Album: If You WaitAvg rating:
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Total ratings: 3008
Length: 4:31
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While I'm wide-eyed
And I'm so down caught in the middle
I've excused you for a while
While I'm wide-eyed
And I'm so down caught in the middle
And a lion, a lion, roars would you not listen?
if a child, a child cries would you not forgive them?
Yeah, I might seem so strong
Yeah, I might speak so long
I've never been so wrong
Yeah, I might seem so strong
Yeah, I might speak so long
I've never been so wrong
Excuse me for a while,
turn a blind eye
With a stare caught right in the middle
Have you wondered for a while
I have a feeling deep down?
You're caught in the middle
if a lion, a lion roars would you not listen?
If a child, a child cries would you not forgive them?
Yeah, I might seem so strong
Yeah, I might speak so long
I've never been so wrong
Yeah, I might seem so strong
Yeah, I might speak so long
I've never been so wrong
Excuse me for a while
While I'm wide-eyed
and I'm so down caught in the middle
Have you wondered for a while
I have a feeling deep down?
You're caught in the middle
Yeah, I might seem so strong
Yeah, I might speak so long
I've never been so wrong
Yeah, I might seem so strong
Yeah, I might speak so long
I've never been so wrong
Again RadioParadise shines through all the bullshit in life… thanks BillG/Rebecca for YEARS of musical influence and love. I will be finishing my first full length Album this year and I aspire to be played here. The biggest compliment I can give truly.
Did you finish the album? Can we hear it somewhere?
I enjoyed hearing this on RP enough to buy the disc. Love her voice but wish I could hear some tracks with half as much echo. What do you think about : Agnes Obel?
Funny never throught about the echo untill you said :-)
I love what they do with a 3 piece band. Somehow it never seems the wrong kind of empty. Just beautiful musical space.
She grabs the most attention, clearly, but Dot and Dan are pretty amazing as you look deeper into LG. Thanks yet again, RP for getting me hooked on this great band.
I can't say enough good things about this group although I do wonder how long its going to be before Hannah figures out that she really doesn't need the two guys. Hope I'm wrong!
OMG, now you've told her...
Gorgeous song, the sparse instrumentation lets that voice shine through. Would LOVE to see her sing live...
Her voice is immaculate live. A rare quality in my experience. You don't hear much of it when they play this one though as generally the crowd takes over.
LG is lasting the test of time and Hannah's voice is something other singers should take note of.
Are you listening Florence...
Both voices are great, just in very different ways.
Oh god. Are you telling me this is a daughter talking to her dad? (Haven't watched the video yet.) I've always loved this song and it sometimes brings me to tears, but can't explain why. I have been alienated from my two oldest daughters since my divorce several years ago and I miss them terribly. If this is about a daughter being angry with her dad, it may just break me.
Then take a gander at the official video and check out what one dad for his daughter 🤗
Thank you for that link. Definitely bumps this up... :)
Then take a gander at the official video and check out what one dad for his daughter 🤗
Are you listening Florence...
I get your point, but then again - you only have the voice you were born with, right?
Are you listening Florence...
Me too!
kenpdubya wrote:
Me too!
Me three.
boltonblue242 wrote:
Me three.
planet_lizard wrote:
Me four.
Me five.
Me too!kenpdubya wrote:
Me too!
Me three. boltonblue242 wrote:
Me three.
Me four.
Me too!kenpdubya wrote:
Me too!
Me three.
Me too!
Lucky. Just wondering if you'd heard of them or just happened upon the show? This is the first I've heard of them and I'm blown away by her voice.
Yup
(at times her beautiful sound lays me down in tears, its rich echo gets me remembering lost love)
My thought exactly. I heard the song on RP months ago, got the CD and have to confess it's outstanding all through. I like her voice sooo much.
LOL
I think she must be classically trained.
love this on so many levels, if you have not seen the video do so! I have no words for it lol
And the accompaniment suits her well.
I likes it, baybeh.
I would have her babies.
For once, without be example:
So, it's like saying, bad compared, Florence Welch may be closer to Céline Dion. or even Barbra Streisand,
While Hannah Reid can review more in sound and musical aesthetics of Lisa Gerrard or Elizabeth Fraser.
Oh, how i hate doing comparisons ....
.
easmann wrote:
No. calypsus_1 is not a native English speaker/writer (French I believe?). I think most of us find his posts worth the effort to decipher. Radio Paradise is enjoyed by an international audience.
calypsus_1 wrote:
At first sight appears, is not it? But i think not. The comparisons between the aesthetics of various artistic models that are proposed, often, or almost always lend themselves to misunderstandings. This is the case of the approach that you do Hannah Reid and London Grammar. It's as valid as any other approach. But you try and take a look again.
But if you want to make comparisons, I'm no fan of it, so here we go.
Florence Welch, I've heard numerous times, in various performances, several songs in audio, video, and inexplicably, never stirred in me any feeling above average, perhaps because i do not adhere to its "musical-aesthetic figure" and voice timbre, their "mise-en-scene", i liken, perhaps unusually, to "sing the cloister." It may be my fault, it is possible. Also the musical aesthetic model of "Florence and the Machine" has never appealed to me (and this is what we speak), or aroused any highlighting in particular. Obviously the effort and commitment of all artists should be observed and respected. The next step is, or deserve our membership or not.
Hannah Reid, with a remarkable depth and eloquence of voice, explores our senses of inexorable form. Hannah Reid, by then a total stranger, with no means of support musical "ostentatious" succeeded on the first approach i made to the music of London Grammar, a single batch of songs from their only album (and some unedited covers) and an interest adherence to the aesthetic model that was proposed. And could stay only here. But no. In the next phase, this reinforced my feeling and potentiated with more conviction. Was born here something good, unheard of, genuinely differently.
In brief and simplified form, in music there are three important aspects for the keen listener:
1st. - The music that we "touches" and thrills, our membership of the music is complete
2st. - The music does not touch us in particular, but we tolerate
3st. - The music for more attempts, we could not like or tolerate.
Note: there may be "revisions" in the course of the career of an artist.
Now, you choose.
.
ploba wrote:
For once, without be example:
So, it's like saying, bad compared, Florence Welch may be closer to Céline Dion. or even Barbra Streisand,
While Hannah Reid can review more in sound and musical aesthetics of Lisa Gerrard or Elizabeth Fraser.
Oh, how i hate doing comparisons ....
.
calypsus_1 wrote:
At first sight appears, is not it? But i think not. The comparisons between the aesthetics of various artistic models that are proposed, often, or almost always lend themselves to misunderstandings. This is the case of the approach that you do Hannah Reid and London Grammar. It's as valid as any other approach. But you try and take a look again.
But if you want to make comparisons, I'm no fan of it, so here we go.
Florence Welch, I've heard numerous times, in various performances, several songs in audio, video, and inexplicably, never stirred in me any feeling above average, perhaps because i do not adhere to its "musical-aesthetic figure" and voice timbre, their "mise-en-scene", i liken, perhaps unusually, to "sing the cloister." It may be my fault, it is possible. Also the musical aesthetic model of "Florence and the Machine" has never appealed to me (and this is what we speak), or aroused any highlighting in particular. Obviously the effort and commitment of all artists should be observed and respected. The next step is, or deserve our membership or not.
Hannah Reid, with a remarkable depth and eloquence of voice, explores our senses of inexorable form. Hannah Reid, by then a total stranger, with no means of support musical "ostentatious" succeeded on the first approach i made to the music of London Grammar, a single batch of songs from their only album (and some unedited covers) and an interest adherence to the aesthetic model that was proposed. And could stay only here. But no. In the next phase, this reinforced my feeling and potentiated with more conviction. Was born here something good, unheard of, genuinely differently.
In brief and simplified form, in music there are three important aspects for the keen listener:
1st. - The music that we "touches" and thrills, our membership of the music is complete
2st. - The music does not touch us in particular, but we tolerate
3st. - The music for more attempts, we could not like or tolerate.
Note: there may be "revisions" in the course of the career of an artist.
Now, you choose.
.
ploba wrote:
Perfectly said.
1) Well, just look at that effin' HAIR; hell, I'd be happy with half of it
2) He's in a band with the angelic Hannah Reid
say what?
calypsus_1 wrote:
At first sight appears, is not it? But i think not. The comparisons between the aesthetics of various artistic models that are proposed, often, or almost always lend themselves to misunderstandings. This is the case of the approach that you do Hannah Reid and London Grammar. It's as valid as any other approach. But you try and take a look again.
But if you want to make comparisons, I'm no fan of it, so here we go.
Florence Welch, I've heard numerous times, in various performances, several songs in audio, video, and inexplicably, never stirred in me any feeling above average, perhaps because i do not adhere to its "musical-aesthetic figure" and voice timbre, their "mise-en-scene", i liken, perhaps unusually, to "sing the cloister." It may be my fault, it is possible. Also the musical aesthetic model of "Florence and the Machine" has never appealed to me (and this is what we speak), or aroused any highlighting in particular. Obviously the effort and commitment of all artists should be observed and respected. The next step is, or deserve our membership or not.
Hannah Reid, with a remarkable depth and eloquence of voice, explores our senses of inexorable form. Hannah Reid, by then a total stranger, with no means of support musical "ostentatious" succeeded on the first approach i made to the music of London Grammar, a single batch of songs from their only album (and some unedited covers) and an interest adherence to the aesthetic model that was proposed. And could stay only here. But no. In the next phase, this reinforced my feeling and potentiated with more conviction. Was born here something good, unheard of, genuinely differently.
In brief and simplified form, in music there are three important aspects for the keen listener:
1st. - The music that we "touches" and thrills, our membership of the music is complete
2st. - The music does not touch us in particular, but we tolerate
3st. - The music for more attempts, we could not like or tolerate.
Note: there may be "revisions" in the course of the career of an artist.
Now, you choose.
.
ploba wrote:
At first sight appears, is not it? But i think not. The comparisons between the aesthetics of various artistic models that are proposed, often, or almost always lend themselves to misunderstandings. This is the case of the approach that you do Hannah Reid and London Grammar. It's as valid as any other approach. But you try and take a look again.
But if you want to make comparisons, I'm no fan of it, so here we go.
Florence Welch, I've heard numerous times, in various performances, several songs in audio, video, and inexplicably, never stirred in me any feeling above average, perhaps because i do not adhere to its "musical-aesthetic figure" and voice timbre, their "mise-en-scene", i liken, perhaps unusually, to "sing the cloister." It may be my fault, it is possible. Also the musical aesthetic model of "Florence and the Machine" has never appealed to me (and this is what we speak), or aroused any highlighting in particular. Obviously the effort and commitment of all artists should be observed and respected. The next step is, or deserve our membership or not.
Hannah Reid, with a remarkable depth and eloquence of voice, explores our senses of inexorable form. Hannah Reid, by then a total stranger, with no means of support musical "ostentatious" succeeded on the first approach i made to the music of London Grammar, a single batch of songs from their only album (and some unedited covers) and an interest adherence to the aesthetic model that was proposed. And could stay only here. But no. In the next phase, this reinforced my feeling and potentiated with more conviction. Was born here something good, unheard of, genuinely differently.
In brief and simplified form, in music there are three important aspects for the keen listener:
1st. - The music that we "touches" and thrills, our membership of the music is complete
2st. - The music does not touch us in particular, but we tolerate
3st. - The music for more attempts, we could not like or tolerate.
Note: there may be "revisions" in the course of the career of an artist.
Now, you choose.
.
ploba wrote:
skooba wrote:
That's what I thought,
Don't be so hard on yourself. We'll do that for you.
Man, I really go for women who let it all hang out. And this woman does. I vote 9 on first listen.
The world can finally recover from their depression onset by her terrible voice...
Please.. save us out here.. STOP!!!
Who are the "us" you speaking for? I'm thinking not for the majority of RPer's who like this song.
Poacher wrote:
The world can finally recover from their depression onset by her terrible voice...
Please.. save us out here.. STOP!!!
I love this song. Can't wait to hear it again.
calle01 - you should look at your ratings distribution... you ranked 83 songs a "1" and less than 50 songs are ranked between 2 and 10. Either you lean towards negativity or this is the wrong station for you.
Love the song.
At first sight appears, is not it? But i think not. The comparisons between the aesthetics of various artistic models that are proposed, often, or almost always lend themselves to misunderstandings. This is the case of the approach that you do Hannah Reid and London Grammar. It's as valid as any other approach. But you try and take a look again.
But if you want to make comparisons, I'm no fan of it, so here we go.
Florence Welch, I've heard numerous times, in various performances, several songs in audio, video, and inexplicably, never stirred in me any feeling above average, perhaps because i do not adhere to its "musical-aesthetic figure" and voice timbre, their "mise-en-scene", i liken, perhaps unusually, to "sing the cloister." It may be my fault, it is possible. Also the musical aesthetic model of "Florence and the Machine" has never appealed to me (and this is what we speak), or aroused any highlighting in particular. Obviously the effort and commitment of all artists should be observed and respected. The next step is, or deserve our membership or not.
Hannah Reid, with a remarkable depth and eloquence of voice, explores our senses of inexorable form. Hannah Reid, by then a total stranger, with no means of support musical "ostentatious" succeeded on the first approach i made to the music of London Grammar, a single batch of songs from their only album (and some unedited covers) and an interest adherence to the aesthetic model that was proposed. And could stay only here. But no. In the next phase, this reinforced my feeling and potentiated with more conviction. Was born here something good, unheard of, genuinely differently.
In brief and simplified form, in music there are three important aspects for the keen listener:
1st. - The music that we "touches" and thrills, our membership of the music is complete
2st. - The music does not touch us in particular, but we tolerate
3st. - The music for more attempts, we could not like or tolerate.
Note: there may be "revisions" in the course of the career of an artist.
Now, you choose.
.
ploba wrote:
I always like listening to her sing. But their songs are just really, really basic, and not in a zen way. But her voice...! I'd like to see them push/stretch their musical ability. Or at least hear Hannah sing with a group with more musical imagination, i.e. like Zero7, etc.
Still quite likable.
10/9/14... Still Terrible!!
Sooo Good! Fabulous!
Are you out of your mind?? This Band & song totally suck!
Are you out of your mind?? This Band & song totally suck!
Bad day at the office, huh?
Go outside and breathe the air, you'll feel better.
The British band "London Grammar" came out of nowhere, with origins in Nottingham, London, England in 2012 with no major advertising campaigns, no screams, published his 1st LP album and only "If You Wait" in 2013, and that was enough to gain the attention, affection, and interest the general public all over the world.
Their musicianship obeys a single, personalized concept, and is implemented in a very unique, serious, genuine way, it is not obvious that they copied his style and his way of being in the music, no other artist or style already known. And therein lies its great interest and its originality.
And i believe it is now at this point already gained popularity, there may be the risk of this band to be seduced and dazzled by the pressure and greed inherent in the music business, and begin to make a more commercial way of approaching your music with obvious targets. On the other hand, i believe that this will not happen, despite his youth, with an average age of 23 years, because of the simple way, sober, living in music, with some ingenuity, but already revealing some maturity and with feet firmly on the ground.
The musical sound produced, basically electronica, minimal support, in its final combination may well be regarded as a "metamorphosis" somewhere between electronica (music) and classical (voice), the great lyrics, the "London Grammar" is serene, serious, something melancholic, but very intense and attractive, very effective, with greater emphasis on their lead-singer Hanna Reid, the soul of the band, with an attitude , original aesthetic, talented and reliable voice, sobriety, simplicity, discretion and humility even without artificiality or mise-en-scene, i believe it can ensure the future and consolidated the gradual evolution of this band. I say yes. Worth it .
She takes you up, brings you down gently and lifts you again - I’m fatigued.