Run To You


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Gonna run to you, run to you, woman, I will.

Sunrise like a nose-bleed, your head hurts and you can't breathe You been tryin' to throw your arms around the world. How far are you gonna go before you lose your way back home You been tryin' to throw your arms around the world. Yeah I dreamed that I saw Dali with a supermarket trolley He was tryin' to throw his arms around a girl. He took an open top beetle through the eye of a needle He was tryin' to throw his arms around the world. The decision to relocate to Power Station was borne largely out of Clearmountain's desire to return to his home base.

They didn't really have the facilities for mixing, and Power Station was great. I'd mixed tons of records there, so I was very comfortable, and Bryan also liked being in New York. Plus the fact that the keyboard player Tommy [Mandel] was from New York. The live room in the Power Station's Studio C as it is today. Among the assignments this time around was to capture the lead vocals, with a number of different microphones being used.

That studio didn't have good vintage mics, and neither Bryan or I could afford expensive mics back then, whereas now I've got a few good microphones and he's got an amazing mic collection. So, back then we just used what was in the studio, and I remember at one point lining up one of every mic there and just getting him to try a verse and a chorus with each of them, before picking the one that we liked best.

Usually it was a U He's got an amazing ear. We'd be doing vocals and he'd go, 'Oh, I sang out of tune. Let's do that again'. You see, we wouldn't do comps in those days, because it was all track. We'd have two tracks and keep punching-in on one track, and he was really good at that.

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He could punch word after word and it would sound like a performance. He was pretty amazing at that. He would perform a line and go, 'Okay, yeah, that was good,' and I would say, 'Well, let's try it again. That was the extent of our comps. Adams' aforementioned ability to punch-in is all the more remarkable in light of the sustained high energy and rounded performance of a vocal such as that on 'Run To You'. Each line was like a burst of energy, so it wasn't a case of being a little bit tired by the time he'd get to the third verse.

He'd just concentrate on each line, and he would use that technique to really get something amazing. In fact, he would often start off by doing a couple of complete passes to get a take that he felt really good about, and then we'd go back and listen to it and say, 'Oh, we can do that line better. It was a case of having a blueprint to work with and then just outdoing it. Keep the energy and pull it back.


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In fact, that's why I was disappointed when he started to work with 'Mutt' Lange — Mutt would actually sample each line of his vocal and lay it back in so that it was exactly on the beat. Mutt had a mechanical approach where he wanted it to be perfectly in time, and to me that kind of overlooked Bryan's energy, where he was pushing the band, leading the band. I always thought that was an exciting thing about his voice, and the later albums don't really have that.

Of course, most listeners aren't aware of it, but there's an immediacy to the way that he pushes everything. Bob Clearmountain today.

Run to You - Whitney Houston - Cifra Club

Like on Into the Fire, there's a song called 'Victim of Love' which has this long outro, and we had Mickey Curry just go out and fill up a whole tape with drum fills. He would play the end of the song and every four bars he'd do a different drum fill, and then we'd go through it, pick the ones that we really liked and place them in the outro. We did the same on Reckless, where a lot of the songs were kind of pieced together even though they sounded totally live.

It was all about getting the most exciting bits, and once in a while we'd also get a great take. That was pretty rare, but occasionally we would actually have a full take. Mickey Curry is an unbelievable drummer, besides being hysterically funny, and so we'd always have a great time cutting tracks. Everybody would be cracking jokes in between cuts and sometimes they would just start jamming on something. There was usually a Linn drum machine in the control room, which we'd use to provide a click track, and so Keith would do these little rap things, I'd start playing handclaps on the Linn, and we'd just crack ourselves up with these silly, stupid things and then go do a take.

Bryan Adams:Run To You Lyrics

Everybody would be pumped up, having a great time, and it was all about getting this vibe in the studio. I think that comes through on all those records, where it just sounds like there's this energy going on. Well, that was there. It was in the original recordings. No matter what record I was producing, I would always insist on having everyone in the band play together, even if ultimately we weren't going to keep the tracks. Tommy [Mandel] also had this cheap little Casio keyboard which sounded really good.

You can hear it on 'Run to You' — these little tinkling sounds, especially coming out of the solo section.

Angel Eyes (Original Soundtrack)

Keith Scott was off to the right and facing the control room, standing in front of the drums that were at the back and to the right. An average of two backing tracks per day was the norm during the recording sessions — all of the pre-production evidently paid off — yet the Little Mountain session ended up lasting about three weeks due to some overdubbing of guitars, as well as the non-Pro Tools editing of each number. The decision to relocate to Power Station was borne largely out of Clearmountain's desire to return to his home base.

They didn't really have the facilities for mixing, and Power Station was great. I'd mixed tons of records there, so I was very comfortable, and Bryan also liked being in New York. Plus the fact that the keyboard player Tommy [Mandel] was from New York.

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The live room in the Power Station's Studio C as it is today. Among the assignments this time around was to capture the lead vocals, with a number of different microphones being used. That studio didn't have good vintage mics, and neither Bryan or I could afford expensive mics back then, whereas now I've got a few good microphones and he's got an amazing mic collection.

So, back then we just used what was in the studio, and I remember at one point lining up one of every mic there and just getting him to try a verse and a chorus with each of them, before picking the one that we liked best. Usually it was a U He's got an amazing ear. We'd be doing vocals and he'd go, 'Oh, I sang out of tune. Let's do that again'. You see, we wouldn't do comps in those days, because it was all track. We'd have two tracks and keep punching-in on one track, and he was really good at that. He could punch word after word and it would sound like a performance.

He was pretty amazing at that. He would perform a line and go, 'Okay, yeah, that was good,' and I would say, 'Well, let's try it again. That was the extent of our comps. Adams' aforementioned ability to punch-in is all the more remarkable in light of the sustained high energy and rounded performance of a vocal such as that on 'Run To You'.

Each line was like a burst of energy, so it wasn't a case of being a little bit tired by the time he'd get to the third verse. He'd just concentrate on each line, and he would use that technique to really get something amazing. In fact, he would often start off by doing a couple of complete passes to get a take that he felt really good about, and then we'd go back and listen to it and say, 'Oh, we can do that line better.

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