television: Odin Staveland (38), or simply Odin, is best known as a songwriter, drummer and occasional singer in the Haugesund group Vamp since 2008. He has also released three solo albums, most recently with blues player and former Vamp member Bjørn Berge. He is also a producer, and already when he was 18 he composed film music with his father, Vamp boss Øyvind Staveland.
Odin had not watched “Every Time We Meet” when he was asked to participate, but he clearly understood the concept and made a good impression on the first programme. Tonight it was his and Vamp's songs that were interpreted by the rest of the gang.
As usual, we constantly review the songs.
Ramon: “Tir n´a Noir” (Music/Text: Øyvind Staffelland / Kolbein Valkyd)
Ramón opens with Vamp's second most played song (21 million streams on Spotify), originally a duet with Rita Eriksen and Jan Toft from Vamp's debut album (1993). It's been given a completely different life than the original, from folk rock to pop, here with strings.
– Of course I made it my own, says Ramon. But he does not challenge. He probably had too much respect for what he thought was “the best song in the world.” Ramone sings well and it's definitely a certified version of the song, with lyrics by Vamp Kolbin Valcade's “house poet”, but the arrangement isn't very exciting. It starts with just the piano – before the house band and chorus “kicks off” a bit. A solid start.
Ingrid Helen Hovik: “On the Beach” (Odin Staffelland/Ingvar Hovland)
“I think Odin is very handsome,” Ingrid Helin says of the evening’s guest of honour. good start. She chose the first song he wrote for Vamp, the same year he joined the band on tour. She says she tried to translate it into English, which is her “musical language,” but she couldn't.
There is no need for translation, because it works perfectly in the native language. What's surprising is that she makes little use of the song. Here, if possible, there is less progress than in the first program, and the slow order is not very exciting. When will you pay, as you often do with Haysakite? I expect more when the song is interpreted. This would be very anonymous. The original isn't one of Vamp's best songs, but it does have some lift on the vocals. Ingrid Helin's version has its moments, but this gets a bit boring, unattractive, and lame.
Mary Bowen (with Øyvind Staffelland): “This Turmoil” (Odin/Ingvar Hovland)
There must have been complete jubilation in the office when Mary Bowen agreed to take part in “Hver Gang vi møde.” The program needs it. In the first round there was a higher mark, and it's not far from here either.
Auden spoke of his late mother, so naturally Mary would sing this song – written around the time of her death. Together with Odin's father, Øyvind Staffland, she takes the song in a new direction. The mood of her version is very similar to the original, but what really sets it apart is Marie's precise use of voice – with so much emotion in the performance. In a calm voice, she performs the song in the simplest way (with piano and violin in the background). There is a quivering tension in the air, heightened by Baba Øyvind's beautiful violin playing. It's not usual for Marie to sing in Norwegian, so “For the Record” adds a bit of Sámi to the song. What a lady! Glorious!
Matoma (with Jonas Bennew): “The Little Bird” (Öyvind Stoffland/Ingvar Hovland)
Was this “Liten Fuggel,” Vamp’s best song that has been streamed 23 million times on Spotify? Yes, he gets recognizable after a while, at least in the chorus, but Matoma is undoubtedly the one dragging things out for the longest tonight. Is this an attempt to make “Summer Bird in the Land of Winter,” Fenny’s work of minor genius from its 2012 premiere?
Since he doesn't sing himself, Matoma has to bring in vocal help. Jonas Ben Yod has already won several awards, including Bylarm's Star of the Year and the Spellemann Award in the Hip-Hop category for 2022. He is particularly known for his good lyrics, and here he “filled in” a bit, with the exception of the chorus. Exciting development. I also recognize some riffs from the song “Glow” by Madcon(!). The chorus comes really late, but it makes the whole thing a complete experience that works that way. Brilliantly executed!
William Christopherson: “Bullet Dance” (Odin Staffland)
William chose a song by solo artist Odin from the album “Hoohahs and Catcalls” with another Haugesunder, Bjørn Berge. This is the biggest surprise of the evening. You've never heard William like this before!
He wrote his own Norwegian text and took the song in a completely different direction, very far from Ole Ivars – and Odin himself. Maybe we could call it catchy pop rock/surf rock, as opposed to the more funky and choppy original. In terms of sound, this also works better than last time. William is the songwriter and bass player for the band Ole Ivars, but unlike last time, William is featured here as a solo artist. As house guitarist Trolls Hval unfolds and shines.
– Get a hold of yourself, William finished. I did it for good. And you probably haven't tried your hand at the dance from the movie that accompanies the song. Congratulations on the transformation!
Emily Hollow: “Moon Man” (Øyvind Staffland/Ingvar Hovland)
The song “Månemannen” from 2011 is also one of Vamp's best songs from the album of the same name. It is Vamp's “pitch song”.
Emily gets a lot right when she explains that. It shows that she has a lot of respect for it, while definitely making it her own. Above all, her voice challenges her more than last time, and the singing is not “sweet”. The song is framed by a wonderful arrangement, in which the voice serves as a “substitute” for the violin, so important to the driving of the original. They show impressive range. Emily isn't used to singing in Norwegian either, but she needs to do more of that.
Next Saturday, Mary Bowen is the guest of honor.
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