When the only sound in the empty street Is the heavy tread of the heavy feet That belongs to a lonesome cop I open shop When the moon so long has been gazing down On the wayward ways of this wayward town That her smile becomes a smirk, I go to work. Love for sale, appetizing young love for sale Love that's fresh and still unspoiled Love that's only slightly spoiled Love for sale Who will buy? Who would like to sample my supply? Who's prepared to pay the price For a trip to paradise? Love for sale. Let the poets pipe of love In their childish way I know every type of love Better far than they. If you want the trill of love, I've been through the mill of love, Old love, new love, Every love but true love. Love for sale.
In the beginning of this song , when it reached the middle , she went slightly off ,a couple of times, very vaguely. Not that big deal.Her voice is a bit miss match to this tune.But fairly good.A tipical show / theater type singer voice & techniques.
Spark _ You're harsh on her. I think I agree with you in thinking she's belting too much for some of the lyrics. I admit I rate, probably like you, Ella's sinuous, sexy version from her Cole Porter album as the ultimate version. All versions suffer badly in comparison with that one - including Ella's version with Joe Pass. However, I think there's many a show/theatre type singer who would love to have a voice as good as Emma Hatton's.
There needs to be a reason to alter a song other than, "hey look we can give the song a new tempo." The desperation, resignation, and pathos in the original arrangement that Cole Porter wrote are completely run over by this up tempo, bouncy version. I think Mr. Porter is spinning in his grave.
You're right . . . sorta. I think you can do it up tempo, but it's tricky. If you do it up tempo, there has to be a clear subtext for the lyrics to work. I think Anita O'Day pulled it off. Even though Anita smiled a lot, that smile was complicated and self-aware. I thought this one, Emma Hatton, was on the edge of success until she broke character the moment the song was over. It showed she wasn't really taking the song seriously. It was just a novelty song for her. Now. If you want to see something really astonishing, take a look at Simply Red's down tempo a cappella performance at the Montreux Jazz Festival 1992. One of my friends described it as unnerving, and that's a completely valid response. It's delicate and brutal at the same time, and a little scary. I have met guys like that, and he has got it down.
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When the only sound in the empty street
Is the heavy tread of the heavy feet
That belongs to a lonesome cop
I open shop
When the moon so long has been gazing down
On the wayward ways of this wayward town
That her smile becomes a smirk,
I go to work.
Love for sale, appetizing young love for sale
Love that's fresh and still unspoiled
Love that's only slightly spoiled
Love for sale
Who will buy?
Who would like to sample my supply?
Who's prepared to pay the price
For a trip to paradise?
Love for sale.
Let the poets pipe of love
In their childish way
I know every type of love
Better far than they.
If you want the trill of love,
I've been through the mill of love,
Old love, new love,
Every love but true love.
Love for sale.
She is absolutely phenomenal. Well done Emma.
sug
Nice version !
Bravo.
WOW!!!
Such talent
In the beginning of this song , when it reached the middle , she went slightly off ,a couple of times, very vaguely. Not that big deal.Her voice is a bit miss match to this tune.But fairly good.A tipical show / theater type singer voice & techniques.
Spark _
You're harsh on her. I think I agree with you in thinking she's belting too much for some of the lyrics. I admit I rate, probably like you, Ella's sinuous, sexy version from her Cole Porter album as the ultimate version. All versions suffer badly in comparison with that one - including Ella's version with Joe Pass. However, I think there's many a show/theatre type singer who would love to have a voice as good as Emma Hatton's.
There needs to be a reason to alter a song other than, "hey look we can give the song a new tempo." The desperation, resignation, and pathos in the original arrangement that Cole Porter wrote are completely run over by this up tempo, bouncy version. I think Mr. Porter is spinning in his grave.
You're right . . . sorta. I think you can do it up tempo, but it's tricky. If you do it up tempo, there has to be a clear subtext for the lyrics to work. I think Anita O'Day pulled it off. Even though Anita smiled a lot, that smile was complicated and self-aware. I thought this one, Emma Hatton, was on the edge of success until she broke character the moment the song was over. It showed she wasn't really taking the song seriously. It was just a novelty song for her.
Now. If you want to see something really astonishing, take a look at Simply Red's down tempo a cappella performance at the Montreux Jazz Festival 1992. One of my friends described it as unnerving, and that's a completely valid response. It's delicate and brutal at the same time, and a little scary. I have met guys like that, and he has got it down.
How bad it is an out of tune piano...