#Pat benatar love is a battlefield how to#

I was so mad because I thought I had a great groove. I had no idea what I was doing, but then I started liking the groove and thought, вЂMaybe I should fix this up,вЂ™ and I hit the Edit button by accident and made the 8-bar phrase a 6-bar phrase. I started programming a beat just for the hell of it, playing a boogaloo sort of thing, and I was just hitting the buttons, checking out the machine. вЂњNormally when we went into the studio, I would play live with Myron and I would add bass afterward and the vocal would be going down with the guitar and drums,вЂќ Giraldo says. Because he really didnвЂ™t know what he was doing with this new machine yet, his experimentation paved the way for a happy accident. Giraldo began work on вЂњBattlefieldвЂќ the first day he owned a Linn drum machine, which, at the time, was quite revolutionary. On the record, I ended up speeding that up and giving it a whole different texture, too.вЂќ That was even the case with вЂPromises in the Dark,вЂ™ which I wrote on the piano as a slow ballad. I try to make it totally different from its original thing. вЂњBecause whether I write the song or the wife and I write it together, or the song is given to me, I try to completely shift it around 360 degrees just to see what comes out of it. вЂњThe first thought I had was to speed it up,вЂќ he continues.

#Pat benatar love is a battlefield how to#

вЂBattlefieldвЂ™ also had a dark thing going on that was really interesting, so I thought, вЂI think I should give this a shot because I think I can do something interesting with it.вЂ™ I felt the essence of the song was there I just needed to figure out how to pull it out. I always loved вЂWorking Class HeroвЂ™ by John Lennon because of its dark nature.

I happen to love songs that have a minor feel. вЂњSomething about the song really intrigued me. вЂњThe demo was Mike singing with an acoustic guitar and it had a nice, minor-y feel to it,вЂќ Giraldo says. Written by Mike Chapman and Holly Knight, вЂњLove Is a BattlefieldвЂќ came to them via a very slow, acoustically performed demo. The song, about the angst of teen love, was the perfect follow-up for Benatar, who had become one of the strongest female voices of the late вЂ™70s and early вЂ™80s, behind such mega-hits as вЂњHeartbreaker,вЂќ вЂњHit Me With Your Best Shot,вЂќ вЂњYou Better Run,вЂќ вЂњTreat Me Right,вЂќ вЂњPromises in the DarkвЂќ and вЂњShadows of the Night.вЂќ вЂњLove Is a Battlefield,вЂќ which features some quirky production elements, became one of her most successful releases, going to Number 5 on the Billboard singles charts and becoming a Number One rock album hit.ДЄrranger, co-producer (along with Peter Coleman, who also engineered), guitarist, creative visionary and BenatarвЂ™s husband since 1982, Neil Giraldo recalls how, like with most songs sent to them (and even those he co-wrote), he always had a penchant for changing them around, sometimes quite radically. And so it was with Pat BenatarвЂ™s вЂњLove Is a Battlefield,вЂќ one of the two new studio tracks that Benatar and her cohorts recorded for the Live From Earth album in 1983. Many hits would not see the light of day if not for the insistence of the musicians, as too many times, a record company has vetoed a track that went on to become a monster song.

ItвЂ™s fortunate that most creative people are extremely confident in their visions and fight for their beliefs.