@@pjjack8928 you judging another mans features is suspect I hope you're either on that side of the fence or a female no DISRESPECT all due RESPECT.Also very underrated vocals Imo it's as good as music soul child auto tune using self
I like the difference. Ne-Yo sounds calm and just finished with the relationship. In turn Beyonce sounds like she hit her breaking point and had a point to prove(in the nicest way possible beehive)in the way she song it
@@BlueSunShineDM lol I totally get what you're saying. She sounded far more emorional. He sounded very nonchalant. But I do see why he gave it too her instead. She brought something to it that he just didn't have.
People who claim Beyoncé’s version as an independence anthem confuse me. Like, her version sounds like she’s trying convince herself of all the lyrics (which... really rings true for me, at least). It’s odd to me when she has all these legit “I’m better without you” songs and they single out this one.
And the funny thing is that these two songs ( irreplaceable and take a bow) are so similar. I mean they look alike. Talk about the same thing. I love them haha
His version sounds kinda sad, played, disappointed that he even gave "her" a chance Bey's version sounds pissed and like "I'm gonna show you you messed up, you ain't shit"
@@elmal316 I feel like his version sounded more scorned like "I'm saying I'm over you, but I'm still salty", but Beyonce's seemed more self-assured like "I'm over and done and on to the next."
Bey hive member here, when the controversy about beyonce getting a writing credit on the song was going on. Neyo came out and said his version and her version were two different songs. After listening to this… they are the exact same👀
I know!! Reading the linear notes has always been a thing to me. I always did it as a kid and I didn’t even know what a producer was. But I had the inside cover of the album. Everything going digital really took that from me. But I still live music. Beyoncé did actually add to this song vocally.
Originally Ne-yo wrote this to sing it himself then L.A. Reid told him to sell it because the song sounds like a song a woman would sing and sold it to Beyoncé AFTER Mary J Blige and other female artists turned it down.
@Robert Lee, Countertenor some guys are broke dusties that have no pride. So I'm sure that this situation has happened to someone somewhere. 🤣🤣 Let's not forget their sugar mommies out there in the world.
Christye Gibbs nah it was his own decision to give it to a female singer he wasn’t “told” it would be sexist. And beyonce didn’t “grab” it he sold it to her willingly lmao
Easiest 10 Million dollars he ever made : that’s how much in royalties he made from writing this song. The money is publishing not record sales people!
@@wjsjallday He should get around 3-4 cents for every iTunes sale of the song (and album) for being the songwriter, which gets split with his publisher. And maybe a few more cents for being a producer on the song.
There's like 5 different Co-Writers on this song as he didn't write the song all by himself. Mikkel and Tor got Writer credit for the instumental track they composed and arranged. Beyounce did some additional toplining on the final song. The current mechanical statutary Mechnaical royality rate is 9.1 cents. But in contract agreements with the label almost no one gets 100% of the full rate due to the *Controlled Composition* clause that reduces the rate by 25% which is pretty standard. On top of that, many of the Co-Writers are either in Admin deals or Co-Pub deals. In a Co-Publishing deal, the publisher owns 50% of the copyrights of the composition a 75/25 split deal plus a hidden Administation fee. Mechanical Royalities are solely based on digital downloads and physical sales each time the Composition us dupicated. Back then Record sales were much higher but was in the middle of decline. Today record sales are so low that streaming has taken over. Record Companies are struggling yo survive due to the massive decline in Record sales that they are restructing recording contracts with 360 provisions to bring in more profits. Mechanical streaming royalties pays so little that it's far less than Mechanical Royalties for physical and digital downloads as we are talking about 0.0038 cents per stream.
“I give other people credit where credit is due, like Beyoncé really did vocally arrange (‘Irreplaceable’),” Ne-Yo says. “So for someone to come in and take my credit because they are who they are? That doesn’t work for me. I don’t care who you are. ... I’m not going to give you something you don’t deserve.”
Remember Beyoncé was like I wrote this song for the ladies when she never wrote shit. 🙄. Then got exposed. Hahahah. The hilarity of the music industry.
Mel Sara cos this music industry highlight such crappy artists now so people have to cling to Beyoncé for some actual talent cos even though she a lyric thief you can’t deny she can entertain live. All those good artists of the 90s n 00s are gone. 😢
I really like this version. I won't jump into the songwriting debate here, but will say that over the last 15+ years the way that songs are credited has changed. For example, most old school songs have 2 to 3 writers at most, with the exception of bands that write their own material like The Beatles or Rolling Stones. Nowadays, many pop songs will have 5+ writers. Songwriting is like a marriage and can you imagine being married to four other people? Unless polygamy floats your boat. Jk. Lol. This, in my opinion, has contributed to a decline in quality. Too many cooks spoil the broth. That's why arrangers, producers and musicians are credited separately. These practices can drive away artists who believe enough in themselves to not give others undue credit for their hard work. Dolly Parton was one of those people. Elvis wanted credit for I'll Always Love You and offered her good money for her song. She refused and kept her song, and the rest is history.
I think a lot of the difference is that the producers, arrangers and musicians are less likely to be credited separately now as well as the process itself. In the past, you'd have a songwriter, or maybe 2-3, get together with a guitar or piano and write some lyrics and a vocal melody to some chords. Then they'd take it to a producer who would help come up with additional arrangements but only get credited as the producer. Now, you're more likely to have some producers or beat makers come up with an instrumental track, then send it to some songwriters to come up with lyrics and a melody to go with it, and then they'll send it back to the producer in the form of a demo, who then sends it around to a bunch of singers to see which ones are interested in the song, take them into the studio to record it, let the singer change a couple words to get songwriting credits, maybe get a rapper to do a verse, and add some finishing touches to the production. So now you might have 1-2 producers, 1-2 songwriters, the singer, the rapper, all credited, maybe even more if there's a sample. But the lyrics and vocal melody are still written by only a couple people, just like in the old days. The difference is because they're writing to a producer's instrumental, that affects what kind of song they can write, which can be a source of inspiration for the songwriter if the instrumental makes them feel a certain way, but it can also be restrictive. Also I should point out there's still a lot of pop singers who are legitimate singer-songwriters who do the "writing to track" part themselves or maybe with one co-writer, and even a few who write songs in the old fashioned way where they start with some chords, a melody and lyrics and only later do they go to a producer to see if they wan to make a few little changes, and add in the arrangements. Also with the singers that don't really write and get "undue credit", it's still mostly just a PR thing, most of the royalties still go to the songwriters that did most of the work. For example, on Ariana Grande's Pharrell Williams songs on Sweetener, he owns 95% of the songwriting/royalties while she only has 5%.
This comment has aged with grace and still rings so true. Now songs have 6-10 writers and it’s declined even more since! I love the note about Dolly wanting to retain her rights and credits to the song because look at her now....she allowed one of the most amazing singers to sing it and solidified it as a timeless crossover. The song has left a long standing legacy. And Dolly does great things with the revenue she makes from the song, always giving back.
Ne-yo was being nice lol. Beyonce did not write this song. That does not take away from how well Beyonce delivered it which was AMAZING. But facts are facts.
Verse 1] To the left, to the left Everything you own in the box to the left In the closet, that's my stuff Yes, if I bought it, please don't touch And keep talking that mess that's fine But could you walk and talk at the same time And, it's my name that's on that jag So remove your bags, let me call you a cab [Pre-Chorus] Standing in the front yard Tellin' me, how I'm such a fool Talkin' 'bout, how I'll never ever find a girl like you You got me twisted [Chorus] You must not know about me, you must not know about me I could have another you in a minute Matter of fact, she'll be here in a minute, baby You must not know about me, you must not know about me I can have another you by tomorrow So don't you ever for a second get to thinkin' You're irreplaceable [Verse 2] So go ahead and get gone Call up that dude and see if he's home Oops, I bet you thought, that I didn't know What did you think I was putting you out for? 'Cause you was untrue Rollin' him around in the car that I bought you Baby, drop them keys Hurry up before your taxi leaves [Pre-Chorus] Standing in the front yard Tellin' me, how I'm such a fool Talkin' 'bout, how I'll never ever find a girl like you You got me twisted [Chorus] You must not know about me, you must not know about me I could have another you in a minute Matter of fact, she'll be here in a minute, baby You must not know about me, you must not know about me I will have another you by tomorrow So don't you ever for a second get to thinking You're irreplaceable [Interlude] To the left, to the left To the left, to the left
i love listening to demo tracks of songs they’re so cool Like Ester Dean’s demo for Rihanna’s What’s My Name and S&M, Sia’s version of Diamonds by Rihanna and this was great too
Lovely Lovely... I still prefer Beyoncé's though. That "You could pack all your bags we're finished, 'Cause you made your bed, now lay in it" just sealed the deal.
@@Damen42 Nah. Sorry but Bey just delivered it way better. More punch and pow she gave it. And I'm not even a fan of hers like that. More into Neyo generally speaking. But a spade is a spade..so that's what I'm calling it.
Now you see where people in the industry respect Beyonce ??? She took this song to the next level and she also added her own harmonies which brings the song to life .. Neyo is a beautiful being that has a beautiful voice and writes beautiful lyrics .... 💓
@@dyedye8584the song stayed #1 for 11 weeks straight without streaming but she overhyped. Just say you don’t like her and move on no need to try and tear someone down because of your personal preference
It was cool to finally get to hear Neyo's version, but I aint gon lie.... I was missing Beyoncé's vocal arrangement throughout the song. The way her BGVs were set up, and even the minor changes in vowel placement when singing the lead really brought this song to life for me.
