F
Former member 21294
If Midnight is next i'm going to scream.
Dog Days Are Over: The Florence + the Machine Discography Rate (And the winner is...)
- Thread starter Fortune
- Start date
F
Former member 21294
Off-topic but i resented that David Byrne-St. Vincent record so much that it hurt my stanning for Annie Clark.Here Lies Love was sweet but yeah it will not be missed.
61
When in Disgrace with Fortune and Men's Eyes (Sonnet 29) [Rufus Wainwright feat. Florence Welch and Ben de Vries] - 5.535
High: 10 x 1 – @Oleander
Low: 0 x 1 – @Petty Mayonnaise
The most recent song to feature in the rate, this is taken from Rufus Wainwright’s Take All My Loves: 9 Shakespeare Sonnets, which features… adaptations of nine Shakespeare sonnets. The album was released on April 22nd 2016 to coincide with the 400th anniversary of Shakespeare’s death. Florence forms part of an all-star cast which includes Helena Bonham Carter, Carrie Fisher, William Shatner and more. On the album, this particular track is preceded by a recitation of the same sonnet by Carrie Fisher.
It only ever reached the dizzying heights of 58th place during voting.
When in Disgrace with Fortune and Men’s Eyes is Sonnet 29, which is part of the Fair Youth sequence. The speaker wallows in misery regarding their status as an outcast and failure, but the thought of their beloved makes them feel better. Lyrically, it’s actually quite a good fit for Florence, especially in the third quatrain. The ‘lark at break of day’, ‘sullen earth’ and ‘hymns at heaven’s gate’ are all quite Florencey natural images, drawing on animals, the elemental, and the heavenly. The ‘change my state with kings’ in the final couplet also makes me think of Queen of Peace. The scale of emotion fits into her oeuvre remarkably well. Whilst I may be jealous of different qualities others possess, your love brings me so much wealth I would not change places with a king. As a lyricist, Florence is definitely heavily influenced by classical poets.
In an interview on BBC Radio 5, Rufus Wainwright describes how the collaboration came about. He was relaxing by the swimming pool of a hotel in Los Angeles with his three-year-old daughter when Florence came out in her bikini. His daughter pointed at her and said "Look, Daddy, it’s Ariel!" Florence overheard, laughed, and got chatting to him and that’s what led to this. Adorable.
Aren’t her vocals just amazing? If this had been recorded a few years ago, I fear that she may have powerhoused through the whole thing, but it’s so beautifully nuanced and she navigates it so well. I may have underscored it, but I wouldn’t have made much of a difference.
Kuhleezi is pleasantly surprised, “I wasn't expecting this to work the way it does? This is one of my favourite Shakespeare sonnets (#PretentiousLadsOfPJ), and Flo's falsetto brings me to heaven. It's definitely not a pop song, so I quite don't know how to rate it compared to the rest.” I don’t know, I think the melody is prominent enough, what is pop and what isn’t? Could Shakespeare ever be arranged to be pop? Sprockrooster also stans for the vocals, “Those high notes are angelic, as always”. AllGagaLike calls it “sweet and cute”, Oleander says it’s “a match made in heaven” and Runawaywithme sums it up as being “enchanting”.
The spell wasn’t cast on constantino, who may have suffered a mix-up, “This is pretty…BUT WHERE IS FLORENCE?? This is a Rufus Wainwright track and should never have been included in this rate…it will probably be out first and no one would’ve fought for it.”
Plethorya is an educated soul who is familiar enough to critique the orchestrations of Rufus Wainwright, “A more varied performance than we usually get from her in a single song, but the orchestrations find Rufus Wainwright on autopilot.” I’ll trust you on this, I’ve never paid the man much attention. Similarly, Push isn’t a prole who’ll fall for any old thing, “The instrumental is just... there, it's hardly necessary. All in all very forgettable.”
Florence performed this live at the album launch party, and you can watch below:
When in Disgrace with Fortune and Men's Eyes (Sonnet 29) [Rufus Wainwright feat. Florence Welch and Ben de Vries] - 5.535
High: 10 x 1 – @Oleander
Low: 0 x 1 – @Petty Mayonnaise
The most recent song to feature in the rate, this is taken from Rufus Wainwright’s Take All My Loves: 9 Shakespeare Sonnets, which features… adaptations of nine Shakespeare sonnets. The album was released on April 22nd 2016 to coincide with the 400th anniversary of Shakespeare’s death. Florence forms part of an all-star cast which includes Helena Bonham Carter, Carrie Fisher, William Shatner and more. On the album, this particular track is preceded by a recitation of the same sonnet by Carrie Fisher.
It only ever reached the dizzying heights of 58th place during voting.
When in Disgrace with Fortune and Men’s Eyes is Sonnet 29, which is part of the Fair Youth sequence. The speaker wallows in misery regarding their status as an outcast and failure, but the thought of their beloved makes them feel better. Lyrically, it’s actually quite a good fit for Florence, especially in the third quatrain. The ‘lark at break of day’, ‘sullen earth’ and ‘hymns at heaven’s gate’ are all quite Florencey natural images, drawing on animals, the elemental, and the heavenly. The ‘change my state with kings’ in the final couplet also makes me think of Queen of Peace. The scale of emotion fits into her oeuvre remarkably well. Whilst I may be jealous of different qualities others possess, your love brings me so much wealth I would not change places with a king. As a lyricist, Florence is definitely heavily influenced by classical poets.
In an interview on BBC Radio 5, Rufus Wainwright describes how the collaboration came about. He was relaxing by the swimming pool of a hotel in Los Angeles with his three-year-old daughter when Florence came out in her bikini. His daughter pointed at her and said "Look, Daddy, it’s Ariel!" Florence overheard, laughed, and got chatting to him and that’s what led to this. Adorable.
Aren’t her vocals just amazing? If this had been recorded a few years ago, I fear that she may have powerhoused through the whole thing, but it’s so beautifully nuanced and she navigates it so well. I may have underscored it, but I wouldn’t have made much of a difference.
Kuhleezi is pleasantly surprised, “I wasn't expecting this to work the way it does? This is one of my favourite Shakespeare sonnets (#PretentiousLadsOfPJ), and Flo's falsetto brings me to heaven. It's definitely not a pop song, so I quite don't know how to rate it compared to the rest.” I don’t know, I think the melody is prominent enough, what is pop and what isn’t? Could Shakespeare ever be arranged to be pop? Sprockrooster also stans for the vocals, “Those high notes are angelic, as always”. AllGagaLike calls it “sweet and cute”, Oleander says it’s “a match made in heaven” and Runawaywithme sums it up as being “enchanting”.
The spell wasn’t cast on constantino, who may have suffered a mix-up, “This is pretty…BUT WHERE IS FLORENCE?? This is a Rufus Wainwright track and should never have been included in this rate…it will probably be out first and no one would’ve fought for it.”
Plethorya is an educated soul who is familiar enough to critique the orchestrations of Rufus Wainwright, “A more varied performance than we usually get from her in a single song, but the orchestrations find Rufus Wainwright on autopilot.” I’ll trust you on this, I’ve never paid the man much attention. Similarly, Push isn’t a prole who’ll fall for any old thing, “The instrumental is just... there, it's hardly necessary. All in all very forgettable.”
Florence performed this live at the album launch party, and you can watch below:
This is going swimmingly so far!
F
Former member 21294
Here Lies Love 6/10
Not Fade Away 10/10
When in Disgrace 7.5 /10
Over the Love,Breath of Life and Spectrum(remix) can exit stage left.
Not Fade Away 10/10
When in Disgrace 7.5 /10
Over the Love,Breath of Life and Spectrum(remix) can exit stage left.
I considered it for my 11
ohnostalgia
Staff member
She/her
You're in danger.
I gave the Spectrum remix a 10 and the original an 8. Fight me.
Subwaykid
Staff member
I_CANNOT_USE_REAL_WORDS_PROPERLY_, same, except the remix is my 11.
60.
Addicted to Love - 5.57
High: 8.5 x 1 – @Runawaywithme
Low: 0 x 1 - @Jersey
We interrupt our foray into the Extras to kick out a Lungs B-side, but we're sticking with the theme of cover versions. This was 61 for most of the voting, but then I guess some of you guys really hated Shakespeare and so this cracked the Top 60. Such an achievement. Although in the UK this was a B-side on the CD single for You’ve Got the Love, in the US it was released as a digital single. With an edit of the cover art of You’ve Got the Love and everything. The mind boggles.
The story for this choice of cover is that they were asked to record a cover from Island Records’s back catalogue for the fiftieth anniversary of the label and Robert Palmer’s 1986 hit ‘Addicted to Love’ was chosen. They kept stripping it back and back until we’re left with what we have today.
Our voters were largely lukewarm on this, so let’s kick off with our high scorer. Runawaywithme loves “the dark haunting intro with Florence’s slightly angry voice, and the darker background music as well. A really nice hidden gem.” Squashua also enjoyed it, saying they would “rather have this as the Lungs cover than You've Got the Love. Sweaty & as threatening as an obsessive love should be.” I don’t think you’re going to find many allies on this one. constantino delivers some backhanded praise by saying “as far as covers go, this is good. But I’m not exactly a fan of the original and this has done nothing to change that.” Good cover of disliked song = meh, I guess.
Kuhleezi says that the track “definitely lacks something. The chorus is nice.” There’s a general sentiment expressed that something is missing. Plethorya states that it “needs more of a strut. She’s capable of it, but it’s not here”. Similarly, Pinkieshy finds it “an unusual choice of song to cover, and I don’t think she quite pulls it off. The guitar riff makes the song, and that’s missing here.” Push just says that "it's a bit insipid and I totally understand why it's not on the album."
Oleander tries to think the best of Florence, “This cover is okay. The production is very nice but Flo's sounds like she phoned this one in a bit. I guess she could have been purposely going for a nonchalant and vacant vocal on purpose to provide a contrast to the lyrics, but it doesn't work that well for me.” A ‘Britney uses Autotune as an instrument’ tea.
And what does Jersey have to say to justify that zero? “I fucking hate this song, sorry Flo!” Fair enough. To my knowledge, she's never performed it live so I doubt she's bothered.
Addicted to Love - 5.57
High: 8.5 x 1 – @Runawaywithme
Low: 0 x 1 - @Jersey
We interrupt our foray into the Extras to kick out a Lungs B-side, but we're sticking with the theme of cover versions. This was 61 for most of the voting, but then I guess some of you guys really hated Shakespeare and so this cracked the Top 60. Such an achievement. Although in the UK this was a B-side on the CD single for You’ve Got the Love, in the US it was released as a digital single. With an edit of the cover art of You’ve Got the Love and everything. The mind boggles.
The story for this choice of cover is that they were asked to record a cover from Island Records’s back catalogue for the fiftieth anniversary of the label and Robert Palmer’s 1986 hit ‘Addicted to Love’ was chosen. They kept stripping it back and back until we’re left with what we have today.
Our voters were largely lukewarm on this, so let’s kick off with our high scorer. Runawaywithme loves “the dark haunting intro with Florence’s slightly angry voice, and the darker background music as well. A really nice hidden gem.” Squashua also enjoyed it, saying they would “rather have this as the Lungs cover than You've Got the Love. Sweaty & as threatening as an obsessive love should be.” I don’t think you’re going to find many allies on this one. constantino delivers some backhanded praise by saying “as far as covers go, this is good. But I’m not exactly a fan of the original and this has done nothing to change that.” Good cover of disliked song = meh, I guess.
Kuhleezi says that the track “definitely lacks something. The chorus is nice.” There’s a general sentiment expressed that something is missing. Plethorya states that it “needs more of a strut. She’s capable of it, but it’s not here”. Similarly, Pinkieshy finds it “an unusual choice of song to cover, and I don’t think she quite pulls it off. The guitar riff makes the song, and that’s missing here.” Push just says that "it's a bit insipid and I totally understand why it's not on the album."
Oleander tries to think the best of Florence, “This cover is okay. The production is very nice but Flo's sounds like she phoned this one in a bit. I guess she could have been purposely going for a nonchalant and vacant vocal on purpose to provide a contrast to the lyrics, but it doesn't work that well for me.” A ‘Britney uses Autotune as an instrument’ tea.
And what does Jersey have to say to justify that zero? “I fucking hate this song, sorry Flo!” Fair enough. To my knowledge, she's never performed it live so I doubt she's bothered.
