would've been a hit with anyone besides Patsy.

----

Patti was also giving "I Will Always Love You" to record for the Burnin' album but she didn't wanna do it at the time and then they gave it to Whitney and Patti said she felt REAL dumb. In fact she said that about ALL the songs she rejected, she said she felt real stupid not accepting them. But Patti herself got classics so I don't think it's that difficult. LOL

I think George Michael had originally recorded "Heaven Help Me" for himself but instead decided to give it to Deon Estus, who was working on a solo album. I do believe it may have been intended for George because the song sounds so George-esque. But that's just me lol

Yes, George had originally recorded it for himself. As a matter of fact, Deon's version is just George's version. All he did was take his main vocals out and keep his background vocals intact.

Thanks lol

Cinnie said:

ehuffnsd said:

Madonna and Pat Leonnord wanted Live to Tell to be song by a male voice, they only recorded Madonna's vocal as a demo guide vocal and was done in one take. Upon hearing it Pat decided that was the deliervery he wanted and the demo vocal became what we hear on the final version of the song.

No way. There's way too many layers going on there.

Madonna's lead vocal in the track is the original demo vocal. backgroud vocals were added but the lead is the original .

That's correct.In 1979,Rick was planning to produce Diana Ross.He wanted to produce the entire album but Berry Gordy asked for only two songs.Rick came up with an interesting concept for the album.It would be titled 'Resurrection' and on the cover,Diana would be in a cemetary, wearing torn jeans and a funky hairdo,staring down into a casket containing her old wigs,jewelry and glitzy outfits.The idea is that she would be shedding her glamorous "superstar" image,in favor of a streetwise,funkier image.Rick wanted to bring her closer to the streets.

Needless to say,Motown balked at these plans Rick gave these songs to Teena Marie instead,for her 'Wild And Peaceful' album.

Babyface wrote 'My My My' for himself but didn't like the way it sounded when he sung it , so he gave it to Johnny Gill.

mrjun18 said:

Babyface wrote 'My My My' for himself but didn't like the way it sounded when he sung it , so he gave it to Johnny Gill.

Similarly,he also wrote "Every Little Step" for himself.He played it for Bobby Brown,who fell in love with it.Face told Bobby that,if he can record a better version (vocally),the song is his.Bobby stepped up his game and the song was his.

***"Rocket 2 U" was originally offered to Earth Wind and Fire for their 1987 comeback album 'Touch The World'.They rejected the tune and it was given to the Jets.It's a great track,but I think EW&F was wise to turn it down.The lyrics are a little too bubblegum for grown men to be singing,lol.

***The Prince-written "Neon Telephone" was offfered to the Jets in 1987,but they turned it down.One of the members explained that,in his opinion,it wasn't "one of Prince's best songs".Prince gave it to The Three O'Clock,a rock group who were signed to Paisley Park Records.

shorttrini said:

Both, "You make it so hard to say, no and "Look what you've done to me" written by Boz Scaggs, were originally intended for Michael Jackson. In fact, he did record them but those recordings have yet to see the light of day.

Jackson Brown's - "Your a friend of Mine", was originally written for Bruce and Clarence Clemmons to sing. Bruce had sched issues.

"Look What You Done To Me" is a GREAT song I didn't know that Boz wrote it for Michael.

Speaking of Bruce Springsteen...

In 1982,he was asked to contribute a song to a Donna Summer album,which was being produced by Quincy Jones.He gave her the song "Protection",but he was seriously considering giving her another tune called "Cover Me".His manager convinced him to keep it for himself,which he did,and it became one of the hit singles from his 'Born In The USA' album.

Phyllis Hymans' name has popped up a few times on this thread.She really missed out on alot of potential hits.

"What's Love Got To Do With It"---a big hit for Tina Turner

"Too Tough"---a big hit for Angela Bofill

When she pissed off producers James Mtume and Reggie Lucas,they went into the studio with Stephanie Mills and produced hit songs like "Sweet Sensation" and "Never Knew Love Like This Before"...songs that they might have given to Phyllis.

...

[Edited 6/28/10 6:25am]

midiscover said:

ernestsewell said:

I've never heard that Janet thing. I interviewed Monte in 2002, and talked about that song. It was never mentioned that it was offered to Prince. I can't imagine Prince even listening to someone else's music back then in consideration for inclusion on his own albums. In 1985/1986, he was firmly planted in making UTCM and Parade.

Yea, I'm 100% sure he didn't even listen to it but it was submitted to him.

I'm re-airing my 2002 interview with Monte Moir this Tuesday on The Ernest Experience Radio Show. I was polishing up the editing on it (taking out a few whisker words), and I remembered asking Monte specifically about "The Pleasure Principle". He had noted that after leaving The Time, he went home for a few months, then Terry Lewis called him and said he and Jimmy had gotten so much work, they wondered if Monte would be interested in helping out. He first did 3 songs with Alexander O'Neal. They knew they'd be working on Janet's album in a couple of months from that, and Monte said he wrote "The Pleasure Principle", "specifically with her in mind. So yeah, I wrote it just for her." He gave her a tape on a Friday, with the lyrics, and she came in Saturday and Sunday and recorded the vocals, and that was it.

So no, the song was never submitted to Prince for him to listen to, nor to record.

The interview airs Tuesday at 9 p.m. on my show, as it originally aired back in 2002. The Janet part is about 14 minutes in, I believe.

RebirthOfCool said:

Cinnie said:

Then there's that story about Jay-Z begging the producer Ski to give him "Luchini" by Camp Lo. That woulda actually been hot though, lol

No.

Camp-Lo fucking sucks! I'm sorry, but I never liked any of their songs and their rapping is terrible. :lolL

NastradumasKid said:

RebirthOfCool said:

No.

Camp-Lo fucking sucks! I'm sorry, but I never liked any of their songs and their rapping is terrible. :lolL

The thing is, Camp Lo is better than 96% of the shit that's out now.

RebirthOfCool said:

NastradumasKid said:

Camp-Lo fucking sucks! I'm sorry, but I never liked any of their songs and their rapping is terrible. :lolL

The thing is, Camp Lo is better than 96% of the shit that's out now.

I don't even listen to the radio anymore, but regardless I still hate their music. Shit, give me Kanye, Lupe and Ludacris over those no talented fuckers. Andf even those three I named are really the only artists I like that came out in the 00s anyway.

kdj997 said:

Did anyone mention Total Eclipse of the heart by Bonnie Tyler? That fat dummy meatloaf turned that song down. I wouldve loved to hear him sing it that's why I insulted him.

Not exactly true, but you're on the track, sort of.

Meatloaf himself said that Jim Steinman had written and given the song to Meatloaf for his album Midnight At The Lost and Found. He also gave him "Making Love (Out Of Nothing At All)". The record company refused to pay Steinman for the works in question. Meatloaf ended up writing songs for the album himself. "Elipse" was given to Bonnie Tyler, as she was putting together songs for her album, Faster Than The Speed of Night.

"Making Love" was offered to, and accepted by, Air Supply. They used it as a new track on a greatest hits package, and had a huge hit with it.

As an interesting side note: Steinman also totally story-boarded the video's concept. He pulled ideas and inspiration from Futureworld, which was a film in the mid 70's (1975/6 I believe). The song itself, like many Steinman songs, originally clocked at over seven minutes or so. They had to do a harsh and deep cut to put it on the album. There's a third verse that people rarely hear on the radio because the "Radio Edit", being about 4.5 minutes long, cuts it out.

I would have loved to have heard Meatloaf sing "Making Love (Out of Nothing At All)". It's such a classic Steinman type track, but Air Supply delievered it quite well.

Oddly enough, Bonnie Tyler ended up recording the song anyway for her 1995 album, Free Spirit. It's almost 8 minutes, and is a quite different arrangement, and is worth a listen.