Got To Keep On

This marvelous track deserves its own topic! Especially to the light of this new video rip :


https://www.youtube.com/watch?v=ry6751jNWFU
(At 36:11)

There are a lots of changes compared to the version they played in Lyon a month ago. The bassline at the beginning is much less funky and more electronic.
The disco/funky break at the middle is gone, replaced by something more in tune with the rest of the track, but with the same vocal sample (39:20). I prefer the old version overall, but some of the bits changed in this are better (the big buildup at 40:10 for example)

Here's a bit of the track as played in Lyon (at 3:59)

https://www.youtube.com/watch?v=b3HcIOTf658

There are a lots of changes compared to the version they played in Lyon a month ago.

Also discussed in the New DJ Dates thread, just in case you missed it.

Also discussed in the New DJ Dates thread, just in case you missed it.

Yeah, I missed the part talking about it, just saw the latest posts about Ed smoking

There are a lots of changes compared to the version they played in Lyon a month ago. The bassline at the beginning is much less funky and more electronic.
The disco/funky break at the middle is gone, replaced by something more in tune with the rest of the track, but with the same vocal sample (39:20). I prefer the old version overall, but some of the bits changed in this are better (the big buildup at 40:10 for example)

i prefer the older one because of its soundstage that im hearing. Very booming! The only difference i hear from my end is the disco/funky break that you mentioned.

its a minor change from my end but I hope they dont give it the 'superflash' treatment!

i prefer the older one because of its soundstage that im hearing. Very booming! The only difference i hear from my end is the disco/funky break that you mentioned.

its a minor change from my end but I hope they dont give it the 'superflash' treatment!

Maybe the disco break is still here, when the video cuts, and they added the other break ? That would be nice !

Let's praise this new track with its own topic. It's the only one of the three new tracks that didn't have one 
Let's aknowledge the greatness of the track and its visuals


https://www.youtube.com/watch?v=U-dOzugeYLU

Very catchy. And i've probably said it before, I'm happy they've done another old disco tribute in their own way like Got Glint. And like a good disco song does, you leave all your troubles at the door and just enjoy it.

Its cool they've got that (once was) an underground dance movement of voguing to this, suits it very well. The different visual styles of dancers and how they are faceless and some genderless make a nice point to it too.

I've said it before, as have others, and I'll say it again, as will others...

This track is beautiful and could very well be the new best thing ever.

Originally Free Yourself had me the most excited for the new record, but this track is just phenomenal. And those visuals are wonderful. And the bells are sublime. And the album is going to be amazing.

It is a pretty captivating visual. The interlude kinda has me confused though. Is it actually part of the track, or is it just something they add to the live track to make it more dynamic?

Either way, I'm interested to see what the final product sounds like. 

It is a pretty captivating visual. The interlude kinda has me confused though. Is it actually part of the track, or is it just something they add to the live track to make it more dynamic?

Either way, I'm interested to see what the final product sounds like.

Thé interlude is part of the track, it was in their DJ sets. Originally they had a much more funky/Disco break that I'm sad they ditched.

Thé interlude is part of the track, it was in their DJ sets. Originally they had a much more funky/Disco break that I'm sad they ditched.

Oh yes, you did a free-standing 7.06 'cut' of this track by itself from Nuits Sonores. On there, the melodic bit that comes in around 3.34 is now gone. That's a real shame (could there have been some Tom voice in there?). The big build in the current version that follows the "rain comes down like tears" bit almost feels overcooked for me. Although I will admit that the Nuits Sonores version gets a bit boring towards the end, and I like the chimes that have been added since Nuits Sonores.

The "rain comes down like tears" vocal feels out of place with the rest of the song in my opinion. I wish it said something else more fitting with the rest of the track.

Absolute love this track.
Really love the retro feel and the baseline is special.

Here's a video of a vogue dance battle where some of the moves look similar. The song at the start has similar elements like Got to Keep On has too. Like the big clap/snare and the stabby bass line with a bit of attitude.This video isn't even that old compared to when the dance movement started.

If its released as a single, it would be a cool idea with if they something like they did with Galvanise on how they paid tribute to the krumping movement.



https://www.youtube.com/watch?v=5tFBY-7MqQ8&t=209s

Have we addressed the lyrics that come in towards the end of the track - "Nothing can be..."
- before it starts transitioning into HBHG?

I thought it was just a sample initially but I'm pretty sure they are proper vocals. They follow the melody of the bassline very deliberately. And they sound kind of Aurora-ey...

Could this track actually have more vocals and we're just being treated to the stripped down live/instrumental version? It's pretty typical of how they like to play some of their tracks.

Thoughts?

Have we addressed the lyrics that come in towards the end of the track - "Nothing can be..."
- before it starts transitioning into HBHG?

You can hear those vox as early as 1.37 in the Rock In Rio, Lisboa clip at the top of this page.
I kinda addressed them in the 2nd line of my post HERE. I was hoping someone would respond at the time but no one did.

I thought it was just a sample initially but I'm pretty sure they are proper vocals. They follow the melody of the bassline very deliberately. And they sound kind of Aurora-ey...

Could this track actually have more vocals and we're just being treated to the stripped down live/instrumental version? It's pretty typical of how they like to play some of their tracks.

Thoughts?

I'm sticking to my theory that these are session vocals (Replay Heaven?), and not those of Aurora. Also keep in mind we have heard the track in DJ Sets, not just the live version. I'd be surprised if they would play a "dub" mix of the track in their DJ sets. But of course this is all guesswork...

Wow. I'm sorry, I completely missed that.

Take your point about it being in DJ sets. Though that was a whiiiiiile ago, right? Possibly before they had Aurora come in and do proper vocals? I don't know. They definitely seem to fit much better than a random sample (original or Replay Heavened version) has any right to.

They definitely seem to fit much better than a random sample (original or Replay Heavened version) has any right to.

Ah but if Replay Heaven (or any other professional session vocal team) are asked to do something, they can surely do exactly what they are asked. Hence they can make their vox fit just as well as a guest vocalist could.

EDIT: Also (I now realise) you can hear the "nothing can be" vocal towards the end of

View this post on Instagram

THIS Warehouse Project clip from last December. We had heard Eve of Destruction in October (opening track, OGR Torino). And we know that EOD contains Aurora. So if she had done those vocals by then, she would have presumably done "full" Got To Keep On vox by then too, I imagine.

I better not keep arguing this point because if I'm wrong, imma look stoopid.

I better not keep arguing this point because if I'm wrong, imma look stoopid.

I think you've presented more than enough evidence to avoid looking anything like stoopid.

Still, I'd be cool to have a full vocal on top of that magic.

Folks, we're getting old. Intelligence told me that you, Benj, already created a topic on this