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From full disaster to the magic

the HEDERSGJEST: Elisabeth Andreassen. Show more TV: She struck through with a bang in the Eurovision in 1985 with "La det swinge" together with Hanne Kr

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From full disaster to the magic
the HEDERSGJEST: Elisabeth Andreassen. Show more

TV: She struck through with a bang in the Eurovision in 1985 with "La det swinge" together with Hanne Krogh, but have been an artist even longer. Bettan is no songwriter, so in the evening, it was her interpretations that should be reinterpreted by the other six artists in "Every time we meet" on TV 2.

Maria Haukaas Mittet: "Day by day" (Lasse Holm / Monica Forsberg)

Maria opens the show, and it feels natural that it happens with a song from Eurovision or Melodifestivalen as it is called in Sweden. She has the africa solid GP background.

Together with Kikki Danielsson won Bettan in 1982 under the name of Chips. "Day by day" is originally a typical dansebandlåt who here got the rhythm'n'blues-wrapping with brass, and five backing singers. The problem with the song is the transformation of northern norway. It does not flow as well as in Swedish. But Mary sings after each very nice, and the track and the throttle in any way take up sharply when she takes out the potential in your voice and makes the song more sophisticated than Chips ever made.

Tom Mathisen: "When the light is a sun" (Afp)

Tom is a joker in this company, and there is much that suggests that he does not take this very seriously.

And it's not him, but the narrative voice of the Valley, the very trademark of his by the side of the Prima Vera, who takes command here. It is certainly different. But the works out there?

He entertains, that shall he have. The grip with the narrative voice can only be used once, and it's a fun way to introduce themselves in this company. But - he goes there so far that it becomes a parody more than an interpretation. And it had fallen head over heels to the earth if it were not for the well adults mannskoret (or "my kids", as Tom called them). They come in much like when a rapper gets the help of a pop-inspired verses.

"Madness", says Bettan. A little humor makes itself at Kjærnes farm, so it will be interesting to see what this man does.

Trine Rein: "Danse mot vår" (Rolf Løvland / Britt Viberg)

It's a long time since Carol has made her mark, and she can be seen as an artist without the great distinctive. But this song suits her. It could have been written to her.

Carol performing "Danse mot vår – Bettan she says 'myself' is very fond of – with much awe. She choose to do it without the big grips. This version offers not on the grand challenges, but she sings quite ok and uses the voice fine.

Yet she must dare more, and hopefully she will settle a little more loose and shake a little on the curls when she is getting warmer in jersey.

Sol Heilo: "Duet" (Løvland / Hans Olav Mørk)

If not Trine dared so much, so that makes the Sun that much - also it with a Rolf Løvland-song. What this program's about is lifting a song that already has had a good life through to do it completely different.

It originally was a duet with the then 17-year-old Jan Werner Danielsen – and went right to the top in the Grand Prix here at home – is taken down and resurrected as an acoustic song with a ton of nerve. Here, there is so much soul and feeling that your voice beginning to quiver. Sol has been joined by songwriter Rolf Løvland on the organ, but it's her acoustic guitar and soft voice – and eLa n cello that drives the song gently forward. It is a touching experience.

the Sun know how much it means to Bettan. Werner, as he is called, was only 30 years old when he died in 2006. She makes a personal interpretation that can be regarded as one of the best this "Every time we meet"-season.

Petter "Disaster" Kristiansen: "La det swinge" (Løvland)

the Joker or disaster? Well, it can only go one way.

Petter is most known through cooperation with others, with Marcus and Martinus' "Electric" as the most visible. But he is also the artist on their own.

"Every time we meet" is the 29-year-old "ungdomsalibiet", and he lives up to it in this radbrekkinga. Only the chorus to "nasjonalskatten" "La det swinge" stands again, and the new text is on the russelåtnivå. He has "skrevd" it, as he says, and interpreted it literally. Only Rolf Løvland is credited, but Petter must take the blame for the verses until the chorus. With the ompa-ompa-rhythms portrayed a swingerskveld in Drammen (!), and pinlighetene stand in line. It is of course baloney, this, but no one has the wit to say it to him with pure words. All laughing and clapping with, perhaps a bit taken aback. And it should, after all, be a nice application!

"Very wild and naughty", says Bettan. "None of us had dared it," says Sol. Very little should be sacred here in the world, but this is not an interpretation, but vandalism against a song that the Norwegian people have a close relationship with. On top of this we hear up to several kazooer, while reedists and the guitar solo get the one dot on the dice. The answer to the initial question is thus: the Full catastrophe!

Lars Bremnes: "För kärlekens skull" (Kenneth Gärdestad / Ted Gärdestad)

It turns it that much, to keep us in the terminology. It is possible Lars get a little boost of Katastrofes miss here. After Bettan spoke about her late husband Tor, get Lars the help of his daughters, Anna and Nora to sing a song my dad was very fond of. For a dramaturgy. No eye is dry!

There are strong cases. Feelings turn really into, but it never gets føleri. There is a big difference. Lars has translated Ted Gärdestads great song to northern norway, and performing it with the heart outside the body. The text could have been written to both Bettan and her father. The backing is just right: a Little keyboard, guitar, bass, drums and guitar and the finest instrument of all, Lars’ voice. Nothing shall get in the way of the fine text and framføringa. He makes it bigger than Bettan myself have done. A lovely termination of the first program.

the Next Saturday is Trine Rein hedersgjest.

Castingen in this year's "Every time we meet" is the cry of the Comment
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