Music, they say, is a great story. Each piece of music ever written, was written by someone who was conveying emotions. Whether that music has the words to guide us through the story or is just an instrumental version to give us an overview of the emotion, it tells a whole story.
One of the most frustrating things as a videographer in addition to the screening to 96 hours of footage without category, is to choose appropriate music to convey the message that you want the story to tell. We have personally spent hours (or days, we are ashamed to say) trying to find the perfect track.
Now, there is no right or wrong in choosing music for your project, but if you’re like us, then maybe we can give you some simple tips that can help you narrow your choices less.
Consider a wedding video to highlight such.
First, take a look at your videos. What kind of photos do you have? What kind of people? What mood? Do you have a lot of movies you want to use audio?
Is it fun and upbeat? Is it beautiful and classic?
By identifying some of the good things from the start, you can greatly limit your options. You can determine if you need a fun song, or upbeat, slower, something instrumental, something young and trendy, something more refined.
Once you’ve determined the style of music, it’s time to start listening. If you have decided to use a track with vocals, it is important to read the lyrics. The last thing you want to do is find a song you think is perfect, edit your video, then he has the singer speaks of love lost or breaks … (Been there, done that).
So read LYRICS!
Some notes on the music of others. For us, music can completely change the dynamics of a video. This is more than complementary, it may be the emotional bond that attracts the feelings of the day. So when you’re looking for music, look for tracks that are dynamic in themselves – something that builds, something that is slower than the parts move on to something quickly, where you know when the song gets really full here, is where the bride enters the room, etc. ..
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Choosing The Right Song For Your Project. Read the full post (480 words, estimated 1:55 mins reading time)
The addition of Myron Grombach (drums) made the band and took the status of Pat Benatar to new heights. Texts, the content showed extensive growth spurt that is a rare commodity on a second album. Combining this with the role now completely changed Neil Giraldo it seems destined to take, whether it’s guitar licks, he wrote for himself or those of other authors, it is able to put its mark on all the songs.
Benatar’s voice is always on the edge of perfection, soft or hard, it pours every ounce of herself firmly on each track. On the one hand contains the ultimate rock tracks, starting with “Treat Me Right”, a contribution Benatar / Lubahn which sets the pace and drive. After the three opening beats to “Treat me well,” he clear that this is a group that has gained momentum. “You Better Run”, a song from their album Young Rascals Groovin 1967 ‘which was more than overshadowed by the explosion of their title track opens the door to Benatar and company to jam up, giving it a attack rock solid.
Superbly built on one side is “Never Want to Leave You”, which makes the listener want to sway to the rhythm provocateurs. The lyrics are sad, confused, unspoken between two people who are clearly in love and on the same page, but are in separate compartments of life. Then, the ransacking of the rock continues as “Hit Me With Your Best Shot” broke the top of the biggest hits of the rock.
Peaking at no. 2 is a crowd pleaser slam-dunk that will lift the masses out of their seats in every city of this band plays. Not written by the group, it will soon become one of their songs played signing rev the crowd in the middle of a set or can be used as a reminder. Anyway, no one will be sitting when it blasts through the speakers.
Haunting words based rock power agreements “Hell is for Children” can bring on tears of anger. It is a socially conscious song that should open the eyes of everyone listening to what can go behind the closed doors of the family. The rich and poor children are often used as punching bags for adults who are supposed to care for and raise their young.
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After the paths that both Derek Trucks & Susan Tedeschi have forged for themselves individually, the newly formed Tedeschi Trucks Band continues to bring the soul and blues to the people. Jams long lay the foundation for the soulful voice that sometimes Tedeschi channels Patsy Cline as she sings lyrics like “Until you remember” that go deep into the heart of a woman. “I know that is not refined / but I will take a place in line / Until you remember that you are mine” based on a lot of music that has been passed developed with the name of the call to the attention of our youth. It’s a great idea to sing songs with lyrics that are not to be bleeped for public consumption. Opening his good old jazz takes the listener directly to the location of the song seems born in darkness Delta / Memphis blues.
Tedeschi Trucks Band members consist of several of their solo band group-mates. Oteil Burbridge has worked with Bruce Hampton and Trey Anastasio and Derek Trucks Band and brings a strong R & B feel to his guitar playing bass. His brother, Kofi Burbridge, who is the keyboard player for the Derek Trucks Band, brought his keys to build bridges in the music of Tedeschi Trucks Band. Tyler Greenwell, who learned his trade on the skins while playing for Bruce Hampton and then take its lessons to the Band Susan Tedeschi, gives his groove at the Tedeschi Trucks Band. Mike Mattison double and singer-songwriter background, and a witness first-hand (Me), he has the chops that are overwhelming, even if his stage presence is quiet. There were times I could not believe that voice was bombs on the stage of how it all came as second nature, he was born to sing. JJ Johnson and Nigel Hall, completing the core players with a peppering of Mark Rivers, Kebbi Williams, Maurice Brown and Saunders Sermons. With this group of power can not go wrong in the studio or on stage.
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This tape is rolling right along, year after year, pumping full-length albums in record time while maintaining the quota in the agreement with Chrysalis Records. The song “Shadows Of The Night”, with video, crept into the charts and dominated the rotation. MTV logged some time for the video which saw Benatar do some acting as the project was the first full production. The concept was a woman stuck in a WWII work she meets because of the men were off at war. She dreams of what life would be if it were in the trenches of espionage against the Germans. Judge Reinhold and Bill Paxon, hot off the heels of the stripes, make appearances fast.
There is not a bad song on this album, but all too catchy hooks and sing in chorus, the group is in a much-needed rest. They separate themselves from some of the more rock themes that existed in the first three and the format of news that makes top 40 to thrive. It takes a few laps to feel comfortable singing, but once he catches it just does not let go.
“The victim” is a brutal assault which is a welcome relief for those of us who have been accustomed to grinding guitars blasting Giraldo on Grombach rhythm that prevents the heart. This track could have been placed anywhere on previous versions and was a better fit. The song is amazing, alone or with some of last Benatar songs, but appears to be a prize of conciliation for those who like to rock the past. After a close, a further examination, “the victim” begins with a very similar guitar line U2, “I Will Follow,” but quickly walks his own path.
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