meanspeed® music modern tempo chart - Motley Crue - Home Sweet Home - 76.4 Beats Per Minute
Meanspeed Music Tempo map - SPREADSHEET, actual, part 1
“We are entering a world,” said one expert, “where people aren’t interested in
whether something is true or not, or whether they believe it or not, but
whether it works. Reject any idea or theory
or practice unless it has the practical value of making you feel more at
home in the world and more accepting of yourself.”
HOME SWEET HOME - Motley Crue
OK. Does meanspeed music theory work? Take the first step. Try to settle, change or set your mind through song speed and the emotive characteristics I have given anywhere, any time in the last 21 years. All letters will be printed. My subjects are too few to generalize from. Unfortunately for – well, you guys at “rip off the lyrics for pennies on the click dot com” and all the rest losing out to interest in this site, the easiest, cheapest and best way to set an attitude is by this new mathematical psychology theory.
I will henceforth stress how being aware of the, as Lennon and McCartney said, “The music playing in your head” (from Lady Madonna, ownership, who knows, either Fidelity insurance, the Michael Jackson Peace Fund, or Knights for Nobility, a group of private philanthropists – all anonymous in the tradition of trye and good donations to a cause. Especially on the day that Google finally steals my web traffic so [expleteive] can hawk something, using keywords bought by the “never be evil” Google. Pretty [expletive] funny! Especially because meanspeed® and mean speed® are registered trademarks, and any [expletive] who is making money illegally will be having sex with Bernard Madoff, Scott Peterson and the rest of their ilk. I do not to want your money. However, anyone pretending to be me or this company who “makes” money from the unlawful violation of FEDERAL STATUTE will have a terrible life ahead. Those are the parasitic greedy swine that pushed the United States into a savage yet unnecessary “depression.”
Single by Mötley Crüefrom the album Theatre of Pain
Released
September 30, 1985
Genre
Glam metal
Length
3:59
Writer(s)
Lyrics:
Nikki Sixx
Music:
Nikki Sixx,
Vince Neil,
Tommy Lee
Mötley Crüe singles chronology
"Smokin' In the Boys Room"
(1985)
"Home Sweet Home"
(1985)
"Girls, Girls, Girls"
(1987)
“Home Sweet Home '91”
Single by Mötley Crüefrom the album Decade of Decadence
Released
1992
Genre
Glam Metal
Writer(s)
Lyrics:
Nikki Sixx
Music:
Nikki Sixx,
Vince Neil,
Tommy Lee
Mötley Crüe singles chronology
"Primal Scream"
(1991)
"Home Sweet Home '91"
(1991)
"Hooligan's Holiday"
(1994)
"Home Sweet Home" is a song by the American glam metal band Mötley Crüe and is one of the first examples of a power ballad. Originally released on the band's 1985 album, Theatre of Pain, the song was accompanied by a music video which documented the band's undertakings over the course of a concert, or several concerts. "Home Sweet Home" was later remixed and re-released as a single in 1991, as "Home Sweet Home '91." This version featured on the band's Decade of Decadence compilation album. The song is often referred to as a power ballad, and its success was a prelude to similar marketing formula for other hair bands in the late 1980s.[1] The song ranks #12 on VH1's chart of the greatest power ballads of all time.
The original release of "Home Sweet Home" charted at #89 on the Billboard Hot 100, and "Home Sweet Home '91" peaked at #37 on the same chart in 1992.[2] To date, "Home Sweet Home '91" is the last Mötley Crüe song to chart in the American Billboard Top 40.
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Cover Versions
The song was covered by Linkin Park vocalist Chester Bennington on vocals along with Vince Neil, the rest of Mötley Crüe filling their respective places in the wake of Hurricane Katrina. The music video for the song shows video of Katrina rescues, along with performance from the band.
It was also recorded by Limp Bizkit for their Greatest Hitz album, although it is joined by a remake of "Bitter Sweet Symphony" by The Verve.
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Track listing
Home Sweet Home
Red Hot
[edit]
Personnel
Vince Neil - vocals
Mick Mars - guitar
Nikki Sixx - bass
Tommy Lee - drums
[edit]
References
^ Theatre of Pain article on Allmusic
^ Whitburn, Joel. The Billboard Book of Top 40 Hits, 6th ed, Billboard Publications, Inc. 1996. ISBN 0-8230-7632-6
Tonight on Idol, Simon Cowell, who I agree with most of the time, made the assertion early on that the tempo change in “She Works Hard For The Money” [did not really have an effect.
I agree. The effect the contestant was going for was missed - therefore, his slowing the song down was ineffective. I agree with Simon.
However, Adam Lambert, who *blatantly ripped off the arrangement* of Mad World from Gary Jules' version, NOT the Tears For Fears version. The man the judges seemed to have already placed in the final two never indicated that. Adam must have taken some heat for his disingenuous presentation, as tonight he admitted that he stole the arrangement from someone else. I know this because I measure the tempos or speeds and use iTunes® information - no doubt Gary Jules deserves a nod tomorrow night.
As far as speed and Simon, no particular speed is better than any other in regard to who is the next American Idol. However, one of the reasons Adam Lambert is doing so well is because, in musicial lingo, "he is experienced at singing on a click." That means: he has the regular sound of a metronome so embedded in his head from so much practice that he knows better than some of the amateurs still in the competition where the *beat is* at all times. How important is that? Well, it is music, and as such both an art and a science, and asking how much "better" a song sounds is an art compared to the science of determining what the tempo is, if a song is playing along to a regular machine and 100s of things that Randy jackson himself could teach a course on.
You simply cannot master your timing or phrasing as a singer without learning to ride the speed. In fact, the best singers and drummers are these: those who can play with an ability to make the most static drum track *sound* as though there is acceleration and deceleration. Pat Metheny, Dave Matthews and Carter Beauford are three people who are phenomenal with this element.
Who else have they had on this season who is a phenomenal talent in regard to music's tempo? Michael Joe Jackson's greatest hits "Billie Jean," "Thriller," and "Man IN The Mirror" are among his hits that have no tempo change in them at all. Is there rhythm change? Of course - 1000s of rhythm changes. Such changes in rhythm are permitted, guess why: because the tempo is steady, an engineer can open up 256 tracks and have them all magically blend together despite the 44 percussion tracks were played by 7 different drummers on 11 different days and none of them even met Mr. Jackson. That is simply the way songs are recorded.
However, as Simon has noted, American Idol is a *singing* competition. Is tempo the most important element of a song? No! Is the way a singer uses tempo with the more important elements: melody, tone and timbre, the way a singer can use a pedal note to effect a stunning harmonic effect and others are surely more important. The thing is: a singer cannot be focused on the melody and the tone if they are stuck WORRYING ABOUT SPEED AND TEMPO. As it is written in the Japanese Art of War: Master tempo so that in a fight *you will not have to think about tempo and thereby get stuck thinking about tempo.*
Great performances tonight and a pleasure to watch. I voted for the man I think has had the best arrangements and the best coaching since he entered the contest. Moreover, this contestant is completely at home with himself when it com to the speed and tempo of a song, and he gets better every week. You can feel him *slide* into the one of a song in common time, which is called "4/4" time as four quarter notes make up one measure of the song. In pop music, as James Brown pointed out every change he had: it's all about the ONE. Do you own the Beatles' 'Revolver' album? Listen to She Said She Said by John Lennon and Sir Paul McCartney. John's opening riff in that sing establishes an era in pop music that is thankfully still as strong as ever as he *eases* into the note Bb with the riff Bb, C, D, Eb, F slides into Bb where? At the measure change - on the One, but a slick One. That kind of timing and natural phrasing is why I voted for - well, I should not say, so I'll hint that he or she had some pink clothes featured.
“To whom much is given, much is expected. To whom much more is given, much more is expected” – The Gospel According to St. Luke, quoted by Franklin Delano Roosevelt
