The Most Beautiful Pain
- 艺人
- Valentine
- 语种
- 英语
- 厂牌
- Universal / Frontiers
- 发行时间
- 2006年02月13日
- 专辑类别
- 录音室专辑
专辑介绍
Absolute loneliness
A misfit to the world
Split in two with your cosmic lover
Facing unbearable emptiness
Then suddenly, out of the blue,
a song hits you in the core of your soul
A song that makes the saddest eyes rain the most
bitter-sweet tears
Like the wings of an angel wrapped around you
Almost as if you're crying on God's shoulder
The ultimate consolation
It's the one moment that surpasses true happiness
It's T H E M O S T B E A U T I F U L P A I N
Song comments Track by Track:
The first song I wrote meant for this album was “THE WAY TO EUPHORICA”.
Wrote it on the night of June 15, 2002. That day was the day of my father’s death 5 years before. I let a tape recorder running while playing the piano and lit a candle. Maybe he could help me. I definitely wanted the new album to become a heavy one.(I find it easier to find guitar riffs on the piano).
But after playing for hours nothing good came to me.
At the time I listened a lot to ‘The Eagles’ and “I Can’t Tell You Why” was stuck in my head . And that night the only worthwhile tune that came out was something inspired by that song. But it was far from the metal sound I was looking for. About 10 months later I recorded it with Juan on drums. Trying to get a bit of that 70’s feel to it, like the Eagles did, with a Fender Rhodes sound, dry low tuned snare… As the all-round musician he is, Juan understood immediately, gave it the perfect feel. I was very pleased with the result, showing a totally different sound, but it didn’t make the album eventually. I already decided then the album shouldn’t be just a pop-metal album, like my initial idea. But more divers because of the variety in styles with the new songs I’d written. But this one was so totally different that it stood out too much. And with 17 tracks, the album was too long already anyway.
But since Universal Japan decided to put the album out after all and requested bonus-tracks, I took the opportunity to use it after all. Did a new mix of it and together with 2 other newer songs it completes the total of 20 or actually 21 tracks for the Japanese version.
The other extra-tracks are called : ‘CAN’T TAKE NOMORE’ and ‘HOW DO YOU SLEEP AT NIGHT’. They’re songs I wrote for Kyssmet, the project I do with vocalist Alyss Andico. Only these versions have of course my vocal in stead of hers. “Can’t Take..” was the first I wrote after TMBP was done. Lyrically it fits with the theme of the album and the heaviness of it goes well with the first 2-3 tracks. ‘How Do You Sleep’ is a typical ‘Valentine’ song I think. Bombastic and harmonic , lots of choirs where this time Alyss and Peter Strykes join me. Where the European version ends rather sad but sweet with the piano ballad ‘Can’t Get Over You’, the Japanese version ends kind of bitter and heavy. Because of the last 2 songs. And in that way a perfect circle and connection to the first track “I Should Have Known Better“.
Another nice detail is that this album is mastered by Peter van ‘t Riet,
my best friend and drummer in Spoiled Brats, the band I was in back in ’85. Though when the band split up we lost contact.
Mastering became his profession and he became an ace at it. So who could do that delicate job better than my very good friend, so I asked him to do it. Coincidentally this was the first production he did for his own company FINETUNE after having worked elsewhere for years.
The cover is created by Tami Fukatami, former product manager of Universal Japan.
There’s the same white piano as in the 3rd album. But this time with wings. With me standing on it. Flying through heavy weather , as a metaphor for music guiding me through a terrible time emotionally. Later I saw another coincidence in it. My 3rd album was the last to be released in Europe, same piano, me standing on it. But then above the clouds , about to take off into space. With the help of the wings (of an angel?) I return….with a release in Europe, after 10 freaking years ! I can’t believe why it had to take so long. My own fault to put my trust in the ones who failed to do their jobs and let me vegetate in Misanthropolis.
A very special thanks to my friend Arne ‘Lanvall’ Stockhammer from Austrian band Edenbridge who introduced me to ‘Frontiers’ in Italy, who made it possible this album finally saw the light of day, March 24 2006, after being on the shelve for 2,5 years.
My friend Marc van Peski who’s a professional photographer in many disciplines did a great job on the pictures. As being old neighbours we grew up together. Also that adds to the fact it’s a very -close to home – album. A little further from home, this album has the artwork-debut of my new friend from Germany Christian Olbrich. He created some great 3D designs of the V-logo and did the complete lay out and artwork. Did an impossible job to squeeze in all the 17 tracks in a wonderful well thought way, atmosphere-and theme-wise.
Everything together makes it a very satisfying and complete production for me.
I SHOULD HAVE KNOWN BETTER
This is one of the pop-metal songs of the album. Like ‘New World’.
A bit of nu-metal combined with clear harmonies/melodies and song structure.
For months and months I was waiting for my girl to come back to me. We were, as I thought , temporary separated. Living 2000 km apart.
As a result of this waiting I hardly worked or wrote anything. It felt my life was on hold and would start again once she would return.
At one point I realized she didn’t have the intention to come back to me after all.
Big desperation and knowing deep down inside that it was over made me start recording and writing again. It was the only way for me to get through, to put my emotions into songs,
as a safe haven to deal with the pain of losing her and to deal with the fading hope.
Making music was the only way not to go insane completely.
In this song I can hear I still have hope , but being very upset.
A NEW WORLD
This was the first song I recorded for TMBP.
It’s about hate towards how it generally works in life. That people lose their identity and become slaves to the system , and the need to belong.
A melodic heavy guitar mid-tempo song. A pop metal-track. With my good old choir-friend Johan Willems joining me in the harmonies.
I’M GOING UNDER (SEDATED)
My anti Anti-Depression medicine song.
Beyond a ‘Most Beautiful Pain’ feeling, I couldn’t hardly make it through the day because of heavy depressions. This song is literally .
A constant fight against taking anti–depression medicine. But sometimes it feels like the only way. Got the medicine, but the fear it would numb me and take away the spare moments of creativity fortunately kept me from taking it.
ONE OF THESE DAYS
This is my Backstreet Boys/Britney Spears - song. For all you metal-heads out there.
THE COLD AND LONELY LIE
Piano rock-ballad. Expressing my big desperation about losing the one I loved.
I remember recording this track as a quick demo, with a drum-machine, for the drummer to rehearse . When I wanted to record the vocal on the final recording again, it couldn’t be done. It was just too painful to reproduce the ‘pain’ I captured on the quick vocal-take recorded for the demo that had the intention I wanted. So I used that vocal-track.
SHE (Abandoned Heart)
Inspired by some ‘New Romantic’ bands from the mid 80’s and David Bowie from that era.
First time I sang lower than I usually do. I tried to get a bit of an 80’s sound in the production.
Again some things are taken from the demo I couldn’t get better : the Lead vocal and guitar solo.
Most of the drums is a drum machine programmed. Recorded this song 3 times. Twice with real drums, but in the end it asked for a tighter, more mechanical approach.
MAGNUM OPUS
An ode to Magnum ice cream.
In the past I wrote some long and epical tracks . I was asked frequently to record more of these rock opera type of songs. Being fed up with recording long tracks and with that question I called this short song ‘Magnum opus’ . The title suggests a big rock opera or something like it, while it’s just a silly 60’s type of song. It looks like it’s about a girl but in the end it turns out to be about Magnum Ice-cream.
Maybe they can adopt it in a commercial . That would be a dream, full circle. It surely would be a little payback for all the money I spent on them through the years.
I did some guitar harmonies with the Brian May guitar on it. And my favourite drummer Juan plays the drums.
EVERYDAY HERO
One of my Tori Amos inspired songs. Like ‘Believing Is Seeing’ and ‘Not In A Million Years’ on my previous album. Recorded with Juan on drums again. It’s about my mum. Though she doesn’t like to be credited at all.
SUPERNOVA
Led Zeppelin’s Kashmir was the inspiration for the verses. The beat especially.
It’s a divers track, with a small piano-concert intermezzo, an up-tempo chorus and a boogie middle part that turns out into a heavy-metal beat. Some ‘The Sweet ‘- like choirs done with the help of Johan Willems in the chorus’. I couldn’t get a good drum sound when mixing it. Arjen Lucassen helped me out by mixing the song in his studio.
It’s about getting alienated. Becoming a misanthrope while trying to get the spirit and hope up in times of huge insecurity and desperation.
MAGICAL MEMORIES
Three little pieces put together.
The end part is an attempt of a mid 70’s Brian May type of solo on vaudeville music that I had in my head for 10 years. As a huge fan I even played it on a copy of his guitar, though not through a Vox AC 30, but a Fender combo. With very tastefully played drums by Juan.
The middle part’s a happy 60’s sounding thing, about a trip to England.
And the first part a ballad about childhood memories. How my parents supported me, the music I grew up with, that became like a bible. Queen’s ‘A Night At The Opera’ was the first album I got. A present for my 7th birthday from my grand mother. And I mention ‘Every time I think of You ‘ from the Babys, my first introduction to the beautiful voice of John Waite, since then I’m a huge fan . ‘Mr. Blue Sky’, My favourite ELO song. Those were the 3 most important bands for me when I grew up: Queen, ELO , The Babys.
HOW MANY TIMES
A typical AOR mid tempo song. With harmonies in the choirs Johan and I used to do on the first album. Ever since we started to sing harmonies together when we were kids, our voices combined make a special sound. They blend very well and over the years it’s still there.
And especially in these type of tracks (+One Of these Days, Now Or Never) I need him badly.
With Noppy Ton from my old late 80’s band 1st Avenue on drums. Played live without a click track in the Fendalsound studio, recorded by Hans van Vondelen who mixed the ‘Believing Is Seeing ‘album.
MICKEY
I was messing around with a drum-loop, singing some lines over it that reminded me a bit of a Prince-sound. Maybe because of his song ‘Darling Nikki’ I began to sing ‘Mickey’.
It made perfect sense because it was the nickname of my first teenage love. I concluded the song with a mid tempo-rock bridge and chorus. Though I must say to regret that. I Simply couldn’t come up with something good that would have fitted the idea and the feel the verse has. The live drums are again played by Noppy.
HOW CAN I LIVE WITHOUT YOU
A little sad piano ballad. The first of 6 tracks glued together.
I wrote it late 2000. Recorded the piano end of 2001. Re-wrote the lyric and recorded the vocal about a year later.
ONE HEART
My attempt of a Roy Orbison type of bolero.
BACK TO THE FUTURE theme
My Brian May version to the theme from the ‘Back To The Future’ movie.
It’s one of my all time favourite movies. Think I will use it as a show opener. It sounds like pure Victory. Such a brilliant composition of Alan Silvestri.
Coming from ‘One Heart’ it’s great as an intro for the next song ‘Now Or Never’.
Also the meaning. The whole album I’ve been mourning and moaning about losing my girl.
And now it’s time to get back to the future. Get on with life.
NOW OR NEVER
An up beat up-tempo rock song with a slice of bombast.
Positive lyrics for a change : “Yesterday’s gone forever, live your life it’s now or never”.
The whole song’s very much inspired by Brian May’s ‘Back to The Light’ period.
With Johan again joining me in the harmonies and singing the lead in the bridges.
EXODUS ELEPHANTES
A slow, heavy-beat instrumental based on a metal guitar rif .
Nop Ton plays a killer drum-track recorded in Fendal.
It sounds like an exodus of elephants.
Trying to say with this: habits die hard in the mind of an elephant. The creature with the biggest memory and a slow pace . The ‘exodus’ of moving on in life doesn’t happen over night.
Gone is the new positive attitude like in the song before.
Back in the rain again that leads into the next solitary track.
I CAN’T GET OVER YOU
Just piano and vocal . I had the grand-piano tuned for recording most of the piano’s on the album. Once that was done I kept on playing through the night because the sound of the piano, all miked-up, through the headphones , was very inspiring.
Instantly I wrote this song and recorded it. Captured the atmosphere at the moment the song was as close within me as possible.
I wanted this to be a hidden track but mentioned it on the track-list after all, because I don’t want it to be missed.
The quickest song I’ve ever written and the first I recorded right after writing it.
It’s actually one of my favourites on this record.
最新简评（共1条）
- @Desperado(Let it go, l...)：艺人归属： 风格金属，这个没错~