Any Other Way-Lyrics
"(If There Was) Any Other Way" is a song by Canadian singer Celine Dion. It was included on her first English-language album, Unison (1990). "(If There Was) Any Other Way" was released by Columbia Records as the album's lead single in Canada on 26 March 1990. The next year, it was issued as the second single in other countries. The song was written by Paul Bliss, while production was handled by Christopher Neil.
Any Other Way-Lyrics
One year later on 18 March 1991, "(If There Was) Any Other Way" was released as the second single in the United States after "Where Does My Heart Beat Now". For the US market the single was remixed by Walter Afanasieff. This US version features a different audio mix from the Canadian single version and the album version: reverb has been applied throughout (most noticeably to Dion's vocal track), the guitars have been rebalanced so that they are less audible in some places in the song and more prominent in others, the drum track features "rimshot" effects during the chorus, additional synthesizer lines have been overdubbed onto the existing keyboard track (most noticeably in the bar before the instrumental break), and the fadeout has been slightly extended in length. It was also used in the American music video of the song that year. Additionally "(If There Was) Any Other Way" was remixed by Daniel Abraham, a French record producer living in New York. His dance remixes appeared on a promotional US single.
AllMusic's senior editor Stephen Thomas Erlewine picked the song as an album standout along with "Where Does My Heart Beat Now".[2] Larry Flick from Billboard noted that Dion "continues to soar" with a "spirited, up-tempo" song. He complimented the "crystalline production and shimmering backup vocal support combined with a passionate lead performance".[3] Dave Sholin from the Gavin Report wrote about the song: "Nothing like witnessing the growth and development of a genuine artist. Celine definitely falls into that category, capturing the hearts of Americans the way she's been doing in her native Canada for the past several years. Switching from torch song to snappy rhythm affords listeners an opportunity to hear another side of this wonderful talent".[4] Music & Media noted that "talented Canadian chanteuse enters the Whitney Houston racket" and described it as "satisfying AC pop."[5] Christopher Smith from TalkAboutPopMusic described it as a "pop-soft rock mid tempo number".[6]
"It doesn't make sense. That's why they recorded the other version of the song with different words," Smith answered a fan on an archived site he ran on the band until 2001. "On the other hand, I like the original version. Even if it doesn't make sense."
"We hired some really well known producers at the time to redo the song," Carter told Huffpost. "So, there was another version of the song out there and then we listened to it back. Then, we as a group voted on it and said, 'No.'"
CB: In terms of who created them and why, there are again a lot of question marks. We do know the dedicatee of one of the manuscripts, the Wolfenbuttel chansonnier, and the owner of that manuscript was a notary for the French royal court. So, someone who had a very established career, probably quite a bit of wealth. What gives us clues about the ownership to that particular manuscript is actually an acrostic. So, if you take the first letter of each of the titles of the songs, it spells out the notary's name, so Etienne Petite. And also his family crest appears in some of the images. So, there are kind of clues hidden in some of the manuscripts about who might have owned them, but for the other manuscripts, we can't really be certain.
RK: If we know so little about the people who owned these books, and why they were created, we know even less about those who actually penned the music. But Clare Bokulich and other scholars can piece together part of the story about how these chansonniers are connected just by the handwriting.
About my country:I am a Swede, living in Sweden. We are a very small country (as are also our Nordic neighbours) and our language is spoken by relatively few people. Thus, we tend to learn, speak, and write English quite well, since we cannot make ourselves understood otherwise. (However, we usually can understand - and be understood - by Danes and Norwegians, and many Finns also understand some Swedish).
Choral-wise, Sweden has quite a strong tradition. It started with men's university choirs in the early 19th century. The most common choir type nowadays is the mixed choir; women's choirs are still more unusual than other choir types.
Personally, I dislike the "primadonna trend" among composers and conductors. I think the attention should be primarily on the music - it will still be there after the composers are dead and (in many cases) forgotten. I am the servant of the music, not the other way around. Thus, I have a little difficulty withgiving detailed biographical information about myself (I don't think my life would be very interesting for others to read about, and I don't want to become a "celebrity", although I'm of course happy when my music is sung and appreciated).
What to do? Modify both your behavior and the gear with long-term vocal health and endurance as your goal. Use the techno-gadgetry that is easiest to hear and easiest on your voice rather than choosing whatever is new, expensive, on sale, or has some other extraneous appeal. Minimize what background noise you can; close the car windows and turn the radio off during calls; step away from noisy situations. 041b061a72