Delirious? (formerly known as The Cutting Edge Band) were an English contemporary Christian band. For the majority of their career, the lineup featured Martin Smith on vocals and guitar, Stu G (full name Stuart Garrard) on guitar and backing vocals, Jon Thatcher on bass guitar, Tim Jupp on keys and piano, and Stew Smith on drums and percussion. During their final two years, drumming duties were assumed by Paul Evans.
Mainstream Vocal Pop MULTiFORMAT
The Cutting Edge Band had various members from 1992 to 1996 before the decision was made to take the band full-time as Delirious? with an established lineup. Between 1997 and 2001, the band targeted the majority of its work towards a mainstream audience, with several singles reaching the top 20 on the UK Singles Chart. However, between 2003 and 2009 the focus was mainly placed on the CCM market, although occasional singles were still released.
After a brief hiatus, the 1999 album Mezzamorphis attained number 25 in the UK mainstream album charts (number two in the independent section), and soon became certified silver in the UK. During this time, the band found resistance in the mainstream due to their "Christian" label, despite widespread critical acclaim in the music press. However, the work was aimed at a "secular" audience, causing many former fans to shun the album and claiming that Delirious? had "sold out" to mainstream markets.[1]
The second attempted mainstream album, Audio Lessonover? (an anagram of 'Radio One Loves Us') was released in 2001. The band hired well known music producer Chuck Zwicky (Semisonic, Madonna). Zwicky wanted to go with a more stripped-down sound than the sonically layered Mezzamorphis and Glo. The band noted that there were tense and strained moments during the Audio Lessonover recording sessions, but in the end it stretched them as musicians and as a band. The first single "Waiting For The Summer" reached number twenty-six on the charts, hindered by limited radio airplay.[12] This led to a planned second single, "Take Me Away", being cancelled.[13] Critically, the record itself received less favourable reviews in comparison to their previous three albums, whilst commercial album sales were also lower.
Again they received criticism for "selling out" to achieve success in mainstream markets.[1][4] The band members are often questioned about the apparent critical 'failure' of the album in interviews to this day.
The song has received generally positive reviews from music critics. Mikael Wood of Entertainment Weekly called "Use Somebody" a highlight of the album, describing the song as "a too-cool hipster's cry for comfort".[14] Nick Levine of Digital Spy said, "With its Springsteen-style 'oooah-woooah's, gathering storm of guitars and lusty, longing vocals from Caleb Followill, it's nearly as infectious as 'Sex on Fire'."[15] Gavin Haynes of NME praised the song as "easily the best 80's power ballad of 2008", but cautioned that the band "may be in danger of mistaking bluster for brilliance".[16]
In the United States, "Use Somebody" became the band's mainstream breakthrough. Peaking at number four on the Hot 100, it gave the band their first top five hit there, and spent 57 weeks on the chart.[17][18] On United States radio, the song was a multi-format smash, becoming just the fourth song in history to top the Mainstream Top 40, Adult Top 40, Alternative Songs, and Triple A charts.[19] (Preceding it were "Slide" by the Goo Goo Dolls, "Every Morning" by Sugar Ray, and "Boulevard of Broken Dreams" by Green Day.) The song first reached number one on the Billboard Hot Modern Rock Tracks chart (now called the "Alternative" chart), their second of three consecutive singles to top that chart. "Use Somebody" also reached number one on the Adult Top 40 chart,[20] and later topped the Mainstream Top 40 chart as well. It reached over four million downloads in the US by July 2013.[21]
From the producers of the best-selling sample library Vocal Forge, this sublime follow-up surpasses the original in both its quality and diversity.As well as the usual array of pop, dance and urban singers the producers have enlisted some very talented folk and downtempo vocalists to produce a more leftfield approach giving this library more scope and usability, as well as making it a more diverse product. The straight-up dance anthems haven't been neglected however and there are also pop, folk, downtempo, RnB, hiphop and grime vocals. There is also a Vocal Toolbox loaded with helpful vocal tools such as gothic stacks, mashed vocals, retro human beatbox loops, vintage scratches, opera, Spanish quartets, simulated radio samples and much, much more. There is something in this library for everyone while the craftsmanship and quality of the material presented is truly exceptional. Best of all, the samples have all been pre-cleared and are 100% original and royalty-free for your musical use without any additional licensing fees. About the VOCAL FOUNDRY sample library - an introduction by the creators, Mike Wilkie and Matthew Corbett:
Following on from Vocal Forge, with our second vocal project Vocal FOUNDRY we decided to focus on material reminiscent of some of the tracks that started the whole sampling and mash-up culture. Tracks like 'Toms Diner' and 'It's A Fine Day' (originally released on vinyl as an accapella). These vocals weren't produced with dance music in mind and stand apart because of a contrast that still sounds like fresh thinking. Rather than gear the whole production towards mainstream dance we worked with more diverse vocalists.
We enlisted some very talented Folk and downtempo vocalists from as far afield as Boston in the States to homegrown talent like iTunes best seller and Radio 2 favourite Kate Walsh to produce a more leftfield approach. We haven't neglected the straight up anthems either as we know from the usage of the first vocal forge that people do still like a straight up dance vocal, we just wanted to challenge people this time round and provoke some fresh thinking. We once again added in some Grime MC's to represent that side of dance culture which is becoming ever more popular with the emergence of Bassline. This aspect is a UK based tangent but as always we wanted to produce a product with distinct flavour rather than a generic item that could have come from anywhere.
With the toolkit we have once again aimed for more offbeat content - live Spanish quartets, Gothic stacks, mashed vocals and retro loops make up a few of the entries this time around. We've recorded scratching with old decks, scratching with an internationally renowned opera singer and simulated radio samples. We hope the content on Vocal Foundry will inspire the next wave of producers in bedrooms and studios the world over and we look forward to hearing our team of vocalists being woven into countless future productions.Vocalists used:Kate Walsh, Michaela Ryall, Monique Lawson, R.Dot.C, Auden Allen, LoudlyJaxx and Paul Mac.
"Extremely well recorded and processed urban, dance and pop vocal samples... Despite what preconceptions you might have about a library like this, it's incredibly well crafted and superbly realised. Rating: 10/10" - Computer Music Magazine, UK
Nickelback has achieved major success on rock radio, scoring 10 Top 10 hits since 1999; their song 'Hero' was played for the closing-credits of Spider-Man. They have also crossed over to mainstream radio, scoring multi-format smashes on last two albums. Critics have often pointed out that 'How You Remind Me', a Nickelback song that received extensive airplay in 2001, and 'Someday', a popular song in 2003, are almost perfectly identical except for lyrical content.
And then there are the rest who are stepping off the current mainstream amalgamated music treadmill and going a different direction; who choose what kinds of music they like; where music is clearly defined,without prejudiced accusations from others. I identify with the latter.
Take your singing to the next level with automatic harmony effects. Set the key and chord voicing on the fly and bring head-turning flair to any song. And with Auto Pitch, you can dial in everything from subtle tuning fixes to the hard-tuned sounds heard in mainstream pop tracks. Turn one voice into an entire orchestra using the 24-second looper. Overdub layer after layer with the E-4's effects to create wild, vocal-driven rides. Then slice and dice with the expressive Scatter knob, which chops your sound into colourful bits that you control with a twist.
Connect a handheld mic to the front input for performing, or use a gaming headset or the inline mic on your earbuds to bring fresh vocal fun to your next livestream or podcast. Sync with other AIRA Compacts like the T-8 Beat Machine and J-6 Chord Synthesizer to expand your range. Or interface with computer DAWS, mobile music apps, and hardware instruments via USB-C or MIDI.
The E-4 creatively accentuates vocals anytime and anywhere. The lithium-ion battery provides up to 3.5 hours of power per charge, and the rugged Roland build will support inspired magic and mayhem for a long, long time.
In addition to the regular loop content, each kit includes a folder of MIDI files for full flexibility and control over the melodic content of the track using your own virtual instruments. Also, included are dry or unprocessed versions of things like pianos, synths, guitars and vocal tracks for even more flexibility in making these tracks your own.
"Unforgettable," Natalie Cole With Nat "King" ColeThis ultraromantic ballad garnered wins for Record Of The Year and Best Traditional Pop Performance in 1991. It was featured on Natalie's Unforgettable With Love, which was voted Album Of The Year. Nat's vocals were dubbed from a 1961 recording. (He had first recorded the song in 1951.) David Foster produced this velvety recording, which helped him win a GRAMMY for Producer Of The Year (Non-Classical). Natalie encored five years later with a recording of her father's 1957 classic '"When I Fall In Love," which also featured Nat's vocals. It won a GRAMMY for Best Pop Collaboration With Vocals."Beauty And The Beast," Celine Dion And Peabo BrysonThis elegant ballad, written by Howard Ashman and Alan Menken, won an Oscar as well as a GRAMMY for Best Song Written Specifically For A Motion Picture Or For Television. Angela Lansbury performed the song in the movie. This pop version played over the end credits. Both versions were featured on the soundtrack. The Dion/Bryson version was voted Best Pop Performance By A Duo Or Group With Vocal in 1992. It marked the first GRAMMY for both artists. Bryson won in the same category the following year with another movie theme duet, "A Whole New World (Aladdin's Theme)," which he sang with Regina Belle."I'll Be There For You/You're All I Need To Get By," Method Man Featuring Mary J. BligeThis influential recording blended hard-edged rap with old-school R&B. It won for Best Rap Performance By A Duo Or Group in 1995. The smash grew out of the track "All I Need," which appeared on Method Man's 1994 album Tical, his first apart from Wu-Tang Clan. Producer RZA created the hit remix. Marvin Gaye and Tammi Terrell introduced "You're All I Need To Get By" in 1968. Another blue-chip team, Nick Ashford and Valerie Simpson, wrote the song. This was the first GRAMMY for Blige, who has gone on to win for collaborations with Sting, Aretha Franklin and Chaka Khan."Dilemma," Nelly Featuring Kelly RowlandThis smash, which still sounds fresh, was voted Best Rap/Sung Collaboration in 2002. The song borrowed heavily from Patti LaBelle's 1984 R&B hit "Love, Need And Want You," so it was fitting that LaBelle had a cameo in the video as Rowland's mom. This marked the first GRAMMY for Nelly (along with an award that same year for "Hot In Herre," another track from his sophomore album, Nellyville). Rowland had previously won three GRAMMYs for her work with Destiny's Child. The two reunited in 2011 for "Gone." 2ff7e9595c
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