sonicboy

Unapologetic Bitches
  • Content Count

    595
  • Joined

  • Last visited

  • Days Won

    4

sonicboy last won the day on January 29 2018

sonicboy had the most liked content!

About sonicboy

  • Rank
    Gambler

Contact Methods

  • Website URL
    https://todayinmadonnahistory.com

Profile Information

  • Gender
    Male
  • Location
    Toronto, Canada
  • M Fan Since
    1987

Recent Profile Visitors

1,010 profile views
  1. OMG just discovered your profile and posts last night and I can't believe what I saw until now...LOL...you' are amazinf man! Thank you very, very, very, much! 

  2. Hi Sonic!

    Could you encode the recent Blond Ambition Barcelona 30 GB file like your other wonderful encodes? (I mean: WTF Japan and BAT Yokohama).

    Thank you so much! 

  3. sonicboy

    Good mixing might not necessarily fix sloppy production, but poor mixing certainly does not do a track any favors either.
  4. sonicboy

    Bray produced the track by Barracuda which came out after Madonna's album was released, and he was credited as the songwriter on the release, so I'm not sure what is meant by the claim that "he sold it". I've heard that claim before of course, just as you have, but it simply doesn't make much sense. Selling publishing rights to a song doesn't prevent other people from recording/releasing the song, it just means Bray no longer controlled the publishing rights.
  5. sonicboy

    Yes, that's all he's ever done. Madonna & Spice Girls. 2018: Post Malone – "Stay" 2018: Cardi B – "Thru Your Phone" 2018: Elton John – "REVAMP" tracks "Your Song" Featuring Lady Gaga & Bennie & The Jets featuring Pink & Logic 2018: Pale Waves – "Heavenly" 2018: Jade Bird – "Lottery" 2018: Chvrches – "Love is Dead" 2018: Years and Years – "Sanctuary" 2018: Rudimental – "These Days Featuring Jess Glynne, Macklemore & Dan Caplen" 2018: Marshmello Featuring Anne Marie – "Friends" 2017: Kesha – "This is Me from The Greatest Showman" 2017: Miguel – "War and Leasure" 2017: Bishop Briggs – "Dream" 2017: Jessie Ware – "Glasshouse (album)" 2017: PVRIS – "All We Know of Heaven, All We Need of Hell" 2017: Justin Bieber and BloodPop– "Friends" 2017: Muse – "Dig Down" 2017: Mondo Cozmo – "Plastic Soul" 2017: Niall Horan – "Slow Hands" 2017: Vince Staples – Big Fish Theory 2017: Harry Styles – Harry Styles[17] 2017: Ed Sheeran – ÷[18] 2017: Julia Michaels – "Issues" 2017: Julia Michaels – "Uh Huh" 2017: Julia Michaels – "Nervous Systems" 2017: Rita Ora – "Your Song" 2017: Liam Gallagher – "As You Were" 2017: DreamCar – "Dreamcar" 2016: Gwen Stefani – This Is What the Truth Feels Like[18] 2015: Selena Gomez – Revival 2015: Florence + the Machine – How Big, How Blue, How Beautiful 2015: CHVRCHES – Every Open Eye[19] 2015: Grimes – Art Angels 2015: Duran Duran – Paper Gods 2014: Coldplay – Ghost Stories[18] 2014: Ed Sheeran – x[18] 2014: The Script – No Sound Without Silence 2014: Kasabian – 48:13 2013: Biffy Clyro – Opposites[18] 2013: Bastille – Bad Blood[18] 2013: Rudimental – Home[18] 2013: White Lies – Big TV[18] 2013: Haim – Days Are Gone[18] 2013: Moby – Innocents[18] 2013: John Newman – Tribute[18] 2013: One Direction – Midnight Memories[18] 2012: Frank Ocean – Channel Orange[18] 2012: No Doubt – Push and Shove 2012: Taylor Swift – Red[18] 2012: Muse – The 2nd Law[18] 2011: Florence + The Machine – Ceremonials 2011: Coldplay – Mylo Xyloto 2011: Bruce Springsteen – Wrecking Ball 2010: Lights – The Listening ("Ice") 2010: Usher – Raymond v. Raymond 2010: Hurts – Happiness 2010: Goldfrapp – Head First 2010: Ellie Goulding – Lights 2010: P Diddy – Last Train to Paris ("Hello Good Morning") 2010: Take That – Progress 2010: James Blunt – Some Kind of Trouble 2010: The Wanted – The Wanted 2010: N.E.R.D – Nothing 2010: Duran Duran – All You Need Is Now 2010: The Script – Science and Faith 2010: Cheryl Cole – Messy Little Raindrops 2010: Christina Aguilera – Bionic ("Little Dreamer", "Kimono Girl", "Birds of Prey") 2000s 2009: Green Day – 21st Century Breakdown ("Last of the American Girls", "21 Guns", "Rain on Me") 2009: Lady Gaga – The Fame Monster ("Bad Romance", "Telephone" Featuring Beyoncé) 2009: Tegan & Sara – Sainthood ("Hell") 2009: Muse – The Resistance 2009: Vedera – Stages ("Satisfy", "Loving Ghosts", "Back to the Middle") 2009: Cheryl Cole – 3 Words ("Fight for This Love") 2009: Ciara – Fantasy Ride ("G Is for Girl") 2009: Franz Ferdinand – Tonight: Franz Ferdinand ("Katherine") 2009: FrankMusik – Complete Me ("Confusion Girl") 2009: The Yeah You's – Looking Through You 2009: The Yeah Yeah Yeahs – It's Blitz 2009: Lenka – Trouble Is a Friend 2009: Sean Garrett – Turbo 919 ("Why", "What You Doin' Turbo 919") 2009: Lily Allen – It's Not Me, It's You ("Everyone's at It", "The Fear") 2008: The Script – The Script ("Breakeven", "Talk You Down", "The Man Who Can't Be Moved") 2008: Sneaky Sound System – Sneaky Sound System ("Kansas City", "UFO") 2008: The Pussycat Dolls – Doll Domination ("When I Grow Up") 2008: CSS – Donkey 2008: Pink – Funhouse 2008: Beyoncé – I Am... Sasha Fierce 2008: Madonna – Hard Candy 2007: M.I.A – Kala ("Boyz", "Jimmy") 2007: Maroon 5 – It Won't Be Soon Before Long 2007: Arcade Fire – Neon Bible ("Black Mirror", "No Cars Go") 2007: Hard-Fi – Once Upon a Time in the West ("Suburban Knights") 2007: Stereophonics – Pull The Pin ("Rewind") 2007: Natasha Bedingfield – N.B 2007: Björk – Volta 2006: Depeche Mode – The Complete Depeche Mode ("A Pain That I'm Used To") 2006: The Feeling – Twelve Stops and Home 2006: Keane – Under the Iron Sea 2006: Gwen Stefani – The Sweet Escape 2005: Madonna – Confessions on a Dance Floor 2005: Goldfrapp – Supernature 2005: Fischerspooner – Odyssey 2005: Kaiser Chiefs – Employment ("Everyday I Love You Less and Less") 2005: Aqualung – Strange and Beautiful ("Easier to Lie") 2005: Dave Mathews Band – Stand Up 2005: The Black Eyed Peas – Monkey Business 2004: Björk – Medúlla 2004: Keane – Hopes and Fears 2004: Gwen Stefani – Love. Angel. Music. Baby. 2004: Natasha Bedingfield – Unwritten 2003: Massive Attack – 100th Window 2003: Madonna – American Life 2003: Dave Mathews Band – Some Devil 2003: The Black Eyed Peas – Elephunk 2002: Linkin Park – Reanimation 2002: Oasis – Heathen Chemistry 2001: No Doubt – Rock Steady 2001: Björk – Vespertine 2000: All Saints – All Saints ("Black Coffee", "Pure Shores") 2000: Madonna – Music 2000: Oasis – Standing on the Shoulder of Giants 2000: Oasis – Familiar to Millions 1990s 1998: Massive Attack – Mezzanine 1997: U2 – Pop 1997: Spice Girls – Spice World 1997: Erasure – Cowboy 1997: Björk – Homogenic 1996: Spice Girls – Spice 1994: Massive Attack – Protection 1994: Madonna – Bedtime Stories 1993: Depeche Mode – Songs of Faith and Devotion 1980s 1989: ABC – Up 1988: The Mission – Tower of Strength 1987: Erasure – It Doesn't Have to Be 1985: The Cult – Love
  6. sonicboy

    Yes. Actually, I don't think he gets as much blame for it as he should, tbh. His mixing is shoddy and his fingerprints are all over the place on her last three albums. It's easy to hear his distinct influence on Hard Candy as he mixed the Timbaland tracks while Mark Spike Stent (one of the most sought-after mixing engineers in the business for good reason) mixed the Pharrell tracks. Even though his work on HC is possibly the least objectionable, it still pales in comparison to Stent's.
  7. sonicboy

    But she didn't have a writing credit on Ain't No Big Deal. Both Ain't No Big Deal and Everybody are Madonna/Bray collaborations but due to a special publishing arrangement she received sole credit for Everybody and he received sole credit for Ain't No Big Deal. I'm guessing she probably released Everybody without crediting Bray, he rightly complained, so she gave him Ain't No Big Deal in trade to settle the dispute, and then he gave it to Barracuda to record. But I think the whole thing about her not being able to use Ain't No Big Deal on the album because of that is most likely bullshit...you don't need a songwriter's permission to record and release their song, you just need to pay them the songwriting royalties for it. Only reprinting the lyrics would require permission from the publisher. She had the same legal right to release it in 1983 that she had when it eventually came out on Revenge Of The Killer B's and as a b-side. Considering Barracuda's version only came out in December 1983, it seems more likely that Bray only gave it to them to record after Madonna declined to release her version of the song, and he certainly had reason to be upset about that situation considering their publishing arrangement. Perhaps she simply didn't think it belonged on the album...I like the track but I don't really think it works well on her debut...the production is more disco-influenced while the rest of the songs sound more progressive. Whatever the reason, it ended up being Bray's loss in the end because the Barracuda version wasn't successful at all and he would have made a lot more money in royalties if it had been included on Madonna's first record. Any falling out between Madonna and Bray couldn't have lasted more than a year because they started working together again almost immediately after her first album was released...he arranged Gambler, Warning Signs, Sidewalk Talk and Shoo-Bee-Doo for her in 1983 and co-wrote material for Like A Virgin with her in early 1984.
  8. sonicboy

    I think it sounds great! To me this is much more interesting than the majority of remixes we get these days. It wouldn't work with a lot of her more recent music, but the songs she did with Pat have a lot of versatility and musical depth to them, so like he said, there's a lot to play around with. I pledged for the vinyl. I'm more than happy to help support a project like this and I hope there are enough fans interested to help get this launched. For anyone intending to check out the album but are not willing to pledge, please consider the fact that the album may not happen without your support. He's only two and a half years older than Madonna, so unless you're prepared to start calling her grandma you should probably skip the age-related jabs on a Madonna forum.
  9. sonicboy

    This certainly sounds a lot more interesting than that other biopic, Blonde Ambition, unless they completely rewrite the screenplay – the draft that leaked for BA is attrociously bad!
  10. So difficult to choose, but I think I'd have to go with Open Your Heart. It was quite a groundbreaking video at the time both for its content as well as for technical achievements. I remember being blown away by the cinematography the first time I saw it, since most videos up to that time were so drab looking colour-wise. Up to that point telecining technology tended to produce really washed out visuals during the transfer from film to video...just look at the Like A Virgin video, it's so muted...if the original film rolls exist somewhere, they could do wonders with it! But getting off track here...lol. OYH is one of the first mainstream videos I remember seeing that used really vivid colours and clearly used then-state-of-the-art telecining techniques that managed to fully capture the film prints in such a clean and crisp way. It really jumped out at you. Fincher and later Romanek also made technical advances, but Mondino the first one to really push M's videos into a different realm from a technical perspective. And from a content perspective, in retrospect OYH feels almost more shocking than JML, just because it really came out of nowhere and was not what anyone would have expected her to do at the time. JML was less shocking in that regard, because by that point she had been consistently pushing that particular envelope for awhile, so even though she was pushing it further, it felt like a natural progression. But with OYH, to wear that outfit and play a peep show dancer, I don't think anyone would have predicted it, as it was such a brazen move for an artist that was constantly being labelled a sexpot. Rather than run away from it, she owned it. It was a very bold move. Plus I just love Mondino's sensibilities as a director in general...every video he makes has some strange thing about it that makes it stand out. It's never the same thing, but there's always something. And it's always one of those ideas that would seem silly on paper and might even seem silly the first time you see it, but then it somehow becomes the essence and the hook of the entire thing. Ususally there's an element of humour or irony there. He's also done brilliant videos for other artists. Don Henley's The Boys Of Summer is 85 was his breakthrough in North America, and it's no surprise that M would have wanted to work with him because it's a beautiful video, and one of the first to reintroduce black & white in a way that felt current and new.
  11. sonicboy

    I'm looking forward to hearing his reinterpretations in studio form! I really enjoyed the live versions he did last year and never thought there would be an opportunity to hear studio mixes of any of it, so I think it's great that he's putting this together! Sounds like he's approaching it in a way that is respectful to Madonna as well which is also good, as I would hate to see him burn that bridge...as much as I'd LOVE to hear all the unreleased demos he has, I'd prefer that he and M remain on good terms.
  12. sonicboy

    Why don't you connect your computer/laptop to your TV? That way you can watch any video any time in full size.
  13. sonicboy

    Yes I've used it too. Great for getting rid of blocky artifacts and other unwanted noise. It is slow, but considering that it performs an exhaustive frame-by-frame, pixel-by-pixel analysis and restructuring, that's to be expected.
  14. sonicboy

    No, although the quote has often been erroneously linked with Frozen since the interview (which I just found) first came out. It's with Billboard's Larry Flick from February, 1998. In reading the quote (in bold below), the source of the misunderstanding is immediately clear. WB Expects Madonna To 'Light Up' Int'l Markets BY LARRY FLICK NEW YORK - Is the world ready for a spiritually enlightened Madonna? The numerous pre-release radio and Internet leaks of "Frozen," the lead single from the pop chameleon's new Maverick/Warner Bros. album, "Ray Of Light," certainly hint that she may be embarking on her most successful musical voyage to date. With its worldwide release slated for March 3, the album is unarguably her most adventurous. She has teamed with techno pioneer William Orbit for a collection that sews intense, soul-searching words into edgy electronic/dance instrumentals. The result is a gave, visionary effort with the commercial potency needed to finally elevate electronica beyond its current status as a limited hipster movement into a true mass-appeal attraction. "My intention was to make a record that I'd enjoy listening to," Madonna says of her first studio set since 1994's "Bedtime Stories," which has sold 2 million units in the U.S., according to SoundScan. "This album is reflective of where I am in my life right now - in terms of my musical interests and in terms of my personal beliefs. I feel like I've been enlightened, and that it's my responsibility to share what I've learned so far with the world." It appears much of the world is clamoring to hear the results. The Singapore Madonna Link, an unofficial, fan-operated World Wide Web site, began offering an unauthorized snippet of "Frozen" Jan. 23. The site has received more than 140,000 hits. There have also been approximately a dozen leaks of "Frozen" on top 40 radio around the U.S. since Jan. 26. WKTU New York is among those stations that played "Frozen" to rabid listener response. "The phones blew up," says assistant PD/GM Andy Shane, adding that the station has continued sneaking the single on the air in advance of its official airplay date of Thursday (19). "For the days we haven't had it on, people have been calling nonstop begging to hear it." Erik Bradley, music director at WBBM (B-96) Chicago, witnessed similar listener response when his station leaked "Frozen" Feb. 7. "People are going crazy for it," he says. "It's a compelling record that you can't shake from your mind after you hear it. That's the mark of a smash. Clearly, American pop radio needs Madonna." So does the rest of the world, apparently. "Frozen" has had "fantastic" early support across Europe, according to Jon Uren, marketing director, U.S. labels, for Warner Music Europe. The single has been A-listed at BBC Radio 1 in the U.K. and hit the airplay charts in France, the Netherlands, and Germany in its first week after a Jan. 23 release. The project's retail forecast is equally bright, with Jonathan Rees, head of rock and pop for the HMV chain in the U.K., describing its prospects as `very positive." Tim Devin, GM of Tower Records in New York, wholeheartedly agrees. "Quite frankly, I can't wait for it. The anticipation surrounding this album is amazing. The industry needs an exciting, mega-star release, and this will fill that important void." That's precisely how Phil Quartararo, president of Warner Bros. (U.S.), views "Ray Of Light." "What Madonna does that's so admirable is that she always manages to land on the cusp of what we call contemporary music," he says. "In 1998, every established artist faces the dilemma of maintaining their importance and relevance. Madonna never fails to be relevant." The creative seeds for "Ray Of Light" were planted last year, when Madonna phoned Orbit and asked if he was interested in co- writing a few songs. "I've been a fan of all kinds of electronic music for many years, and I wanted to incorporate that sound into my music," she says, adding that her admiration for Orbit's catalog of recordings put him at the top of her wish list of collaborators. "I love the haunting, trance-like quality of his records. I've also always found something melancholy about his music. Since I'm attracted to that sound, and since I tend to write a lot of sad songs, we seemed like a good match." Upon introduction, Orbit handed Madonna a tape of five instrumental tracks. "It basically was a sketchbook of fantastic ideas," she says. "Every track was so inspiring. I took them and gave them structure." Among the first songs to evolve from that tape was "Swim," a guitar-driven electro-funk odyssey on which Madonna meditates on the perils of bad karma and its ongoing effect on the world at large. "It gave me shivers the first time I heard it," Orbit says. "We both knew we were onto something special." From there, the two decided to guide the overall production of "Ray Of Light" together. In addition to the five songs she wrote with Orbit, Madonna collaborated with veteran pop tunesmith Rick Nowels, Nellee Hooper protégé Marius De Vries, and Patrick Leonard, with whom she created such early hits as "Live To Tell" and "Open Your Heart." Leonard co-wrote "Frozen." After locking themselves away in the studio for six months "like a pair of mad scientists," as Orbit puts it, they emerged with a high- concept collection that combines cutting-edge underground club elements with pure pop melodies and a generous slathering of what they call "teenage-angst guitars." Fresh from the rigors of 1996's "Evita" film and soundtrack, Madonna has also found comfortable new vocal ground between the theatrical demands of that project and the more casual vibe of her early recordings, showcasing a fluid, flexible range that's executed to haunting effect. "Training my voice has opened me up immeasurably, and it's allowed me to do things with my voice that I never thought were possible," she says. "I'm so proud of the way the album came out," Madonna adds. "But for a moment after I first finished it, I cringed. I thought, `What have I done ?' Emotionally and sonically, it went in such a different territory for me." Orbit is equally pleased with the set's results, primarily because Madonna "wasn't at all interested in compromising or watering down" the electronic textures of his productions. If anything, he says, she `insisted upon purity in the arrangements, which worked astonishingly well with her pop songs at the core." Of those songs, both are irreversibly stuck on the title cut - the likely single follow-up to "Frozen" - which is a euphoric, deliciously over-the-top anthem that builds from a percolating trance-disco groove into a collision course of futuristic keyboards and assaulting metal riffs. "It's totally out of control," she says, laughing. "The original version is well over 10 minutes long. It was completely indulgent, but I loved it. It was heartbreaking to cut it down to a manageable length." The sprawling, unedited version of "Ray Of Light" is already earmarked for inclusion on "Veronica Electronica," a compilation of single remixes and album outtakes, due in the fall. "Veronica Electronica" is also a potential stage persona that Madonna is toying with as she ponders hitting the road for her first concert trek since 1993's Girlie tour. Unlike that eye-popping spectacle, she says she'd like to do something "totally scaled down" this time, with a set list culled exclusively from "Ray Of Light," "Bedtime Stories," and 1992's "Erotica." If she decides to tour, it won't happen until late summer/early fall. Until then, she'll test live waters with several European TV performances, including a gig on the U.K.'s "National Lottery Live" show Saturday (21), as well as her first U.S. club date in more than 10 years. On Saturday (14), she'll take the stage of New York's Roxy nightclub for a performance of three tunes from the album.
  15. sonicboy

    Agreed – it's a great song!