Tina Arena
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Tina Arena Biography
Songs Of Love and Loss Volume 2 follows on from its hugely successful predecessor and is a broader, more evolved continuation of the Songs of Love & Loss theme. The album includes 12 unique interpretations of songs that have influenced Tina and was recorded LIVE alongside the London Studio Orchestra in a series of sessions at Air Studio and Angel studios in London across July 2008.
Tina again teamed up with the winning combination of producers of Volume 1; Paul Guardiani and Duck Blackwell (aka Sharks Productions) and Paul Gordon Manners as well as newcomer Greg Fitzgerald, with all focusing their production around the orchestral arrangements of arranger/conductor Simon Hale. Simon said, Tina took on a 30 piece orchestra in a live sound stage, with all mics and cameras rolling. It was an awesome event. She's amazing,.. she is not intimidated by the live set up or the orchestra and rises to the challenge of having everything going to straight tape. Many artists would crumble in these conditions but Tina seems to shine. Nobody records like this anymore. This is how it should be done!
The song selection on Volume 2 is wider and less generic than volume 1. Tina has reached out for more obscure interpretations and has chosen tracks that would seem almost outside the Love and Loss theme.
For my part, I think Volume 2 is more about stripping things back Tina said. I wanted to find the essence, the appeal of the original, and then feature that rather than just rework an old classic
Every Breathe You Take is a great example. Gone is the guitar riff and the backbeat snare that drove the original, replaced by double bass, muted piano and an accordion.
The sentiment behind Stings vocal performance and those dark lyrics was what attracted me to that song. Tina said It's strangely beautiful and almost claustrophobic. It comes from a place where love and obsession cross over.
Other songs such as Lulu's Oh Me Oh My or the Carpenter's Close to You are perhaps truer to the original recordings but have been given a more modern edge, maintaining the basic musical elements but allowing Tina's inspired vocal performances to make them her own.
Interestingly, many of the songs chosen for SOL&L Volume 2 were both written and performed by the original recording artists.
Tina said, You have to bare your sole when you are singing lyrics you penned yourself. Often that gives a song more personality because there's a self consciousness in that performance .
Tim Finn's I Hope I Never is exactly that. What Tim may have lacked in execution on the original was certainly made up for in sentiment and the lyrics are nothing short of modern poetry.
There are also some less obvious interpretations on the album, like the Alice Cooper original Only Women Bleed.
Tina: Only Women Bleed may have appeared to have been a fairly left-field choice but I always loved that song and I was so intrigued by Alice Coopers ability to capture the thoughts and feelings of a beaten, down trodden woman who continues to love her man regardless.
But the inclusion of Nik Kershaw's Wouldn't it be Good is probably the albums most inspired and obscure moment.
Tina said. Greg Fitzgerald, the tracks producer, and I went out of our way to try and come up with a song that was appeared to be a 180 degree turn on itself. To make the lyrics reflect the inverse of what the original seemed to personify. I think we did that on this version .
Other tracks on the album include sturdy reproductions like the first single Oh Me Oh My and the Elton John/Bernie Taupin ballad Your Song however the orchestration of Nights in White Satin is probably the albums musical high point courtesy of a brilliant arrangement by Simon Hale