#was cut from the studio version but is in the sad piano version lol

[spaceorphan18]

Glee Musical Retrospective: Don’t Stop Believin’ (Pilot)

Sung by: Rachel Berry and Finn Hudson w/New Directions Original Artist: Journey

Here we go - the first time we see Glee’s most iconic performance number.  And unlike a good half of you (and half the cast) I still really, really love this song and this performance.  I’ll be honest with you - the Pilot of the show didn’t do much for me, but the first time I heard this - I got chills.  This arrangement is fantastic.  The kids are so earnest here.  And it’s the first time I sat up and thought - oh, this is going to be good... 

The funny thing about this number is that it is rough, in a way.  These kids definitely look (more than they sound) like novices.  And while infamously show choreographer Zach Woodlee had a tough time of getting these non-dancing kids to move together - I think the roughness of the these kids just having fun and coming together to make a good number really is the heart of what this show is about.  Connecting to each other through song -- even if they don’t dance very well, lol. 

It’s kind of hard to articulate why this song resonates the way it does, but there’s a couple of factors going on here.  

First of all, the way the song is written - without getting into the musical theory of it all - it’s meant to evoke that positive dreaming kind of emotion.  The song is about, quite literally, not giving up on yourself, even if your circumstances suck.  And, again, that’s really what’s at the heart of this show.  That these kids, despite the fact that they live in a small town in Ohio, aren’t going to give up on their dreams.  It’s a theme that’s going to carry all the way through the length of the show.  

Secondly, I think the song evokes a strong sense of nostalgia (at least for us older people?).  It’s an 80s power ballad, and thematic for a show that’s steeped in 80s nostalgia.  And while I didn’t go to high school until the late 90s, it still takes me back to being a teenager - when these kinds of songs really emotionally resonated, and I think pairing that feeling with a group of new and earnest kids who are just starting out on their own dreams, really resonates.  

Some interesting things to point out -- 

This song is a New Directions song, but Finn and Rachel take the lead.  This not only to signify that these are the main characters, but to highlight that these characters are going to be in a romantic relationship.  Did you notice that they spend most of their time quite literally dancing around each other? Pulling away and coming back to each other? I’m sure that’s intentional.  

Also their opening lyrics are quite resonant with who Finn and Rachel’s characters are.  Finn is a small town kid, and despite being popular - is a bit lonely and lost.  While Rachel, being a city bound girl, just wants to be where it matters.  And then they find each other - which is really where our story begins. 

Meanwhile, I love Kurt, Mercedes, Tina, (and Artie) in the background.  While Finn and Rachel take the lead - they’re along for the ride - the colorful accents in this story.  I love that each character gets its own style of movement in the song -- especially Kurt, who completely pulls focus.  It’s noticeable (to me) because Kurt is going to end up pulling focus as the story begins to shift from this story of two lonely and sad teenagers falling in love to this strange kid dancing in the background.  

But also, importantly, this is the first group number the kids do.  It’s about them all coming together - all these “strangers” meeting up for the first time and creating something special -- again a theme of the entire show -- and how they’re going to try to make their dreams come true, but can only do so if they rely on the special thing they’ve made together.  

I should note that most of the time I’ve talked about music in the Pilot being used for comedy - but like Rachel and Will’s solo - this song is very much about the emotion it evokes, and that’s purposeful.  This is a real, and full number, because the show wants you feel those real emotions of these kids finally bonding over the music.  

Two more musical asides -- a) this song has a ton of layering of tracks to make it sound fuller.  If it were just the six of them, the sound would be much, much smaller - but maybe not as resonant.  b) You can tell there was choreography but mostly - the kids are a bit stiff because they aren’t dancers, and end up just roaming around the stage.  It’s kind of funny, but works for me, because these kids are not supposed to be professionals.

I also like that their costumes are simple.  I’m not sure if I can go into color theory the way @snarkyhag can (maybe she can shed some light on it!) but the solid colors can mean that they’re stripped down to the basics.  

I should also add that this song is important to Will’s character, too.  This song, evoking memories of his own childhood, and his own dreams, is what brings him back to teaching.  The kids are literally singing about not giving up on their dreams - and Will is very touched by that.  

On top of that - there are deliberate pans to Sue (and Quinn and Santana) and Puck off on the side -- representing the antagonists, and how they’re waiting in the wings for the future stories where they’ll challenges for our characters.  

Fun Fact: There is no such place as South Detroit.  I’ve always joked that South Detroit is Ohio - but according to Journey it’s Windsor Ontario.  And now you know. 

vs. Studio Version: There’s really not much difference between this and the aired version.  There are a couple of extended musical moments in the studio version, but the song is, intentionally, left mostly intact on the show.  Since it’s the final group number - these songs aren’t as cut down as some of the other ones.  

vs. Original Version: Something I didn’t really notice until they’re played side by side, but the original Journey version is much slower and in a lower key. The tempo change might be due to the fact that it’s being used for TV - and TV has time mandates.  The key is probably because the kids needed to singing it higher.  One neat thing to notice - this song is known for its infamous piano chords played at the beginning (and throughout).  In the arrangement for the show - they gave it to the background singers (Kurt, Mercedes, Tina, and Artie) for great effect.  

[musicmoney]

“I believe God walked through my bedroom ‘cause I woke with this song in my head” #musicmoney meets Tony DeShawn The Man & The Music

Introducing Singer, Songwriter, Producer, Musician, mixing/mastering Engineer, Publisher, recording company owner Tony DeShawn.

Tell us what your music journey has been like?

Well, my musical journey has been good overall. I’ve been able to maintain my most valuable possession through it all; my anonymity. I’ve learned early in my career that fame is a prison of your own making.

How would you describe your musical style and what influenced it?

My musical style is generally R&B, Dance and lately House. I’ve always had Afro/latin influences. Lalo Schifrin (Mission Impossible theme) influenced me early on. But I’ve been a child of the era of the Four Tops, Gladys Knight, Delfonics, War, Santana and many others. I’m a student of many genres.

You’ve been making music for quite some time now – what have you learned with each release, and how have you grown as an artist/engineer since your first release?

Recoding has changed alot since the 80s and 90’s. Back then you really had to make vinyl records and that cost a lot of money. You couldn’t just open up your laptop and make a record like today. Over the years I’ve grown with the technology. I’m using plugins now of out-board gear that I only dreamed of using back in the day. This is truly a wonderland for music producers now.

If you could choose to work with some of today’s established artists or producers, to move your game to the top, with whom would you like to collaborate?

As far as rappers go, Rick Ross is the man in my humble opinion. But I’d work with anyone who I feel is honest in their work. I don’t like songs with no socially redeeming value. Such a waste of talent.

Can you tell us about your latest release and any upcoming music projects?

My newest release, which is available for pre-sale until September 30th, expresses my feeling about the music business. But, in a larger sense, it’s about leaving a person or situation that’s abusive. The music business can be very abusive. That’s why I’ve always taken the independent label path. When you own the label you end up abusing yourself though. LOL. I have a future-house version of “I Don’t Want To” that will be released in a few months also. I’m really excited about that too.

If the term “modern renaissance man” applies to anyone, it most definitely applies to singer, songwriter, producer, musician, mixing/mastering engineer, publisher, recording company owner Tony DeShawn. Yes, he wears many hats. However, it took a long time to develop the knowledge and skills to wear those hats well.

After leaving the Air Force, Tony enrolled at Los Angeles City College majoring in music composition where he studied piano, music theory and business. After earning an Associate in Arts degree he applied, and was accepted into the Music Arranging & Film Scoring Bachelor of Arts program (through Cal-State Northridge) at the Dick Grove School of Music in Van Nuys California. Tony says, “It was the place that taught me about “Hollywood music” and the people who created it”. Tony recalls his proudest moment after conducting his debut big-band arrangement performance. “Dick Grove pulled me aside and said, 'You’re a rough-cut diamond'."

After completing the coursework at Dick Grove School of Music, Tony set off to work on his musical destiny. My first single “Hard Attack” was released on our label Parrott Records in 1985 (named after the street Haim lived on in San Mateo, CA), which we later changed to Amazon Records because there was already a Parrot Records”. Tony credits Darnell with introducing him to the “real” music business and Haim for actually launching his recording artist career.

Tony dives further into his successes with his partnership with Haim Zion through Amazon Records. “Well, we scored kinda big with my first dance single “Hard Attack” in 1985. Radio nationwide picked it up in a lot of markets and the clubs loved it. The next single was “The Roof Is Burning Up” which we never really released. I was busy songwriting and producing new songs along with playing live locally with the band we formed called “DeShawn”. We released three more singles, “Get A Real Job” , then “Oh Girl” and “Real Lover”. The last two were remixed by popular bay area DJ Cameron Paul. I was sad to hear about his passing. Rest in peace Cameron my friend”. Tony paused a few moments then continues, “ We released my first full-length album in 1987 called “Real Lover” and the title track debuted at #92 on the “Billboard Hot Black Singles” chart. It was a great time for us. Local radio would constantly run a contest, seems like it was weekly, putting my song “Hard Attack”  up against Slick Rick’s “Children's Story”. We would always tie from the call-in vote tally even though Rick had a much bigger hit, coming out of Def Jam and all”.

So tell me about this new song you’re so pumped about. "I once heard Quincy say in an interview that you always need to leave space in the studio for God to walk through the room. And I believe God walked through my bedroom ‘cause I woke with this song in my head. I grabbed my phone, opened the Notes app and typed the lyrics to this song with the melody already in my head. After I finished, I rolled over, woke up my fiancé Paula and sung it to her. She said she loved the song but was curious why I wrote it and seemed a little taken aback by it. Once you hear the lyrics you’ll understand why. So I said, the song is about my relationship with the music business. She looked relieved when I told her that However, in a broader sense, it's about leaving a person or situation that's abusive".

So what’s the name of your song? “It’s called 'I Don’t Want To' and it’s a dance track with a Ibiza/House kinda feel. It’s at 124 BPM so it’s definitely a club joint. That’s all I’m going to say about it now. You be the judge.

Tony DeShawn's latest single 'I Don't Want To' is scheduled to be released September 30, 2019.

http://www.youtube.com/channel/UCyQ4VyyqV6efgjwnMT6JEbg

https://www.instagram.com/tonydeshawn1/

https://open.spotify.com/artist/2QyqCOfCmIo156fAPIoMrb

https://www.thizzler.com/blog/2019/10/01/tony-deshawn-i-dont-want-to-music-video.html