Exploring the Complexities of Folk Music through Jim Croce's "Operator"

Folk music, with its rich history and introspective storytelling, has a way of embedding itself into the societal fabric, touching on themes of love, loss, and personal journey. Jim Croce's "Operator (That's Not The Way It Feels)" is a prime example of folk's timeless resonance, set against the backdrop of a bygone era of phone operators and hand-written matchbook scribbles.

The Art of Storytelling in Music

Jim Croce's "Operator" serves as a poignant reminder of a time when phone boxes dotted the streets and a call to the operator could connect you to a distant lover. The song's narrative unfolds through the protagonist's plea for assistance in finding a lost contact, encapsulating the raw emotion of heartache and nostalgia. His soft, smooth voice layered over intricate plucked sounds and deeply poetic lyrics creates a complex auditory tapestry that is both soothing and powerful.

Intricacies of Folk Composition

One can't help but marvel at the complex chord structures and meticulous harmonies that underpin Croce's music. Unlike much of contemporary folk, which often leans towards simplicity, Croce's compositions challenge the listener with their musical depth. This complexity is not just a display of technical skill but also a way to evoke a myriad of emotions, making the song feel both understated and overwhelmingly potent at the same time.

The Evolution of Communication

Croce's song also serves as a time capsule, a glimpse into a world where phone operators were a lifeline for those seeking connection. In today's digital age, the concept of waiting in line for a chance to speak to a loved one seems almost archaic, yet it adds a layer of poignant nostalgia to the song. The role of the operator, now largely obsolete, symbolizes the human element in communication that we often take for granted today.

Loss and the Music Industry

Reflecting on Croce's untimely death in a plane crash, it's clear how the trials of the music industry can shape and sometimes cut short the careers of its brightest stars. During a period of burgeoning air travel for musicians, many took risks navigating tight schedules, leading to tragic outcomes. Croce's passing is a stark reminder of the industry's harsh realities and the risks taken in pursuit of sharing their art with the world.

Bridging Past and Present

Despite the passage of time, the themes Croce explores in "Operator" remain deeply relevant. The song's exploration of lost love, personal reflection, and the passage of time are universal experiences that continue to resonate. In comparing Croce's work to modern folk music, such as Taylor Swift's "Folklore," we see a continuum of storytelling and emotional depth, albeit with differing complexities.

A Personal Musical Journey

In exploring the facets of Croce's legacy, we also recognize the influence of personal relationships on creativity. Croce's marriage to songwriter Ingrid Croce adds another dimension to his music, with shared experiences and mutual support acting as a foundation for artistic expression. This synergy is evident in the nuanced layers of his compositions, showcasing how personal connections can enrich musical output.

Carrying the Legacy Forward

As we immerse ourselves in the intricate world of Jim Croce's folk music, it's crucial to acknowledge the continuous evolution of the genre. While many great artists like Croce have been lost to tragic circumstances, their legacy lives on, inspiring new generations of musicians to explore and push the boundaries of folk music. Whether through traditional compositions or modern reinterpretations, the essence of folk remains a powerful medium for storytelling and emotional expression.

Understated and complex, Jim Croce's music invites us to pause and reflect on the rich tapestry of human experiences he so eloquently captures. As we continue to enjoy the evolving landscape of folk music, let us not forget the poignant contributions of artists like Croce who have paved the way for future storytellers.

Before you go, I am halfway through releasing my album, "Fable." The darker side is available on YouTube and Spotify, with the lighter side soon to follow. The entire album can be found on my website bethroars.com and Bandcamp. I’d love for you to check it out. Thank you for your support, and I look forward to sharing more with you soon!

The Fusion of Cultures in Japanese Folk Metal - Unveiling Wagakki Band

The world of music is a vibrant tapestry, woven together with sounds from diverse cultures blending in a mesmerizing symphony. One of the bands that perfectly encapsulates this fusion of cultures is Wagakki Band. Combining the hauntingly beautiful timbre of traditional Japanese instruments with the electrifying energy of metal, Wagakki Band stands as a testament to the power of musical unity and innovation.

Who is Wagakki Band?

Wagakki Band is a group of exceptionally talented musicians who blend traditional Japanese music with modern rock and metal. The term "Wagakki" refers to traditional Japanese musical instruments, and these instruments are a defining feature of the band’s unique sound. The band's lineup includes a range of classical instruments, such as the koto, shamisen, and shakuhachi, paired with conventional rock instruments like electric guitars and drums. This combination results in a unique musical experience that is both nostalgic and groundbreaking.

Traditional Instruments: A Quick Overview

The Koto

The koto is a traditional Japanese string instrument, part of the zither family. Often played in the imperial courts, the koto was considered an instrument for the nobility. Its beautifully serene tone can instantly transport listeners to an older, more refined era.

The Shamisen

The shamisen is a three-stringed instrument resembling a lute, known for its distinct percussive sound. Unlike most string instruments, the shamisen does not have frets, allowing musicians to slide between notes and create a fluid, seamless melody.

The Shakuhachi

The shakuhachi is a bamboo flute associated with Zen Buddhism. Historically used in meditation, its hauntingly deep tones can evoke a sense of profound tranquility and introspection.

The Art of Vocal Expression

In Wagakki Band’s music, vocal techniques are as varied and rich as the instrumental sounds. The band's vocalist, Yoko, employs a range of traditional singing styles, blending the wide, flowing vibrato characteristic of Japanese Enka music with the powerful, modern techniques found in Western rock. This duality in vocal expression exemplifies how different musical traditions can clash and meld into something extraordinary.

The Universal Language of Music

What stands out in the musical mix of Wagakki Band is its embodiment of unity through diversity. There’s a scientific basis to this notion; a 2015 study found that listening to unfamiliar cultural music can significantly alter our cultural attitudes and enhance empathy. Music, therefore, isn’t just a medium for entertainment; it acts as a bridge between disparate cultures, bringing people together in a shared emotional experience.

Modern and Traditional: A Perfect Harmony

Wagakki Band’s cover of popular songs, such as "Bring Me to Life" with Amy Lee of Evanescence, showcases their mastery of blending modern Western rock with traditional Japanese influences. Combining Western and Eastern musical elements creates a soundscape that is fresh yet familiar, resonating deeply with a global audience.

The Experience of Wagakki Band

Listening to Wagakki Band is not merely an auditory experience; it's an emotional journey. The intricate melodies of the koto and shamisen intertwined with the evocative notes of the shakuhachi, underpinned by the strong beats of rock drums, create an unparalleled musical tapestry. The visual spectacle of their performances, often featuring traditional Japanese attire and theatrics, adds an additional layer of cultural richness and depth.

Conclusion: The Power of Musical Fusion

Wagakki Band’s unique blend of traditional and contemporary music underscores the transformative power of blending cultures. By respecting their cultural heritage while embracing modern influences, they offer a harmonious balance that celebrates diversity. Whether you're a fan of metal, rock, or traditional Japanese music, the fusion presented by Wagakki Band invites listeners to appreciate the universal language of music in all its forms.

Explore the beauty of cultural fusion in music by listening to Wagakki Band and opening yourself to the encompassing unity that music provides.

The Heritability of Musical Talent: Nature vs. Nurture in the World of Music

Introduction

The age-old debate of nature versus nurture persists in various aspects of life, and musical talent is no exception. This blog post delves into the intriguing question: is musical talent something we are born with, or is it cultivated through practice and environment? Using the case of Kristin Chenoweth and findings from genetic studies, we explore the elements that contribute to musical ability and how they interplay between nature and nurture.

Kristin Chenoweth: A Case Study

Kristin Chenoweth, a renowned musical theater and opera singer, offers a fascinating lens through which we can examine the nature versus nurture debate. Adopted as a baby, Kristin discovered later in life that her biological father was Billy Etheridge, a ZZ Top musician. This revelation posits an interesting question: how much of Kristin's musical prowess can be attributed to genetics?

The Role of Genetics

There's growing evidence to support the notion that certain aspects of musical talent may indeed be hereditary. Twin studies have shown suggestive links between genetics and musical abilities. Specific chromosomes have been identified that relate to musical proficiency, according to genetic tests like 23andMe. However, having these "musical genes" merely lays the foundation; they do not guarantee success in music.

Practice Makes Perfect

While genetics may provide a natural inclination toward music, the environment in which one is raised and the amount of practice one puts in play crucial roles. Even if one possesses the genetic potential for musical talent, it requires nurturing through persistent practice and quality instruction to fully develop those abilities. Kristin Chenoweth's training in both musical theater and opera exemplifies how dedication and hard work can elevate one's natural talent.

Gene Expression and Epigenetics

Recent studies in epigenetics suggest that the effects of practice might even go beyond personal development. There are theories that consistent practice can change the way genes express themselves, leading to physical changes in the brain and body that enhance musical abilities. Remarkably, these changes could potentially be passed on to future generations, blending nature and nurture in a fascinating cycle.

Nature and Nurture: A Synergistic Relationship

The interplay between inherited traits and environmental influences is complex and synergistic. Kristin's aptitude for music might be partially inherited from her biological father, but her success is equally a product of the nurturing environment provided by her adoptive parents and her rigorous training. Thus, musical talent seems to be a product of both nature and nurture working in tandem.

Conclusion

The heritability of musical talent reflects a nuanced interplay between our genetic makeup and the environments in which we develop. While genes may prime us with a propensity for certain skills, it is through dedicated practice, training, and perhaps a bit of fortuitous environmental influence that we truly unlock our potential. Kristin Chenoweth stands as a testament to this blend of nature and nurture, reminding us that both elements are vital in shaping the musical talents that captivate and inspire us.

Final Thoughts

Are you musically inclined either by nature or nurture? Have you seen examples in your own life or others' that support or contradict the ideas shared in this post? Share your thoughts and engage in the conversation, because understanding the essence of human talent is a journey that benefits from diverse insights.

Thank you for reading! If you found this exploration of musical talent intriguing, consider exploring more about the interwoven paths of genetics and environment in other fields of human endeavor. Don't forget to practice your own skills and realize the potential that lies within you, waiting to be nurtured into something beautiful.

The Art of Vocal Emotion: A Deep Dive into Expressive Singing

In the world of music, the ability to evoke emotion through song is a treasured skill. Singers like Linda Ronstadt are masters of this art, bringing deep emotional resonance to every note. Today, we'll explore the themes of vocal emotion, technique, and expression woven throughout our latest analysis.

Embracing Vocal Diversity

Singers often have versatile backgrounds, mastering a variety of genres and styles. For instance, Linda Ronstadt isn’t limited to one genre; she thrives in opera, Mexican music, pop, and folk. This broad spectrum of skills not only showcases her talent but also allows her to adapt and infuse different elements into her performances. Embracing vocal diversity enables singers to connect with wider audiences and express a multitude of emotions through different musical lenses.

Understanding Cry and Sob in Singing

One pivotal point in mastering vocal emotion is understanding the difference between a cry and a sob sound. A cry often involves a higher larynx position, creating a tighter, more intense sound. On the other hand, a sob usually occurs with a lower larynx, resulting in a more open, resonant tone. Touch your Adam's apple and perform both sounds to feel the difference. This technique isn't about achieving a specific position but rather allowing your voice to move naturally to express varied emotions effectively.

The Role of Anatomy in Singing

Our anatomy plays a crucial role in how we produce sound. For a singer, understanding the role of the soft palate and the tongue is essential. Raising the soft palate and moving the tongue forward create space and resonance, crucial for a powerful vocal performance. This manipulation can also affect how the sound cuts through as well as its warmth. The "letterbox shape" mouth is frequently used in musical theater for a sound that is both vibrant and resonant.

Emotionally Driven Vocal Choices

Our vocal expression is closely tied to our emotions. Just like in everyday conversation, our voice changes to match our feelings. This principle is vital in singing, where mixing resonant tones with breathy ones can convey complex emotions. The real artistry lies not only in the logical understanding of anatomy and technique but also in the intuitive, emotional choices made during a performance. Effective singing training involves breaking down these moments and then letting them flow naturally to create a seamless, emotionally charged performance.

The Importance of Vowel Openings

One intriguing technique in singing is focusing on the vowel sounds within words. For example, in the word "time," a singer may extend the vowel sound ("ah") and quickly settle on the consonant. This practice, which I liken to "chomping on a burger," ensures a rich, open vowel sound that enhances the emotional impact of the performance. It might seem quirky, but it's an effective way to teach the importance of vowel emphasis in singing.

Balancing Technique and Artistic Expression

While having a solid technical foundation is important, singing isn't just about perfect technique. Sometimes, a slight tightness or imperfection can add the emotional "spice" needed to convey a deeper feeling. Balancing free, baseline technique with moments of intentional deviation enables a singer to maintain vocal health while exploring diverse emotional landscapes.

Conclusion: The Emotional Journey of Song

Singing is an intricate blend of technical skill and emotional communication. It requires an understanding of one's vocal anatomy, the ability to adapt different techniques, and most importantly, the emotional intuition to bring those techniques to life.

If you're interested in seeing these principles in action, explore more about celebrated artists like Linda Ronstadt who seamlessly integrate diverse vocal styles and emotional depth in their performances. And remember, the journey of vocal mastery is continuous, with every note and phrase bringing you closer to becoming an evocative, compelling singer.

For more insights, tips, and discussions on vocal techniques, be sure to stay tuned to our blog and join our community of vocal enthusiasts. Let's continue exploring the rich, expressive world of singing together!

The Harmonious Connection: Celebrating the Emotive Power of Music

Introduction

In a world teeming with noise and distractions, music stands as a universal sanctuary—a space where emotion, storytelling, and raw human experience converge. Whether it's the grit of a country singer or the subtle complexities of a well-strummed guitar, the beauty of music lies in its ability to touch the soul. Today, let’s dive into the artistry that makes music more than just sound, focusing on the vocal nuances and emotional depths that turn a song into an unforgettable experience.

Emotional Resonance: The Heartbeat of Music

It's a moment we've all experienced—hearing a song and feeling an immediate connection as if the artist is capturing your very thoughts and emotions. The sheer simplicity and rawness of a well-sung lyric can evoke powerful feelings and memories. Imagine listening to a song and feeling the weight of its emotional fabric. The singer's voice might crack, allowing vulnerability to seep through the melody, turning each note into a shared human experience.

These vocal imperfections aren’t flaws but rather are integral elements that convey genuine emotion. A well-placed breath, a crack in the voice, or the emphasis on consonants can turn simple lyrics into a powerful narrative.

The Art of Storytelling Through Song

Country and folk music epitomize the essence of storytelling. In these genres, the narrative is often the core of the song, weaving tales that are both deeply personal and broadly relatable. Artists like Zach Bryan embody this by drawing on personal experiences and setting them against simple yet captivating melodies.

There’s a unique beauty in these stories—they emerge from the fabric of daily life, spun into lyrical gold through raw and heartfelt narration. The simplicity of the instrumentation often accentuates the song's core message, allowing the vocal performance to take center stage.

Crafting the Perfect Imperfection

In the world of polished productions and auto-tune, there's something undeniably captivating about the raw, unrefined moments in a song. Allowing the voice to break, embracing the grit and grain, adds a layer of authenticity that cannot be manufactured. It’s this imperfection that listeners often connect to, a reminder that behind the polished facade, there's a human being with real thoughts, emotions, and vulnerabilities.

Techniques like word painting enrich the listening experience by adding tonal color and texture to each word, making it more than just a lyric but a fully sensory experience. When artists integrate these nuances into their music, they turn their songs into immersive emotional landscapes.

The Legacy of Influences

Behind every great artist lies a tapestry of influences and stories. For instance, the rich production techniques used by Ryan Hadlock, known for his work with the Lumineers and other prominent artists, blend sophistication with an organic feel. This perfect balance ensures that the production enhances, rather than overshadows, the emotive essence of the song.

Similarly, artists often draw from personal histories and familial traditions. Zach Bryan, for instance, brings his unique background as a Navy man into his music, painting vivid stories that resonate with authenticity and raw emotion.

Conclusion

The true power of music lies not in its perfection, but in its ability to convey a spectrum of human emotions through imperfect means. It’s in the vulnerability, the storytelling, and the raw essence of the sound that we find connections that transcend the superficial. So next time you listen to a song, take a moment to appreciate the grit, the breath, and the imperfections. They are the touchstones of real, heartfelt music that speak directly to the soul.

The Emotional Power of Music: An Exploration Through Kurt Cobain's Vocal Mastery

Music has an undeniable power to evoke deep emotions and connect us to an almost primal sensation. Kurt Cobain, the legendary frontman of Nirvana, exemplifies this profoundly in his MTV Unplugged performance of "Where Did You Sleep Last Night." In this blog post, we will explore how Cobain’s vocal techniques and emotional delivery highlight the intricate relationship between music and empathy, delve into the historical roots of the song, and discuss the transformative power of music in social understanding.

The Surprising Role of Yodeling in Cobain’s Performance

When you think of Kurt Cobain, yodeling isn't typically the first thing that comes to mind. Yet, in this haunting performance, Cobain intertwines elements of yodeling into his usual singing style, pushing the boundaries of what we expect from his music. This vocal technique, typically associated with country music and other artists like Alanis Morissette, adds an unexpected layer of complexity to his performance.

To achieve a similar yodel, it’s crucial to find the correct vocal range where the transition between chest voice and head voice is seamless. Adjusting the key of a song to better suit one's natural voice isn't cheating—it's adapting to one's unique vocal instrument.

The Roots and Revitalization of "Where Did You Sleep Last Night"

Understanding the roots of "Where Did You Sleep Last Night" provides context for its emotional impact. Lead Belly’s version, which Cobain was inspired by, merges elements from two older songs: "In the Pines" and "The Longest Train," dating back to at least 1870 from the southern Appalachian region.

Cobain’s rendition of the song returns to its folk origins while infusing it with his raw, grunge authenticity. The lyrics, steeped in eerie and sorrowful imagery, explore themes of betrayal and desolation, adding to the song's haunting allure.

The Empathy Connection: How Music Bridges Human Emotions

Music’s role in our lives extends beyond mere entertainment. It acts as a bridge that connects us emotionally and intellectually with the world and each other. There are two types of empathy that music taps into: affective empathy, where we physically feel the emotions the music conveys, and cognitive empathy, where we intellectually comprehend the artist's message.

Studies show that listening to music activates brain areas involved in affective empathy, allowing us to feel along with the music. When playing or analyzing music, the brain also engages cognitive empathy, fostering a deeper understanding of the emotions and stories behind melodies and lyrics.

Navigating Vulnerability Through Music

One of the most striking elements of Cobain’s performance is his willingness to embrace vulnerability. His open, gritty delivery of the song reveals a profound level of emotional exposure, offering the audience an unfiltered glimpse into his soul. Musicians like Cobain often act as emotional conduits, channeling their pain and experiences into their art, making them both extraordinarily resonant and heartbreakingly fragile.

Music as a Healing Force

For many, music serves as a form of catharsis. It can be a therapeutic outlet for processing and expressing deep-seated emotions. Cobain’s raw vocal style in "Where Did You Sleep Last Night" stands testament to this therapeutic power. Despite battling his own demons, Cobain’s music remains a powerful beacon of empathy and connection for listeners, helping them to navigate their emotions and experiences.

Conclusion

Kurt Cobain’s MTV Unplugged performance of "Where Did You Sleep Last Night" isn't just a showcase of his vocal talent but a profound exploration of music's emotional power. By delving into the roots of the song, utilizing unique vocal techniques, and embracing vulnerability, Cobain's rendition transcends mere performance, becoming a shared emotional experience.

As we listen and connect to these musical moments, we are reminded of music's unique ability to break down barriers, foster empathy, and bring us closer together. Whether through yodels or hauntingly raw lyrics, the emotional resonance of music like Cobain's continues to thrive, reminding us all of our shared human experience.

Bonus: Discover More

If you're intrigued by the emotional depth of music and want to explore further, check out some recent works that aim to balance darkness and light. Beth Roars' album "Fable" is available on YouTube and Spotify and presents a journey from darkness into light.

Creating Beauty Through Pain: The Emotional Power of Metal Music

Metal music often gets a bad rap for its intensity and aggressive sound. However, beneath the layers of distortion and fierce vocals lies a profound emotional depth. One need only delve into songs like Avenged Sevenfold's "So Far Away" to uncover the poignant themes of grief, loss, and healing that resonate deeply with listeners. In this post, we'll explore how metal music channels complex emotions and serves as a powerful outlet for both musicians and fans to navigate the turbulent waters of human experience.

The Duality of Emotional Expression

Metal music, at its core, is a genre that thrives on emotional expression. Whether it's anger, despair, or sorrow, the raw and unfiltered nature of metal allows artists to convey feelings that might otherwise remain suppressed. Avenged Sevenfold's "So Far Away," for instance, is a prime example of how the genre can articulate the pain of losing a loved one. This song, written in the wake of the band's drummer The Rev's passing, encapsulates the gut-wrenching grief and the bittersweet joy of remembering his life.

The Role of Vocal Techniques

One of the most fascinating elements of metal music is the vocal technique used by artists. M. Shadows of Avenged Sevenfold employs a significant amount of nasality in his tone, which gives his voice a distinctive sound that cuts through the heavy instrumentation. This unique vocal style amplifies the emotional weight of the lyrics and creates an intimate connection with the listener.

Interestingly, vocal techniques in metal vary widely among artists, making each voice unique. Whether it's the rhotic R sounds, nasality, or the careful placement of vowels and consonants, these techniques add layers of meaning and expression to the music. For some, these methods work brilliantly; for others, they may not resonate as well. It's a journey of trial and error to find what best conveys the intended emotion.

The Healing Power of Music

It's well-documented that music can be a powerful tool for healing. The grief songwriting process, developed by Dalton and Crite, demonstrates how creating music can help individuals move through the stages of grief. This method allows people to express their complex emotions, feel validated in their experiences, and build coping strategies. For Avenged Sevenfold, writing "So Far Away" was not just a tribute to their fallen bandmate but also a crucial part of their grieving process.

The process of writing and performing such deeply personal music provides an outlet for the emotional turmoil that accompanies loss. It offers a way to honor those who have passed and helps the band—and their fans—find solace in shared experience. The presence of joy and sadness in the music mirrors the duality of grief itself, capturing the unpredictable ebb and flow of emotions that come with loss.

Conclusion

Metal music is far more than just aggressive sounds and heavy instrumentation. It's a genre that can beautifully capture the full spectrum of human emotion, from rage to sorrow. Songs like Avenged Sevenfold's "So Far Away" serve as a testament to the healing power of music, demonstrating how beauty can emerge from pain. As listeners, we are offered a glimpse into the artists' souls, allowing us to connect with them on a deeply personal level and find our own paths to healing.

If you are a fan of metal or simply someone looking to understand how music can serve as a profound emotional outlet, take a moment to listen closely to the lyrics, the vocal techniques, and the instrumental choices. You might find that within the roaring guitars and thunderous drums lies a heart beating with the same emotional struggles and triumphs that we all face.

Rediscovering the Magic of Bossa Nova Through Laufey's Vibrant Sound

There’s something entrancing about discovering new music that reaches into the heart of classic genres and brings them into the present. Today's spotlight is on Laufey, an Icelandic singer who’s weaving the timeless charm of Bossa Nova into her modern, viral musical creations.

A New Voice for a Classic Genre

Laufey isn’t merely replicating Bossa Nova; she’s infusing it with contemporary flair and making it relevant for today's listeners. Her music, while reminiscent of legendary Bossa Nova, is approachable, relatable, and distinctive, bringing a fresh, modern twist to the genre. It's music that you’d want to listen to, lean in to understand, just like the detailed, nuanced style that Bossa Nova has always been famous for.

Vocal Techniques: Where Classic Meets Contemporary

Laufey’s vocal delivery is a studied blend of contrasts. The way she plays with her vocal cords—switching between heavy, thick vocal folds and light, thin ones—creates a textured, smooth, and expressive sound. It's this ability to modulately manipulate her voice that brings a sense of depth and richness to her songs, making each listen a new experience. Her controlled breathiness in the higher registers, coupled with her strong, almost aspirate tones on the lower notes, is mesmerizing.

Influences and Homages

The influences on Laufey’s music are as eclectic as they are profound. Her wide and wobbly vibrato is reminiscent of Ella Fitzgerald, a clear nod to her jazz roots. But Laufey’s music isn’t just a tribute; it’s an innovation. Her lyrics are modern and relatable, often exploring themes of unrequited love and introspection through a lens that’s unmistakably contemporary.

Yet, Laufey isn't just about vocal prowess. Every artistic aspect of her music points back to a rich cultural narrative. Her performances are intimate yet grand, quiet yet impactful. She carries the influence of her Icelandic heritage, where storytelling through music is a deep-rooted tradition. This mix of cultures and styles emerges as a compelling new voice in the music world.

The Power of Storytelling in Music

One of the most enchanting aspects of Laufey’s music is her storytelling. Her songs, with a touch of humor and raw emotion, easily resonate with listeners. There’s a sense of personal conversation, of sitting with a friend and sharing secrets through music. This storytelling draws listeners into an emotionally rich and vibrant experience, turning a simple melody into an evocative journey.

The Intersection of Tradition and Modernity

Laufey's style is a testament to the timeless allure of Bossa Nova and its ability to evolve. By seamlessly blending the charm of Bossa Nova with modern musical elements, Laufey is not just reviving a genre but evolving it. Her ability to balance the laid-back rhythms and melodies of Bossa Nova with the energetic and expressive elements of contemporary music speaks volumes about her artistry.

The Healing Power of Music

More than ever, in today's fast-paced and often stressful world, music serves as an essential balm for the soul. Laufey’s calming Bossa Nova melodies don't merely entertain; they soothe and offer a form of tranquility that’s rare and needed. Her music is like a blissful retreat, a reminder that harmony and peace can be found in the soft, rhythmic beats of a Bossa Nova song.

Studies have long highlighted the therapeutic benefits of music for our mental well-being. Laufey’s music, with its gentle rhythms and soothing vocalizations, aligns perfectly with this, offering a haven of calm amidst the chaos.

Conclusion: A Rising Star

As we delve into the intricate, smooth, and soulful world of Laufey and her music, we uncover a genre reborn amidst the modern musical landscape. Laufey's Bossa Nova transcends time and place, blending the old and the new into a harmonious and compelling narrative.

Her music doesn't just revive the past; it infuses it with the vibrancy of the present and offers a glimpse into the future of what Bossa Nova can become. In Laufey, we find a new star whose smooth vocals and sophisticated musicality invite us to relax, enjoy, and dream.

Before you go, don't forget to discover more of this musical journey in the latest album releases and performances by emerging artists like Laufey. Each listen offers a chance to find new comfort and excitement in the confluence of history and innovation.

Rawr.

What Makes Chris Cornell (Audioslave, Soundgarden, Temple Of The Dog) Great?

Chris Cornell was, in my opinion, one of the most naturally gifted rock singers ever to live. Although he is widely regarded as a founding member of the Seattle grunge movement, he was a force of nature that couldn’t be neatly placed into any genre and had a wide range of influences. His work was interesting, bold, technically brilliant, but heartfelt. How did he achieve this? What makes Chris Cornell great?

Technique

Range

Chris Cornell had an incredible 4-octave range. Although Chris is technically a baritone because of his lower range and warmth of tone, he has an outstanding high mix that is well-produced and manages to maintain that warmth. To understand how incredible his range is, let's look at an average baritone male voice. The average baritone has a range of 1.4 to 2 octaves, so let's say around an F2 to a D4. A trained baritone has an average range of 1.7 to 2.4 octaves, so around an F2 to G4 or an extreme of an A4. Chris’s range was C sharp 2 to a reliable full-voiced A5. What's more, he can sing this both in a head voice and a mighty mixed voice. To be quite frank, I would struggle with that as a soprano, and he is a baritone. You can hear Chris' A5s from early on in his career. And yes, it is a mixed voice!

And he could, of course, sing in a light falsetto voice.

And his warm baritone lows. One of which is also from Jesus Christ Pose, where you heard his highest mixed note.

Chris' range did change throughout the years. There are rumours about vocal surgery, and I wouldn’t be surprised if this is true due to his lifestyle and extreme singing style, especially in the early days. A loss of range is normal as you age, but he did push his voice and body to their limits. However, this did not stop him from making some of the best music he ever did. 

"As time has moved on, I have less range and less ability to easily go in and out of different registers, but I feel like I have a much better ability to emotionally connect with any song.”

I definitely agree with this. Although the energy, power and range of his early days are awe-inspiring, I love the warmth and emotion that he grew into. This is my favourite performance of Chris’, ‘When I’m Down live at the Troubadour in London’. I recommend checking it out. If I saw my reaction to it, I cried. It does pull at the heartstrings.

Tone and Registers

Contrary to most grunge singers who had lighter high tenor voices, Chris had a warm baritone voice with the ability to rise through the registers into the tenor range with power and ease whilst still maintaining his baritone warmth. When he was younger, his voice had a thick honey tone with outstanding clarity and ease at the top of his range. He could quickly switch between registers, allowing him a vast range of textures and pick and choose when he wanted to use distortion.

As he aged, his voice took on a slightly more husky breathy distorted edge throughout his range. You can see the tension in his neck that he didn’t have before as he pushes to reach notes. It’s a little harder work for him than it was before.  

To me, this does point to some vocal damage, as a long term husky voice is often the result of chronically swollen vocal cords. The vocal damage would have almost certainly been caused by both his lifestyle and a gruelling schedule. But considering his struggle with addiction, he maintained his tone for a very long time, and it wasn't until the 2010s that his voice started to get this texture; this is a credit to his natural technique and breath support. When his voice did  change, he adapted fantastically, making the most of the limitations of his voice and personally, I love his work from his later years. Word of warning for those who want that voice, although it does sound cool, the downside to vocal damage is that he would have had less control over his voice and registers and had a loss of range, and not all of us can adapt well as Chris could. 

Breath Support
Although Chris never had a singing lesson, he was incredibly intuitive in listening to what his voice needed and was able to teach himself. You can hear the difference in his voice as he practised between 1988 and 1991.

This is one of the most important notes I think a singing student can take on, listening to your body and how your voice feels. When it feels good, you’ve got it right. I think Chris was very good at listening to and understanding how his voice feels in his body. This is something most people have to work on with a coach, but he did it intuitively. 

Although his music had punch, apart from in some live performances, his default wasn’t to push too much and had excellent breath support. In short, it means his breathing was relaxed, and he didn’t force out too much air or too little air when achieving a note. This allowed him to move seamlessly through the registers, maintain his beautiful tone, use the entirety of his range, and protect his voice whilst singing extreme vocals. One of the things that helped him was the way he gets onto a note. There are three main ways to get onto a note.

1. A breathy onset: the breath starts before the note.

2. A glottal onset: press the vocal cord together tightly, build up the air behind them and pop them open.

3. A simultaneous onset: breath and the note start at the same time.

Simultaneous onsets are the least wearing on the voice but require a relaxed, gentle start to each note and can take a bit of time to train in. The other types of onsets aren’t terrible for you if used on and off as a stylistic nuance, but the problems happen when these are the default rather than a stylistic choice and especially if combined with excessive air pressure. Your ideal for vocal health is to have a default of simultaneous onsets with enough but not excessive breath support, with the other onsets used sparingly for emotional expression. This is precisely what Chris Cornell did, using very gentle glottal onsets to add attack as a stylistic choice every now and again. You can hear a gentle glottal on the first ‘all’ to give it a little extra punch while it is lower in his range and then that really nice simultaneous onset on the second ‘all’ in this clip of Like A Stone.

Resonance

Resonance comes hand in hand with breath support. Chris generally used resonance to boost the sound rather than pushing too much. He understood that if he shaped his vocal tract in different ways, the tube above the voice box and the mouth, he could create different tones and perceived volumes. He could shift between twang, nasality and darker, warmer sounds quickly and easily, shaping his voice's tonal quality to create a musical and emotional picture, sometimes adding compression to make a more direct tone. He had an innate understanding and playful attitude towards shaping his vocal tract, resulting in a healthy technique with a vast range of tonal qualities. Here is Chris showcasing all those vocal textures in his cover of I Will Always Love You.

Vowels

This idea of shaping the vocal tract also shows in how Chris used his vowels to help him produce the tone, resonance and attack he wishes on each note. His vowels are generally open, with what sounds like a neutral or low larynx, a relaxed tongue for the main part, raised soft palate and a relaxed jaw. Listen to how he changes his vowel on the word ‘me’ to ‘may’ in Say Hello 2 Heaven to help him get up to that higher note and have an open free sound.

He spends significantly more time singing on the vowel than on the consonant, especially opening up as he gets to his higher mixed voice. When producing his incredible mix, his technique is generally on point, with breath support, larynx, tongue, jaw and soft palate working together in a lovely relaxed way. However, he breaks the rules and plays around with some of these elements in his chest voice, allowing them to drop to add to the emotion of a song. Sometimes closing the vowel, barely opening his mouth, singing through his teeth, and playing, with the feeling of freedom and tension from different jaw positions. You can see that in this fabulous performance of Nothing Compares 2 U. You’ll also notice, his consonants are generally soft, and smooth giving his voice an uninterrupted rolling quality. 

In his earlier days, Chris did an interesting thing with tongue tension, in his lower range, using his tongue to push down and lower his larynx. This happened all the time stylistically in the grunge movement; Eddie Vedder does it a lot. It is not something that everyone can do, especially if you want to hit high notes easily. To get to those higher notes, we really need to relax our tongue as much as possible and get it out of the way. If you have tongue tension even in the lower part of the range it can be hard to let it go off and can stop you moving up to a higher range with freedom. Personally, I need to make sure my tongue is relaxed in my entire range or it gets in the way when I try to sing higher notes. Chris Cornell seemed to put this on in the lower range and release reasonably easily for the freedom in the higher range.

 But this sound is even more interesting. Shaping of the tongue in this way is a technique used in polyphonic overtone singing to create two notes sung at once. Check out this amazing clip and MRI scan of a singer called Anne-Marie Hefele who is an expert at this technique! If you listen to “Show Me How To Live” you can hear Chris is doing just this, creating two notes at once!  However, as he got older, he did drop this technique and developed more ease in his lower range.

Pitch

I’m about to say something that may be a bit controversial about Chris' technique. His basic technique was excellent but his pitching was not always perfect especially in the times when he was dealing with addiction. I actually find it very refreshing, in a time when everything is autotuned to perfection, to hear the slides, cracks, pitch wobbles and humanity in his singing. At the end of the day, technique wasn’t his aim and in my opinion shouldn’t be anyones. His natural technique was a tool to help him express and connect with listeners in a healthy way and if he had to drop to that to connect then he would. If there was the odd flat note then it didn’t matter because that expression and connection was there and if his voice wasn’t on point that day, and his control slipped he always showed up with that emotional connection and that is what is important for audiences.

Emotional Expression

Chris Cornell had an excellent technical voice, but what made him stand out is how he made us feel. As I always say with great artists, part of that emotional connection goes beyond what can be explained; however, there are always some elements that can be. What tools did Chris Cornell use that made him stand above other singers?

Distortion

Chris Cornell generally sings with what sounds like a healthy distortion. He can put it on and take it off at will, adding a grittier emotional edge to some of his belted notes. When our vocal cords are vibrating in regular waves we hear that as a clean sound. When distortion happens, something disrupts those regular waves and makes them irregular. We hear that as noise or distortion. It is impossible to tell without a laryngoscopy of Chris Cornell when singing. But there are a couple of different distortions he could be using, false vocal folds or vestibular folds distortion or a hybrid of vocal fry and false cord. The false vocal cords are folds of ligament and mucus membrane that lie above the vocal cords and whose main job is to protect the vocal cords. When they get in the way of the airflow and vibrations from the vocal cords and disrupt it, you get distortion. The science around extreme vocals is still really new, and there is a lot to be learned. But some recent research suggests that some distortions can happen at the vocal cord level in fry distortion, with small parts of the vocal cords themselves moving in aperiodically. Chris could have been doing a combination at times but certainly, false cords were involved. However, what is important is that his distortions were controlled for the main part of his career and did not come from tension in the neck or excessive air pressure. 

Blues

Unlike many other grunge singers whose singing style was more rooted in punk, Chris Cornell took elements from Blues and even covered Howlin Wolf’s song Smokestack Lightning. Chris used many blues techniques sliding between notes and pitch bending rather than hitting them dead on. Using riffs and runs on pentatonic and blues scales, singing clashing ‘blues’ notes to add tension and, of course, his rasp and distortion. Although his voice was hugely versatile, he carried these nuances throughout his genre-defying repertoire. 

Instruments and Musicality

Chris Cornell was a fantastic all-around musician. He started out as a drummer, and this comes across as his rhythm is excellent. Much like the rest of his voice, he has a solid sense of rhythm that he uses as default, but also he knows when to break the rules and plays with sitting behind the beat and adding more fluid conversational rhythms, like in blues music.

His sense of rhythm also comes out in his choice of time signatures in his songwriting, sometimes opting for something more unusual like 7/4. Although he does make some unique choices musically, they always seem emotionally intentional. In this case, adding a feeling of unease. This theme also extends to his excellent guitar playing, sometimes using unusual open chords and key changes but always playing with a solid technical base. 

Social Context

Aside from being a fantastic solo artist and lead singer of three bands, Chris was someone who was able to take his trauma and pain and change it into something that helped many people around the world - his music. But it also went far beyond the music, “I was lucky enough to be in the right place at the right time to make a career doing something I love…. I’m in a fortunate position to use music to support important causes that help foster change.” Chris started a foundation with his wife Vicki to support children facing homelessness, poverty, abuse and neglect. He used his platform to shine a light on the Armenian Genocide. He spoke out against the glorification of drug use, telling interviewers that we don’t talk about the ordinary people who die every day of overdosing. “It’s a shame that famous people get all the focus because it then gets glorified a little bit, like, ‘This person wa too sensitive for the world,’ and, ‘A light twice as bright lives half as long,’.... It’s not true.” Chris was not just a great singer hoped to make the world a better place, help people through music and beyond, and turn trauma into a catalyst for change. 

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What Makes Freddie Mercury (Queen) Great?

Freddie Mercury is widely regarded as one of the greatest singers in rock history. Known for his flamboyant style and huge range, there are many theories going around about what made Freddie Mercury so good. Did Freddie’s extra incisor teeth aid his singing? Was his vibrato better than Pavorittis? What made Freddie Mercury great?

Technique

Range

Freddie Mercury had an incredible 4-octave range that he maintained throughout his career. It is pretty hard to label Freddie as a baritone or tenor because of this wide range but for the sake of perspective, let's look at an average male voice. An average male has a range of 1.4 to 2 octaves, so let's say around a G2 to an E4. A trained singer has an average range of 1.7 to 2.4 octaves, so around a G2 to  G4. Freddie’s range was F2 to F6 with a powerful mix up to an F#5, which, to be quite frank, I would struggle with as a soprano. 

You can hear that low F2 in the backing vocals on the word ‘gone’ in ‘All Dead, All Dead’ and an F#2 in ‘Don’t Try Suicide’  

And here are that great whistle high notes, he used as more of a vocal texture or an exclamation rather than a sung note. You’ll hear the first buried under the instruments in “It’s Late’ and more prominently in this live version of “Get Down, Make Love” 

And always my favourite, that powerful mix in “One Year Of Love”  CLIP

But where did that range come from? Is it true? Did his range come from his extra incisors? Our range is mainly defined by genetics, the size and flexibility of our vocal cords. Longer vocal cords mean you have a lower range than someone with smaller vocal cords, and the tighter you can stretch them, the higher you can go. Our mouth is part of the resonant chambers that help us shape our tone. Creating different shapes with our vocal tract (the tube above the vocal cords and the mouth) is part of what helps us hit high notes with more ease but it isn’t what determines the pitch. So Freddie’s mouth size may have helped him reach those high notes with ease, but it wouldn't have given him his range.

Tone & Registers

It wasn’t just his range that has been attributed to his teeth but his distinctive tone. It is big and powerful yet warm and comforting. The size of your mouth almost certainly affects your tone as it is part of the resonance system that gives it its unique colour. If your voice were a guitar, the vocal cords would be the strings, the source of the sound, and the mouth and vocal tract would be the body of the guitar. The part that amplifies. However, unlike a guitar, we can all adapt the size and shape of our mouth and vocal tract to a certain extent. That's part of how we can mimic other people's voices. But what is natural for someone with a bigger mouth may not be for someone with a more petite mouth. So it might be easier for someone with a bigger mouth to get to a shape that makes a bigger warmer tone, than someone with a smaller mouth. 

But did Freddie’s teeth mean he had more space? Dentist Fred Levine had something to say about it

“In most people, I have seen with supernumerary teeth, the jaw size doesn’t correspond to the space needed for the extra teeth, and the extra teeth are malpositioned, protruding either towards the palate or the cheeks. Freddie Mercury’s jaw size had to be larger than normal to begin with, to allow his extra teeth to fit into a normal arch form”.

So it seems Freddie Mercury just had a big mouth. 

Another tonal myth that I often hear around Freddie is that his voice didn’t change through the years. And although he did have his distinctive warmth and power throughout his career, his approach to vocal registers altered dramatically. You can hear the difference in approach in performances of Killer Queen. In both, he still has a lot of power and drive. However, in the first clip from 1974, Freddie uses a lot more head voice. He moves to a lighter placement at the top of his range. In the later clip from 1981, you can hear the sound is heavier and mixed in tone.

1974

1981

Why would this be? Of course, he could have just changed his style and was perhaps enjoying that heavier tone. But I think it is likely that this change came about because he developed vocal nodules or nodes. Nodules are the vocal cords way of protecting themselves. They are hardened calluses on the vocal cords. They often develop because of overuse and harsh vocal technique. Freddie's schedule would have been gruelling and wouldn’t have allowed much rest between shows. But remember how I said Freddie had a lot of power and drive? One of the primary causes of nodules is a high subglottal pressure, which means slamming your vocal cords together tightly and pushing a lot of air through them, so you end up with a lot of pressure under the vocal cords. To add to his strength of sound, Freddie also often used very hard glottal stops, slamming the vocal cords together tightly just before the sound is made, letting the pressure build up and releasing it suddenly. Both high subglottal pressure and hard glottal stops are very wearing and if used a lot cause the vocal cords to swell. If this repeatedly happens, especially without proper rest, the vocal cords start to bruise and then develop a hard callus on each cord, nodules. Here are healthy vocal cords, don’t worry about the mucus. That is meant to be there and keeps our vocal cords supple.  And here are vocal cords with nodules. You can see here that they are on each side, and this is common as the abrasive activity that caused the nodules happens on both sides. You can also see it stops them from coming together fully.

But how would have it affected Freddy's tone? Because it becomes much more challenging for sufferers to put their vocal cords together fully, for most people, air leaks through, resulting in a loss of resonance, a breathy tone and loss of control. In your head voice, your vocal cords are stretched relatively thin. It would be unlikely that he would get his full tone in this position anymore as that air would leak through. The only way he would have been able to get full the tone is by pressing his vocal cords even tighter, increasing the subglottal pressure and keeping them in a thicker position, giving him a more heavy mixed style. This is a quick fix, it is not a good long term solution as it locks singers into a cycle of harsh vocal technique and makes the nodules worse. Nowadays, there is a lot more vocal science around this. If Freddy wanted to, he would have been able to see an ENT specialist and treat and adjust his technique to get his iconic sound in a healthy way, allowing him to get back to using all the facets of his voice, including his light head voice.

But, although it is not ideal from my vocal coach perspective, I have to say that it is this quality of pressure and push that is part of Freddie’s iconic sound, and it does sound amazing. In some ways, it shows his genius more. As he works with the limitations his voice began to place on him, he adapted and used those limitations to make us feel. I need to point out that not everyone's voice can take that pressure, even Freddie couldn’t really, and perhaps if we had seen his voice develop further, we might have seen more of a change. For most of us, we have to adjust our technique early or eventually, our voice will make us, and not many of us are as genius at adapting around our health and vocal damage as Freddie was.

Vowels & Consonants

Like any world-class singer, Freddie uses his vowels and consonants to help him produce the tone and attack he wishes on each note. His vowels are generally open, with what sounds like a neutral larynx for the main part, a relaxed tongue and raised soft palate. He spends significantly more time singing on the vowel than on the consonant, except in a few areas for stylistic effect. So, for example, on Somebody To Love, he sings “somebody to luhve” rather than “somebody to lovvvvve”. He stays on the vowel for as long as possible, then closes to the ‘v’. However, he might sing something like”bbbbbaby” when combining it with a slide to emphasise the slide and the feeling of longing. In other words, he shapes his vowels to aid him to reach high notes, maintain tone and keep stable but understands his voice well enough to know when he can break those rules as well.  Also, I have to say, as a vocal coach, he has a beautiful ‘e’ vowel, where he doesn’t over arch his tongue and keeps his mouth open and his jaw relaxed. I always say to my students when you sing an ‘e’, you need enough space to stick your thumb in your mouth. Check out the space Freddie creates.

He uses consonants well. Sometimes smoothing them out but generally making them crisp, like little drum beats. It means you can hear each word, but it is more than that. He is using consonants as a musical effect as if they are percussion. This adds to the feeling of energy, precision and attack.

Breath Support

Freddie uses his breath support well when he wants to use it. It means that he can use all of his remarkable range and helps him move seamlessly through the registers. However, in live performances, when he is going for it, he does tend to push and blast his voice with excessive air pressure. We’ve already talked about how that air pressure would have affected his voice.  The voice is very resilient. I think Freddy's voice was particularly resilient, and for some people, if your voice has time to recover, this can be okay. Singing extreme styles like Queen’s music is as harsh on your vocal anatomy as boxing is to the rest of your body. I want to reiterate that Freddie was built to be a natural vocal boxer. Not everyone can take those punches and come out still able to sing.

Emotional Expression

The way that Freddie used his voice and technique is interesting, but what is it about his voice that is so exciting? I do believe some people have something beyond what can be explained, and Freddie was, of course, one of those people. As much as there are things beyond explanation, there are also some elements that can be. Freddie Mercury was an incredibly skilful and versatile singer, capable of a wide range of artistic vocal expressions. But what are some of the tools that helped him connect so well and stand above other singers?

Vibrato

Vibrato, which comes from the Italian "vibrare", to vibrate, It’s a musical effect consisting of a rapid pulsating change of pitch. It’s a controlled wobble. Freddie Mercury's vibrato is often talked about, with many people claiming it is better than Pavorittis. Well, that's all a matter of opinion, but it certainly was faster. Typically, a vibrato changes pitch at a rate of 5.4 Hz to 6.9 Hz, CLIP While Freddies moved at 7.04 Hz. It also had a distinctive irregular pattern, especially on those higher belted notes, giving him a unique vocal fingerprint.

What would have caused this faster irregular vibrato? First of all, everyone's vibrato is different. Some are fast. Some are slow. Some cover a wider pitch range than others. However, technique does make a difference. Faster irregular vibratos tend to come from, you got it, excessive air force. Generally, the more people train their breath support, the more regular it becomes. Rather than hiding an inconsistency, Freddie made more of it, turning something that many would consider a vocal flaw into one of his greatest assets. He had great control of this vibrato. He could sing with a straight tone and take the vibrato on and off a note whenever it suited him and the song. 

His vibrato also wasn’t always vibrato. When he wanted to make the most of a moment, he didn’t just vary the pitch but added rapid shifts in volume as well,  in an effect called tremolo. You can hear him use that sound in this isolated vocal from Somebody to Love. This is a muscular action for singers and is also wearing on the voice but adds another texture and, in this case, a feeling of desperation.

Subharmonics & Distortion

Often people talk about Freddie Mercury's amazing subharmonics and distortion. But what does that actually mean? When we make a clean sound, our vocal cords are vibrating in regular waves. When distortion happens, something, whether at the vocal cord level or above, disrupts those regular waves and makes them irregular. We hear that as noise or distortion. Many people have done studies on Freddie's voice, and there seems to be a general consensus that Freddie distortion comes from his false vocal folds or vestibular folds. These are folds of ligament and mucus membrane that lie above the vocal cords and whose main job is to protect the vocal cords. When they get in the way of the airflow and vibrations from the vocal cords, you get distortion. This is a common technique. You hear it in everything from metal to jazz.

But something different is happening with his distortion. First of all, he is using a voiced distortion so you can hear the underlying fundamental pitch. But if you listen to the distortion in this clip, you might notice it has a kind of musical quality. It isn't just noise. So, when we hear a note, we don't just hear one pitch, but a series of pitches layered on top of each other. The lowest and strongest pitch is the fundamental pitch, the one we define as the note we hear. We then have a series of harmonics that we hear at different strengths, defining the tone we hear. It is why we can tell the difference between peoples' voices. These harmonics act in a particular way, occurring at exactly the same multiples of the fundamental frequency each time. So the first harmonic would be vibrating twice as fast as the fundamental frequency, the second three times as quickly, etc. This harmonic series can but don’t always extend under the note - making lower notes as well called sub harmonics or undertones. Like harmonics, these follow a particular pattern.

I have seen many videos that talk about Freddie’s subharmonics. But after a bit of research, I realised this is not what Freddie is doing. He is not creating undertones in the subharmonic series but something else is happening. When Freddie false cords come over and disrupt the airflow and the even vibrations from the true vocal cords, they aren’t becoming irregular, But the false cords are vibrating in a primarily even fashion as well. Unlike metal growl where they vibrate irregularly. Here in this spectrogram analysis of Freddie’s voice, you can see the harmonics that come from the vocal cords - these dark lines. Then the grey areas are the uneven vibrations caused by the disruption of the false cords, which gives it its distorted tone, and then you get these lighter lines. Because of the even vibration of the false cords, you are getting these in-between harmonics that people are calling subharmonics. They don’t correspond to the harmonic series but exist in their own series of multiples. Some are lower than the fundamental frequency like our earlier definition of subharmonic which means lower than the fundamental frequency, but they stay in their own pattern rather than correspond to the subharmonic series. Because of the regularity of these vibrations at false cords, you get less noise and a more musical, fuller warmth to the tone. Why is this special? False cord distortion is used a lot in Western rock music. This is very true, but generally, the false cord vibrations are not as even. You usually see this level of even vibrations from the false cords in Tuvan throat singing. If you have ever been to see Tuvan throat singing live, you will know what I mean, the sound is simultaneously huge yet warm and engulfing. You feel surrounded by the sound because you are getting all these little in-between notes in the harmonics. I doubt Freddie tried to do this, but it gave his distortion a distinct quality and added an emotional yet melodic and unique tone to his voice.

Staccato and Legato

Freddie's general musicality was phenomenal. He plays the voice like an instrument, creating and expressing emotion through play with phrasing. He quickly moves between short staccato notes, hard onsets and accents to long legato phrases and soft onsets. Picking whatever the song needs to express a particular emotion. He often changes up his expression when singing live, depending on the audience's energy and perhaps his own mood.

Piano

Freddie Mercury was a strong pianist who composed many of Queen’s number one hits, including “Bohemian Rhapsody “, “Killer Queen “, “Somebody to Love “, “We Are the Champions “, “Don’t Stop Me Now “, and “Crazy Little Thing Called Love “ using a piano or keyboard. Despite his success, it is said that he was not impressed with his own musical talent and didn’t consider himself a great pianist. However, although I agree there are better pianists in the world, his piano and understanding of music beyond vocals allowed him to create some of Queen’s incredible repertoire and informed many of his vocal choices. 

Social Context

Freddie had a voice that could uplift an audience beyond any other artist I have ever seen. He was a musical genius, and a bright light who gave everything he had on every performance and his music has transcended to a place where it is so woven into our culture that I can’t imagine a world without it. On a personal note, I grew up on a musical diet of Queen, Meatloaf, Holst and Les Mis. Freddie’s voice and music provided an energetic soundtrack to my childhood and formed a massive part of inspiring me to pursue a career in music. But Freddie was also much more than that. He was able to exist solely as Freddie Mercury. Shunning (at least publicly) the social constraints of gender and sexuality in a genre that has traditionally displayed an aggressive and traditional form of masculinity. Allowing many to see that our ideas of sexuality and gender need not be so fixed. As someone who does happen to fit into many of the social standards around these areas, his music allowed me to see that I could be both whoever I wanted to be and truly myself - despite the social constructs around me. But, I can only imagine what his music must have meant to people who did not fit so neatly into the boxes that society provides us, especially when sexuality was unfortunately seen as a legal issue. And what’s more, Freddie did all these things by just being unashamedly and unshakably him. If that's not a sign of greatness I don’t know what is. 

IF YOU HAVE ANY QUESTIONS PLEASE GET IN TOUCH OR BOOK A SINGING LESSON HERE.

10 Underrated Singers - Your Pick

I recently did a video on 10 underrated artists and, as expected, you all came up with some brilliant suggestions that hadn’t made it into the video. So here are ten more singers that you guys consider underrated artists... 

We went all the way through the comments under the previous video and there were loads of great suggestions. Most of these artists I have come across before and there are a couple that I didn’t know but I have to say you all came up with some amazingly talented singers that really should be better known. I’ve linked all the artists in the description with clips of my favourite examples of them, so you can check them out and see if any of them speak to you. If you want to check out my original video on underrated artists there is a link in the description as well.

Haley Reinhart

Haley came up a lot in the comment section and it is easy to see why. She has such control over the different textures of her voice, moving quickly and effortlessly between a warm jazzy resonance and soft sultry breathy textures as well as a raw, gritty growl, powerful belt and soaring head voice. Initially, Haley became known for performing on American Idol but I love her work with the YouTube channel Postmodern Jukebox where her vocal creativity comes alive - combining vintage vocal stylings including a little bit of scatting with the soul and feeling of each song. I really suggest checking out her cover of Creep by Radiohead. 

Mariah Formica

This is a singer I hadn’t heard of until your suggestions. But as soon as I listened I knew I wanted to add her to this list. Moriah was a contestant on the Voice USA and has an amazing rock voice with an incredibly balanced mix. She moves between this warm gritty texture at the lower end of her voice to a really high, punchy rock belt/mix. I suggest checking out her version of Heart  Barracuda, I mean you know someone is going to be good if they are covering Ann Wilson. Her audition for The Voice where she sings another Heart song “Crazy On You” is also incredible and she is only 16 years old. 

Loïc Nottet

I actually reacted to this guy a while back and was stunned by his vocal range. This Belgian singer is well known in France and Belgium but I certainly wouldn’t have known about him before my reaction if it wasn’t for suggestions from you guys. Loic was a contestant on The Voice Belgium in 2014 and then represented his country at Eurovision a year later. He has an incredibly high, androgynous voice and in fact, he was bullied as a teen for how feminine his voice sounded. He often draws from that period of his life, with a dark aesthetic and themes of isolation and judgement in his songs. There is a brilliant and heartbreaking live version of his song ‘Million Eyes’ on youtube and if you like dancing, he is also a great dancer. He showcases that in the music video.

Elle King

Elle King has recently become well known for her songs “Ex's & Oh's” and “Drunk (and I Don’t wanna go home)” but whilst I have to admit both of these songs are absolute anthems of a Saturday night out, you don’t get to hear the emotional and vocal range that Elle is capable of. I recommend you check out her singing ‘A Little Bit Of Lovin’ live in London to see what I am talking about. The depth of emotion and versatility here means I think she can be underrated, even if a lot of you might be familiar with her name.

Morten Harket

Someone else a lot of you might have heard of, Morten is the lead singer of Norwegian pop/rock band A-ha. His gentle, yearning vocals often get overshadowed by the power of other 80s singers. Morten was recently on The Masked Singer UK and it reminded me that although his voice is gentle it can be incredibly hard-hitting. There is never any doubt that Morten means every word he sings and feels every note, there is a fragility and rawness that sit really interestingly with his gentle tone. I recommend checking out his MTV Unplugged version of ‘Take On Me’.

Arnel Pineda

Arnel is currently the lead singer of the iconic band Journey. So many of you will have heard his vocals, but his talent is often overlooked due to the vocal prowess and popularity of their previous singer, the iconic Steve Perry. Taking over that job was going to be hard for anyone! There is so much pressure to live up to, in a totally different way than if you’re performing in a new band or forging your own way as an artist. Arnel isn’t exactly like Steve, but he approaches the fiendishly difficult Journey repertoire in his own unique and thrilling way and I personally think he is just as good. There’s a wonderful video of him singing ‘Don’t Stop Believing’ with the band that you can check out, but my personal favourite is his version of ‘Faithfully’.  

Peabo Bryson

Before researching this video I thought I had no idea who Peabo was but once I did a bit of research, I realised his voice was much more familiar than I thought - he sang the title track to “Beauty and The Beast” with Celine Dion. Peabo has a beautifully rich tone and amazing control and is best known for being the other half of some amazing love duets with well-known singers like Natalie Cole, Minnie Riperton, Roberta Flack and Chaka Khan. My favourite is his cover of ‘A Whole New World’ from Aladdin with Regina Belle, where you can hear that silky tone and control as well as some difficult technical riffs and runs. 

Moya Brennan

Most people have heard of the ethereal Celtic singer Enya but outside of the Irish folk community her older sister Moya is lesser-known. In fact, Moya is the eldest of 9 siblings, 3 of whom collaborate with her in the band Clannad. If you don’t recognise Clannad you will probably recognise their work in film and TV with their ‘Theme from Harry's Game’ and ‘I Will Find You’ from the film Last of The Mohicans. There is a beautiful live version of the latter on youtube. Moya’s voice is beautiful, warm and earthy and certainly equals Enya’s.

Ruby Turner

I was so pleased to see this woman come up in the comments as I truly think she is one of the most talented underrated artists. I actually came across her when she was performing on the Jools Holland New Years show in the UK and was blown away by her power and tone and surprised I didn’t know her before! Ruby has had success in the past, achieving no.1 R&B chart success in the US in February 1990 with "It's Gonna Be Alright" and performing backing vocals for Mick Jagger and Jools Holland but with a voice like hers she really does deserve more recognition. My favourite performance of hers is that initial one I saw of hers on the Jools Holland Hootenanny ‘Well Alright’ - check it out.

Einar Solberg

Einar Solberg is the lead singer of the band Leprous, a band that is gaining more and more traction through YouTube in the last couple of years. Their music ranges from aggressive pop-rock anthems to soaring Scandinavian ballads with a through-line of Einars soaring vocals. Einar is capable of incredible highs and changes of tones and pace. Whether he is delivering an angsty rock piece or a delicate melody there is something otherworldly about his voice. I recommend checking out ‘Castaway Angel’ to hear the full extent of Einars impressive range and the live version of ‘Slave’ for something rockier. 

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Pros and Cons of Music NFTs - Part 2

In part one, I took a basic look at how NFTs could change the music industry forever. But, I wanted to take a better look into the pros, cons and whether they’re here to stay, so I’m back for part two! If you haven’t seen part one yet and are wondering what an NFT even is, I’ll leave the link in the description below. Otherwise, let’s take a deeper dive...

Whether we like it or not, it seems there are going to be a lot of conversations happening around NFTs. Let’s first start with the benefits, how could NFTs positively affect the music industry?

Ticketing

According to a report on CNBC, 12% of people buying concert tickets have been scammed and right now with tickets as they are, it’s pretty easy for someone to do this. With NFT Tickets, you could clearly verify the true ownership of a ticket on the blockchain. This makes forgeries harder, and it also makes it much more difficult for bots to buy tickets in large quantities to resell at inflated prices. If tickets are resold, artists could make money from that resale and the person buying it would be able to verify and validate the authenticity of the ticket with absolute certainty. We’re a few years from this version of blockchain technology coming to fruition but when it does, it could also provide another type of memorabilia. There’s the potential for tickets to be unique in some way with a one-off image, artwork or signature attached only for people who went to that gig. So rather than a boring conventional ticket, you could get a nice piece of displayable artwork with the ticket information encrypted into it, which also could be a collectable. 

Access 

As I said in the last video, I hope NFTs can open up a new culture of connectivity in the music business. This could be underpinned by more direct access to the artists themselves, which could benefit both the artist and the fan. For example, NFTs could be used as a kind of loyalty card, where fans can earn the chance to win things like backstage passes or meet and greets. Perhaps by collecting five NFT tickets to different gigs, you would be able to earn access to a sixth ticket to an exclusive performance. Another option would be owning an NFT to gain access to a phone call with an artist or an exclusive discord group with other fans. Or even access to a real-world party with the artist. 

A New Way To Measure Value 

The concept of owning something that’s scarce has been desirable for a long time. We see this within music already, with Wu-Tang Clan selling their album as a one-off vinyl for two million dollars in 2015. And the idea of scarcity driving the digital marketplace has also been around for a while. For example, Bitcoin is a cryptocurrency that gains much of it’s value from having its supply capped at 21 million BTC.

But now, we’re seeing the idea of digital scarcity translate into other areas too and it’s already changing the way we value things. For example, think about the blue verification tick on Twitter. This is just a simple graphic, but it’s something people want because it’s rare and it carries social clout. This digital social context is something that’s becoming increasingly important, especially to younger generations but is something that we have always done. Whereas previous generations valued things like titles on your name, younger generations are valuing blue ticks. Both are badges of your social standing. 

NFTs combine scarcity with a modern social context, allowing us to have the experience of owning and even displaying something unique in different ways. We have all seen people who have a room full of amazing memorabilia. You can display NFTs as art in digital picture frames in your house and have that experience but, also you can keep them on your phone and show your friends from there. Or even, if you have a strong community online, you could buy digital land and display your digital art there. As technology evolves, who knows what other opportunities might develop. It might be a concept that is really far away for some people and others will really understand it, but it’s a fun new way to share what we care about with the world.  

Backing an Artist Early

This is one of my favourite benefits. Imagine going to a gig and seeing an incredible act that no one knows, who you’re convinced is going to be massive. What if you could then go and buy an NFT of their original first single? This would help give power to the artist, you’re supporting them by monetising their content at an early point in their career. But could also benefit you financially. Because these can be resold, if that artist fulfils the potential you see in them, there’s obviously a chance that the value of that original recording grows hugely. You can end up selling it for a profit if you wish and when you do, if the artist has set up the NFT this way, a portion of the resale would go back to the artist. It also means that more people are financially invested in their success and will want to promote them, bringing fans together in the process. 

Power to the Artist

NFTs can put power back into the hands of artists. In 2017, the music industry revenue was a huge $43 billion in the U.S. But how much did the artists themselves get? Only 12% of that money, with most of the rest going to record labels and distribution platforms. In the last video, I talked about Mike Shinoda, a co-founder of Linkin Park, who raised $30,000, auctioning a 37-second teaser of an unreleased song. Shinoda explained, “Think of it like owning a 1 of a kind item in a game … It’s a weird thing to own, yes, but: Here’s the crazy thing. Even if I upload the full version of the contained song to distribution services worldwide (which I can still do), I would never get even close to $10k, after fees by distribution services, label, marketing, etc.” 

But it’s not just an initial monetary benefit. As I’ve just mentioned, an artist can make a commission on each resale of an NFT to provide them with a consistent income stream. So, if you were a new artist who hasn't built up a fan base yet, you could release something really cheap, let’s say $1. Because of the resale commission, you would still reap the benefits as items are traded between fans and prices rise. The ability to properly monetise an artist's work over a lifetime is a potentially revolutionary concept. For artists, NFTs offer the exciting possibility of cutting out some of the industry’s middlemen, and perhaps even remaining an independent artist to be fully supported by fans. 

But it’s not all perfect in the NFT world. There could also be some potential drawbacks and there is a lot still to be clarified. So let's chat through some of these potential issues…

But can I stream this for free?

This is people’s most common concern but generally speaking, yes of course! It’s like with books, anyone can buy a Harry Potter from their local charity shop for 50p, but a first edition is currently selling for over £250000 on AbeBooks. As you can see AbeBooks are even selling regular copies for £2.29. And remember in the last video I mentioned NBA Topshot? Those use basketball clips that can easily be watched on YouTube, NFTs are more about the feeling of ownership, it’s the verified original file.

Copyright 

There could probably be a whole video on just the nuances of agreements with record labels and the potential copyright complications here. But it’s safe to say, record deals and copyright are really complicated and can be all-encompassing. Whilst NFTs have the potential to hand power back to artists, there are also no clear boundaries set up at the moment on who owns the intellectual property of a song if it were issued as an NFT. Should the NFT owner take royalties? Are we going to sign off the master rights as well as the master file? It’s not clear how this is all going to work. But you can be sure that record labels will want to continue to monetise their artists to the fullest extent, leading to potential legal battles that could generally slow the development of NFTs down. It remains to be seen how much power can be restored to an artist who’s already signed. 

However, I also want to point out that once we do set up systems, it could simplify some of the grey areas in music copyright. Throughout the last few decades, there have been a lot of issues around sampling and remixing music. And currently, licensing music or transferring ownership is an inconvenient process for labels and lawyers, often resulting in pushed-back release dates as people work to clear each sample use or transfer of ownership manually. With NFTs, it is as quick as buying just about anything else online, and the technology allows for clear documentation of the transfer. So once we set clear boundaries in the end it could avoid a bunch of lawsuits or at least make it a bit more clear cut. Plus, the original artist could get paid each time a sample is used in a new song - but it’s going to take a long time to get there!

Will I be priced out?

Pricing is a definite concern. Anything with built-in scarcity is attractive to those who can bid the highest price, cutting off a huge percentage of the population even if they’re just as passionate about the music but have less ability to finance a big purchase. Part of the responsibility here falls with those issuing their NFTs, to make sure enough of their fan base can feel that connection to the artist and people aren’t cut off. The reality is, a lot of these unique and premium items won’t be accessible for most people, in the same way as they aren’t in the physical world now. Although I’ve talked about the potential for NFTs to provide connectivity, they could also just make social divides even greater than they already are.

Are NFTs a bubble?

Perhaps, certainly some of them will be. We’re going to see huge amounts of people try and harness the potential of NFTs. They’ll often sell for as much as someone is willing to pay, which can lead to sharp spikes up and equally large drops if demand falls away. 

As the hype around individual NFT projects grows, you could see people who aren’t even fans trade in and out of music trends and perhaps even particular types of NFTs and then move onto the next big thing. This means there will inevitably be big jumps in value which can be hard to predict. Personally, I think the best way around this is to only invest in those items you’re happy to hold for the long term and have something beyond monetary value to you. 

Bad for the Environment?

A large criticism of the NFT space as a whole is the huge amount of computational power that’s required to mint, transfer and store these assets. This is a problem with cryptocurrency as a whole. The most popular blockchain for NFTs at the moment is Etheruem, whose network currently consumes about the same energy as the whole of Peru! You could argue that we’ll save emissions by buying fewer physical items as a result of our digital ones, but I have to say this still really doesn’t sit well with me. Hopefully, there are ways around it. The first step is hopefully on the way later this year, with Ethereum planning to switch to Ethereum 2.0, an underlying change that will help cut the energy required by about 50%. But there is no doubt there is much more work to be done to make sure NFTs aren’t costing the environment.

So, what do we take away from all this? NFTs certainly open up possibilities that are really interesting for artists and their fan bases and I love the idea of artists being more in control of their own career. I can also see that for many it seems like a daunting prospect, with seemingly every aspect of our lives becoming digital. Whatever happens, I personally think this is something that is here to stay and I will be watching it’s development with great interest.

References

NFT Ticketing: https://nonfungible.com/blog/fixing-event-ticketing-with-nft

NFTs Will Change The Music Industry - Part 1

Your favourite artist brings out a new record, imagine being able to say you own the original copy. Well, this could be a reality, thanks to NFTs. You might have heard of these, they have even been on the news here in the UK. But what are they and what do they mean for the music industry? There’s a lot to unpack here, so I thought I’d break it down into two parts. In the next blog, I’ll look at some more in-depth examples of how NFT’s could be influential, but for now, let’s learn the basics.

What are NFT’s?

NFT stands for Non-fungible token. Before researching this I had no idea what fungible or non-fungible meant. So fungible means replaceable by another identical item; mutually interchangeable. For example, this 20-pound note is fungible. I could replace it with another 20-pound note or even two 10 pound notes and not have lost any value. Non-Fungible means an item is unique and cannot be exactly replaced. The token part also has a meaning. If you talk to someone in the digital community about a token, they would think of a digital file with a certificate of authenticity, verified by being on a blockchain. Without boring you too much with the jargon, a blockchain is essentially a decentralised database of transactions each linked together. So, NFTs are unique digital files that are certified and easily verified as unique. And they can be any digital file; whether it’s a piece of art, a video, trading cards, deeds for digital land (yes, that is a thing) or music files.

Why would you own an NFT?

So, why would anyone want one? Well, NFTs are all about social expression and collectibility. Collectability is something we all understand, I can’t be the only one that had that spice girls sticker book as a kid. This idea stretches back way before the online age but it digitally emulates the way we physically collect things. To understand this, before we dive into the music industry, let’s look at the art world.

Les femmes d’Alger - Picasso

Take ‘Les femmes d’Alger (Version ‘O’)’ a painting by Picasso. It is the most expensive painting ever sold at $179 million. It is valuable because it is an original by Picasso. You can buy painted replicas on Etsy for $69.99. They look the same but it are not as valuable because it’s not the original. It’s fake. If our Picasso was an NFT, the blockchain would allow us to publicly verify that it is authentic. Not only that, you can’t fake the certificate of authenticity - you can see where the item originated and its full transaction history. This is really exciting for art collectors as there has been a long history of people selling fake art as originals. 

This March, a digital artist called Beeple sold a collection of five thousand digital images called ‘Everydays: the First 5000 Days,’ for almost 70 million dollars. But why? This is digital art, surely it can be replicated? 

Everydays: the First 5000 Days - Beeple

Well, no. Like your Picasso, it’s a one-off, therefore scarce. Only one person can own this piece of art. This is really important for NFTs overall, the idea of supply versus demand. There’s also social context - like Picasso represented his time becoming a cultural icon, Beeple represents the modern age and a new digital culture. He has become a pioneer of the digital art world, his work has ongoing collectibility and sentimental value to a collector because he is one of the first big NFT artists. The price was not just about supporting Beeple, but also about supporting the new wave of culture that NFTs might be bringing us.

Something else to note is that future resales also support Beeple. With physical art, once an artist sells a painting, perhaps give a cut to an art dealer - that is it. They won’t make any more money from that piece no matter how much it sells for in the future. Imagine an early work of Picassos that he gave away or sold for not very much. Most of those sell for millions now and are enjoyed by the world. However, they wouldn't have made him any more money than that original sale. An NFT allows the artist to set a percentage that they take every time that piece of art sells, forever! If ‘‘Everydays: the First 5000 Days,’ sells in future for $100m, a cut of that goes to Beeple. You support the artist every time you buy a piece of their art, encouraging artists to create work that won’t just sell quickly but will stand the test of time. 

But what about the music business?

Although visual art has been the starting place for NFTs, as I said, they can be any digital file, so the things you can create or ‘mint’ are endless. In music, this gives artists a new way to connect to their audience. I think we are soon going to be seeing artists use NFTs in lots of creative ways. Here are some ideas of what these could be.

• Full Songs and Albums - This might seem like the most obvious but is also the most complicated because of copyright and legal issues. I’ll talk about this more in the part two video. But although we might not see widespread releasing of the original masters (and licence rights) of a song, we’re already seeing artists like Kings of Leon releasing their first NFT copies of that original master version. Imagine being able to own the first-ever vinyl of your favourite song! This is the digital equivalent. 

• Digital artwork and photos - Of course, we talked about this in the art world but the artwork is also a massive part of a musician's artistry and income. This could include limited edition album covers, posters and gig photos. They could be licensed for a specific concert or album, or even done by a member of the band with an artistic side. In fact, this is already being done. Someone claiming to be Daft Punk recently minted two NFT images with 200 editions each. They were then given out to pop figures like Lindsay Lohan for free. Lindsay Lohan has put hers up for sale for $15,000. Remember the cool thing is, the new owner will have the history of the previous owners encrypted into the NFT. 

• Memorabilia and Merchandise - Increasingly, all things we collect in real life are heading to this online space. You could even buy a t-shirt as an NFT, receive the real-life T-Shirt and have the NFT verify its authenticity. 

• Tickets for gigs - Yes, your actual tickets could become NFTs! I know plenty of people who like to keep their gig tickets as souvenirs but also it helps combat ticket fraud.  

• Teasers of Songs - Mike Shinoda, a co-founder of Linkin Park, raised $30,000, auctioning a 37-second teaser of an unreleased song as an NFT. This seems like a very profitable and fun way to publicise your new release.

• Song Sample Rights - A song sample can be any piece of music that is remixed with or made part of a new piece of music. Think of that remix of “Singing in the Rain” by Mint Royale. This has historically caused a lot of issues as to who owns the rights to the new song. Well now, maybe that clip could be released as an NFT for people to own and have the right to use. In fact, Grammy-nominated producer Illmind recently offered up the world’s first sample beat pack as an NFT. Anyone can listen to the beat pack, but ownership and the rights to use the pack only go to the NFT owner. 

• Video clips from your favourite performances - Maybe you have a moment at a gig that was really special to you. Well, now you can own that moment and potentially digitally display it in your house! This is one that people struggle to get their heads around sometimes because you could watch the exact same clip on YouTube. For the doubters, check out ‘NBA Topshot’. They sell 10-second clips of NBA basketball games which have fetched up to $387,000.

• Trading Cards - Remember that Spice Girls Sticker Book I mentioned? When I was ten, everyone in my school had one of these books. You could get a sticker from the local petrol station for 10p. Each sticker also had a built-in scarcity, some were much harder to get than others. Everyone wanted to complete the set and fill the whole sticker book. The next thing I knew, a girl in my school had managed to get hold of that magic rare card and was selling it for a whole £1! Imagine a digital marketplace filled with your favourite artists’ cards where each one is collectable and you can store it online for your friends to see. In fact, the metal band Babymetal has already minted their own trading cards which come with the real-world benefit of an exclusive gold coloured vinyl record. And, perhaps these cards could be linked to a game. Having a limited edition Jimmy Hendrix card could mean you get exclusive access to his songs on something like Guitar Hero. In the future, I suspect we will be seeing music trading cards selling for a little more than the spice girls stickers. 

3LAU

As you can see there are quite a few people in the music industry adopting NFT’s already, but I want to touch on someone who’s fully embraced this to give you an idea of the potential. Justin Blau (aka 3LAU) auctioned his album ‘Ultraviolet’ as an NFT drop in March and it collected a huge $11.6 million. Similar to Beeple, 3LAU is a pioneer in the crypto space and some of the reason the album fetched such a high price was in support of his vision for the industry. He made his NFTs extremely rare with only 33 of these albums ever minted, including a one-off platinum edition for the highest bidder. But there were some other really cool in real life perks too. The top bidder got to collaborate with 3LAU on a new single which will then tokenised as its own NFT, whilst the bidders below him also gained access to extra content, including unreleased songs and a signed commemorative vinyl. I think this illustrates the scope for creativity and the ability for the digital and real-world to meet. While NFTs are in the music industry they will also be in the hands of creative people and I’m sure we will see even more interesting examples than the ones I have listed. In fact, Twitter co-founder Jack Dorsey sold his first-ever tweet as an NFT for more than $2.9 million! They really can be anything

I would be interested to know, can you see yourself buying an NFT in the future? What do you see them becoming? And if you have already bought one, where do you think its value lies? 

But this isn’t just about making money, it’s about finding new ways for artists to connect with fans and fans to connect with each other. The most desirable and sustainable projects won’t be those which go for a money grab, but those that seek long term value and inventive ways to bring real-world benefits and connect people. That is where the real value lies. 

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What Makes Aretha Franklin Great?

Crowned “The Queen Of Soul”, Aretha Franklin is one of the best selling musical artists in history. Winner of 18 Grammys and named the Greatest Singer of All Time by Rolling Stone Magazine, Aretha Franklin has had an acclaimed and prolific career. But what is it about her that makes her voice stand above the rest? What makes Aretha Franklin great?

Technique

Tone & Registers

Most people think of Arethas’ tone as thick and weighty at the bottom with a powerful, piercing mixed voice, and this was undoubtedly her voice at its peak. But, although most people associate her with a particular tone, her voice changed a lot throughout the years. When Aretha first signed with Columbia Records at 18 years old, she had already had a fantastic career as a child singer. It is no wonder because her voice was already incredible and powerful beyond her years. Here is a clip of her, aged 14, playing the piano and singing a Gospel song called Precious Lord.

Her father, C.L. Franklin, was a renowned Baptist minister and civil rights activist, known as “the man with the Million Dollar voice”. And she was also brought up by Mahalia Jackson, one of the most influential vocalists of the 20th century, who was part of developing and popularising gospel blues music. So, Aretha started singing with Mahalia. She also learned piano by ear with the King of Gospel, Reverend James Cleveland. Because of this background, she grew up surrounded by some of the greatest singers: Sam Cooke, Marvin Gaye, Clara Ward and Jackie Wilson. By 12 years old, Aretha was already touring churches and, at 16, went on tour with Martin Luther King. This training and upbringing, I am sure, had a massive part in her technically sound and emotionally packed singing style.

As you can hear, at the start of her commercial career, in the early 60s, Aretha primarily used a robust, balanced and technically flawless mix with a consistent texture throughout, even on fast runs. Most singers have to grapple with a vocal break in this midrange, but at this point, for Aretha, it doesn’t matter what pitch she sings. Her voice has a seamless, consistent quality between the registers

When teaching singing, most people have inconsistencies throughout their range, but you get the odd person who can keep their tone throughout naturally. The only issue with these people is often they find it difficult to use different vocal textures and colours. This is not the case for Aretha. In the late 60s, Aretha moved to Atlantic Records and started producing some massive hits. At this point, she starts to combine more of the gospel nuances from her youth, resulting in an uplifting, powerful sound full of vocal textures and colours. She still has that wonderfully balanced mix that she can bring up even higher with even more power, warmth and resonance and is more playful with her tone. It is important to point out that Aretha had been smoking since age 13. If you listen carefully, you can hear a raspy edge in that tone, the early signs of damage from the smoking.

In the early 70s, she recorded, in my opinion, her best record - the Gospel album Amazing Grace. She is, of course, technically on point. But, there is something in her voice that goes beyond what can be explained.

As time goes on, into the late 70s and 80s, you can hear her voice has started to lose power, has a husky tone and lowers a lot. This is primarily down to her smoking. I did a video on What Happened to Miley Cyrus Voice, and it goes into more detail on what smoking can do. But in short, smoking will irritate the vocal cords, making them swell so they can't make a clean, powerful sound, and it affects breathing and stamina. You can hear it when you put these two clips of Say A Little Prayer side by side from 1970 to 1985, both in the tonal quality and the ad-libs she attempts.

However, this shows some more of Aretha’s genius. As her instrument fails her a little, she adapts her vocal style to accommodate and still give the same emotional impact. She lowers her songs in performances and revels in the lower range she has gained from the damage.  Her loss of power means she leans more into vocal riffs and runs, making them more and more complex. As she loses her consistent tone and has more defined register breaks, she uses the textural differences for artistic effect. CLIP

In 1994 she gave up smoking to save her voice, and you can hear how she regains a little of her clarity and range. By giving up smoking, she won’t have been able to fix all of the damage. However, it will stop the voice from being constantly irritated and bring down some of the swelling in her vocal cords. In the next decade, she suffered many health issues. As before, Aretha managed to adapt her style to fit her voice's condition at any given point - this is a testament to musicality and technique. With that in mind, I thought I’d finish this section with that time at the 1998 Grammy Awards that Pavorotti was sick, and Aretha said she would cover and sing his song. Here is her singing Nessun Dorma.

Range

Throughout her career, Aretha had recorded and performed notes from G2 to D6. Although, because of the lowering of her voice, she probably had a range of just over three octaves at her peak. Most of these lower notes are from later in her career

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Again the higher notes are primarily from her early years before any vocal damage. Aretha surprisingly doesn’t tend to use a pure head voice that much, tending to use it for short exclamations of joy.

One of the most impressive parts of Arethas voice is the ease, warmth and resonance she carries throughout a balanced and well-controlled mixed voice that, because it extends so high, she used instead of head voice. This ease means you have the feeling she is speaking to you even when she is belting. I can only think of one other singer who has anything even close to that mix. That is Jennifer Hudson, who unsurprisingly is playing her in an upcoming biopic of Aretha’s life. In the 70s, Aretha could extend that mixed voice with control up to a B5, a feat that is impossible for most singers.

Vowels

Aretha has some interesting techniques for using vowels—sometimes opening up the vowel towards an ah. Listen to the vowel she uses in Son Of A Preacher Man on words ‘son’ and ‘along’. They are more towards ‘san’ and ‘alang”. This means she maintains her warm tone instead of closing and shutting off the sound. CLIP

Although her vowels are open and she doesn’t tend to sing on the consonant, she often opts for vowels with a wider month shape than most people, especially on an ee vowel. So, for example, in ‘Chain of Fools’, Aretha sings ‘chay-een’ rather than the more common ‘cheeen’ with an open eh sound.  

That wider ee sound boosts higher frequencies. For a voice like mine, it can sound a little piercing, especially up high. But for Aretha, who already has that warm tone, it makes it more direct. This is also true for nasality, Aretha often used nasality in a way that most singers couldn’t get away with, but because of the depth of her tone, it works in her voice. I am a huge believer that singing isn't one technique fits all. Aretha backs that up by using vowel choices that work for her instrument. 

Breath and Attack

Aretha also has fantastic technique in how she attacks notes, and this has been one of the factors that have kept her singing through vocal injury. She has excellent breath support and doesn’t overly push, using a consistent airstream with a relaxed body. This ease of breathing means that even though the sound is big, she can control each note. She consistently uses something called a simultaneous onset, which is basically a fancy way of saying she starts the sound and breath at the same time. This sounds like it should be easy, but when singing these bigger songs, many people will do things like a glottal stop or a breathy onset, which can be pretty harsh on the voice if overused. To demonstrate how she managed to keep her voice going let's have a listen to that iconic performance for the Obamas in 2015 when she was 73 years old!

Further Technique

Aretha's musical understanding was incredibly nuanced and accurate. Her rhythm and pitch were always spot on. Her power defines her voice, and she shows us that pushing out more breath or squeezing our muscles doesn’t make more sound. For the most part, her breath is relaxed and easy, contributing to creating a resonant voice. So instead of pushing, she is shaping her vocal tract to boost the frequencies that she wants. She might have just had a lot of space in her mouth and pharynx but also would have had to adapt to keep that resonance and consistency throughout her range. There are many ways to do this,  by lowering or raising the larynx, raising or lowering the soft palate, opening our mouth, changing the mouth shape and moving our tongue. Each of these movements will have a relative tonal change and stability change in each person’s voice. Aretha could control each of these elements quickly and easily and was incredibly intuitive about shaping to make the most expressive sound. CLIP

Emotional Expression

Aretha Franklin had excellent technique, but it was how she used that technique that connected with people. If her mentor Mahalia Jackson helped develop gospel music, Aretha brought these gospel nuances to a broader secular audience - combining gospel with other popular music styles, whether soul or blues and later disco and rock. So let’s look at what these gospel techniques are and how she used them to make her unique sound. 

Melisma

Melismatic singing is a fast-moving group of notes sung on one syllable. Rather than scatting where the consonants break it up, it’s all on a vowel. Melisma is used in all types of music across the world throughout history using lots of different scales. Gospel music took this idea and combined it with jazz and blues scales and syncopated rhythms. Rather than sticking to set written musical structures, it became an improvisational method of singing and embodied freedom and expression. Aretha was one of the people that popularised this sound. In the 60s and 70s, Aretha riffs and runs were smooth and clean and generally stuck to one texture and vowel sound. As she moves into the 80s, she uses melisma more and more adding unusual gospel-based scales, textures and moving vowel sounds.

Piano

Aretha was a fantastic piano player. An instrument that plays a central role, along with the Hammond organ, in the sound of Gospel music. She learned by ear with Reverend James Cleveland. Rather than relying on a band, Aretha played the piano at live performances for her whole career. She could change tempo and dynamics at will to compliment her vocal performances. Her performances were not just about the voice but the music as a whole. 

Dynamics and Timing

Although Aretha is known for her powerful singing, it would not be so powerful if she did not know when to use dynamics and tempo. In current music, people tend to keep to an even tempo throughout a song and a compressed volume level. Aretha pushed and pulled the speed and dramatically shifted dynamics to take the listener on an emotional journey. You can hear her do this in Son Of A Preacher Man. In the original Dusty Springfield version, the dynamics and tempo stay pretty much the same throughout. Aretha’s brings the final pre-chorus down in tempo and volume,  This not only echoes the backing that gospel musicians would use for preachers in church but makes a dynamic valley that builds into the final chorus.

In gospel music, the final chorus is also often repeated, creating a memorable hook with a call and response that people can join in with. This is called the vamp or the special chorus and is also something that preachers would use in sermons. Aretha also uses this in her cover.

Social Context

Arethas songs and voice have become so woven into culture that it is impossible to imagine our world without them.  I genuinely believe that without her, our music today would not be as rich, and society would be even less open and free. I’ve talked through some of the techniques that she used, but when you hear Aretha sing, her voice uplifts and empowers in a way that transcends anything you can explain. Unsurprisingly, her music became an anthem for civil rights and feminism. Nothing embodies that more thoroughly than the song “Respect”. The original version of ‘Respect’ was written and performed by Otis Redding. It tells the story of a man demanding respect when he gets home from work. Aretha transforms the song to acknowledge the lack of respect many women, especially black women, unfortunately, face daily. It moves from a plea for an easy life in a personal relationship to a demand for change in the entire world. It shows a woman able to own her own life, including “her money”, showing she was not just self-sufficient but able to support a partner. Unashambley proclaiming this still feels forward-thinking today. 

Franklin wrote in her autobiography.

“So many people identified with and related to ‘Respect’. It was the need of a nation, the average man and woman in the street, the businessman, the mother, the fireman, the teacher — everyone wanted respect. It was also one of the battle cries of the civil rights movement. The song took on monumental significance.”

And Aretha, a black woman born from the civil right movement, didn’t just demand respect. She got it.. This empowered many other people to demand the respect they deserved as well. We are still fighting some of these battles today, but when I listen to Aretha’s music, I know that as Aretha and her idol Sam Cooke said, “a change is gonna come”. 

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10 Underrated Singers & Musicians

As you all know, I have built my life around music. Every day, I receive lots of comments from new and exciting artists, sometimes I can’t believe that I haven’t heard them before or that they aren’t more widely recognised. I have picked ten singers that I consider underrated and don’t get the recognition they deserve. 

There isn’t one thing that makes someone ‘underrated’ and of course it’s based on personal tastes and opinion, but I’ve tried to take a broad view. Some of these artists are really well renowned but only within their niche, some are more broadly famous but maybe they’re not as recognised for their ability to sing so much as their image. I’ve linked all the artists in the description with clips of my favourite examples of them, so you can check them out and see if any of them speak to you. So many more singers deserve more recognition than they get and I want to do another one of these videos in the future, so please share your suggestions and check out some that others are sharing in the comments!

Sister Rosetta Tharpe

Sister Rosetta Tharpe, otherwise known as the ‘Godmother of Rock ‘n’ Roll’, was a pioneer of the Rock ‘n’ Roll genre and one of the first to use heavy distortion in her guitar technique. She influenced countless musicians including Elvis, Little Richard and Johnny Cash and her style of playing the guitar was the start of a whole new genre of Rock Music. When asked about her music and rock and roll, Tharpe is reported to have said,

"Oh, these kids and rock and roll — this is just sped up rhythm and blues. I've been doing that forever".

But despite her influence, Sister Rosetta never really hit the levels of fame of the artists who followed, although I’m glad to see in recent years there has been a surge in interest in her effect on modern music.

Yebba

Yebba is an artist that has the rare ability to combine technique and skill with heart-wrenching emotion, she’s one of my favourite singers performing right now. It might seem strange to call her underrated considering she’s already won a Grammy, but I’ve found she’s only really known within niche circles, partially because she hasn’t released that much music yet. I would suggest checking out her live performance of her heartbreaking song “My Mind” on YouTube, as well as her duet of “Gravity” with Clark Beckham. She has recently signed a record deal with RCA Records and is working with Mark Ronson, so keep an eye out. I am certainly excited to see what she releases in years to come.

Kaleigh Baker

Kaleigh Baker is an artist I found on YouTube a few years ago and I think that she is someone everyone should know. Her voice has the depth and warmth of Adele with a touch of the soul and emotion of Janis Joplin, melding a rock attitude with jazz and mountain-soul influences. I would recommend checking out the live version of her song ‘The Weight Of It All’.

Ralf Scheepers

Well-known in the Metal community for his work with Gamma Ray and Primal Fear. Ralf navigates powerful high notes and warm baritone lows with both energy and control. And, unlike many of his contemporaries, his voice has continued to get better as he has aged. Plus, I was lucky enough to have him on the podcast to chat about his vocal journey and he’s a super nice guy! Check out him performing ‘The End Is Near’ with Primal Fear. It is genuinely thrilling to watch and listen to. 

Aston Merrygold

You might be a little shocked to see JLS singer Aston Merrygold here, the lead singer of a dancing boy band whose rise to fame happened through X-Factor. Boy bands like this generally get a bad reputation for lack of ability, but after watching Aston give performances that Bruno Mars would be proud of in the Masked Singer U.K, there’s no doubt he’s a seriously good vocalist. Aston’s skill as a singer, dancer and overall performer has even earned him a spot in the UK Musical Theatre world, showing some real versatility, and he’s had one big single. I would love to see him release more music as a solo artist.

Concha Buika

With a raspy voice filled with spine-tingling soul, Spanish singer Concha Buika is comparable to Nina Simone and Edith Piaf. Her music is a unique blend of copla - an old-fashioned Spanish song style - flamenco, jazz, Cuban music, soul and blues. Concha is probably being underrated from a worldwide point of view because her music is in Spanish, which doesn’t always appeal to all English speakers. I think it is worth giving her music a listen even if you don’t understand the language. I love her collaboration with Javier Limón on the song Buenafuente, where there is an excellent live version on YouTube.

Floor Jansen

Many of you might be thinking - how could you call Floor Jansen underrated?! We all know her! And yes, she has a massive following across YouTube and in the metal community generally. But plenty of people outside of these communities don’t know her, even if we all know her vocals could rival any of the superstar performers that are popular right now. If you don’t know her or haven’t heard her work outside of metal, I suggest you look at her performances on Beste Zanger. My personal favourite was her singing Shallow by Lady Gaga as she makes the song her own and takes the song to emotional heights that I didn’t think was possible. If you want to see her range, she also does a fantastic version of Phantom of the Opera.

Morgan James

I first came across Morgan in her work with Postmodern Jukebox and subsequently caught her on tour in London. Seeing her live was one of the most amazing gigs I have ever been to, and I couldn’t believe that I heard this truly extraordinary voice in such an intimate venue. Morgan has forged her way as an independent artist, which without the backing of a big label makes it harder to get your work out there. I chatted to Morgan about this on the podcast and I’ll leave a link below. I really recommend checking out her solo work, as well as both her covers on her YouTube channel and her work with Postmodern Jukebox. My favourite is her cover of Aerosmith’s ‘Dream On’.

Ronnie James Dio

Ronnie James Dio is the less controversial but also lesser known Black Sabbath singer. But with excellent musicality, control and storytelling, in my opinion, he vocally trumps Ozzy Osbourne - sorry Ozzy fans! He does some fantastic work with his bands Elf, Dio and Heaven & Hell, although my personal favourite is the song Stargazer with the band Rainbow. 

Mercedes Sosa

Mercedes Sosa was one of the most well-known singers in Argentina but is less well known outside South America. An outspoken opposition to Jorge Videla’s dictatorship in the 1970s, Mercedes became known as the “voice of the voiceless ones”. Her voice is warm and earthy yet powerful, passionate and politically charged. I love her emotional rendition of Nueva Canción song ‘Gracias A La Vida’, it’s well worth a listen. 

IF YOU HAVE ANY QUESTIONS PLEASE GET IN TOUCH OR BOOK A SINGING LESSON HERE.

How Bowie Helped Bring Down The Berlin Wall

In June 1987, a three-day concert was held in front of the Reichstag in West Germany with a lineup including David Bowie, The Eurythmics & Genesis. In November 1989 the Berlin Wall fell. But why are the two events connected? Did a concert help bring down the Berlin Wall?

Berlin Airlift

The fall of the Berlin Wall is one of the most famous and pivotal scenes of recent history - leading to the end of the cold war, the fall of the Soviet Union and becoming a symbol for freedom and the unification of people. To understand our concerts role, let’s have a quick recap of the history of the wall...

In 1945, after the second world war, the victorious allies came together to split Germany between them. East Germany went to the Communist Soviet Union, which immediately banned East Germans from leaving East Germany. While the West, which contained the industry of Germany, was split between the Capitalist, UK, U.S and France. Berlin was a complication. It was situated in the East, the Soviet part of the country, but the Western allies also wanted some control there, so it was also split into four sections. The Western half was divided between Britain, the US and France, whilst the Eastern half was controlled by the Soviets. This caused a problem, although East Germans were technically not allowed into West Germany, if you lived in the East part of Berlin, you could easily walk into West Berlin. And from West Berlin, people could then easily travel into West Germany. As the Capitalist West poured money into reforming their half of Germany (and Berlin), boosting the industry further, the Soviet Union took the remaining industry and resources from the already poor East back to Russia as war reparations. While there was free health care and education in the East, the West had higher salaries, a higher quality of life and more personal freedoms. This meant a lot of East Germans wanted to move to the West. As tensions grew between the Soviet Union and the U.S, the Soviet Union wanted Berlin as solely theirs. They decided to cut off land routes, food and fuel supplies to the West side of Berlin in an attempt to starve the West out. For 15 months, planes from the Western allies dropped off supplies into the Western sector in an event called the Berlin Airlift. Eventually, the Soviet Government backed off. Despite this, the West of Berlin continued to grow in wealth, while the industry starved East hit economic failure with little to no industry. By 1961 nearly 20% of the East German population had moved to the West in search of work, including many highly skilled and educated professionals. East Germany decided to close the border between East and West Berlin to prevent further losses and save the economy. They began work on the Berlin Wall. 

Building of the Berlin Wall

The wall extended for 43km through Berlin, splitting up friends and family on either side. An additional 112km was built around the perimeter, surrounding West Berlin. Initially, a barbed-wire fence, by 1965, much of it was replaced by concrete barricades, strengthened by layers of land spikes, guard dogs and landmines and a 100m section of land dubbed the death strip. This area was cleared of buildings, covered in sand to provide a clear line of sight for the 302 watchtowers manned by snipers ordered to shoot anyone attempting to cross. One hundred and thirty-eight people were killed trying to escape into the West. The wall did stabilise the East German economy and as the poverty eased, so did restrictions, with some family visits being allowed. Despite this, many people were unhappy with the Communist Regime. As other communist countries turned to democracy in the 1980s, mass demonstrations began to break out across East Germany. 

Hansa Studio 2

Now we have a little context. Let’s have a look at the music. Bowie knew West Berlin well. Having lived there for three years in an apartment with Iggy Pop in the late 1970s, Bowie felt Berlin was a retreat from his rockstar lifestyle. During his time here, he wrote and recorded three albums that became known as the Berlin Trilogy. In 1977 Bowie recorded ‘Heroes’, the second in the trilogy in Hansa Studio 2. The studio was a former concert hall used by Gestapo officers during World War II as a ballroom and converted into a recording studio after the war. Located Five hundred yards from the Berlin wall, Bowie described it as the “hall by the wall”, and this location had a profound effect on the music. 

Bowies Music Producer Visconti recounted: 

"Every afternoon I'd sit down at the desk and see three Russian Red Guards looking at us with binoculars, with their Sten guns over their shoulders, and the barbed wire, and I knew that there were mines buried in that wall, and that atmosphere was so provocative and so stimulating and so frightening that the band played with so much energy".

Guitarist Carlos Alomar who was also working on the album described the atmosphere. 

"These things are hanging in the air, and when things get darker physically, you kind of think of darker themes too. Berlin was a rather dark, industrial place to work."

That year was a dark year for the Berlin wall as East German border guards shot and killed 18-year-old Dietmar Schwietzer as he tried to escape to the West and a few months later, 22-year-old Henri Weise drowned trying to escape by crossing the Spree River. 

‘Hereos’ was an album drawn from the Cold War themes of fear and isolation that hung over the city. Its title track tells a story of two lovers who meet at the wall and try, hopelessly, to find a way to be together. Although this may have had a more personal meaning for Bowie, it became a symbol of the hopeless separation felt by Berliners.

Concert for Berlin

A decade later, in 1987, the Concert for Berlin was organised. By then, East Berlin had become much safer and wealthier but not freer. The Soviet leaders treated Western pop and rock as a threat that could spark a rebellion and destabilise the East. Despite this, a US-run radio station had become popular in the East and had permission to broadcast the entire show, and the show was situated close enough to the wall that it could be heard from the East side. It is not clear whether the concert was purposefully provocative, as some of the organisers claim it was not. However, the promotor Peter Schwenkow believes it was an act of revenge, saying:

"In 1977, some crew members of Tina Turner were killed while in transit through East Germany. A short time later, while in transit myself, I tried to find out what had happened and was interrogated at gunpoint by East German border guards. Ever since then, I couldn't stand those guys. Holding a show at the Reichstag was an attempt to provoke them. It was great fun."

Either way, six artists were invited to play. On the first night, New Model Army and David Bowie with his symbolic song ‘Heroes’. East Berliners crowded along the East side of the wall to listen. Before singing Hereos, Bowie began by telling the crowd, in German, "We send our wishes to all our friends who are on the other side of the wall." sending a clear message that this music was for the East as well as the West. Bowie later said, "It was one of the most emotional performances I’ve ever done. I was in tears,” 

The next night, thousands of East Berliners turned up again to listen to Bruce Hornsby & the Range and The Eurythmics. But it was on the third night as Paul Young and Genesis played that the police had enough. They cordoned off a street a quarter of a mile from the Brandenburg Gate, where 2000 people had headed to listen. The crackdown was violent, police dragged concertgoers along the road, used water cannons and arrested 200 people. 

East and West Berliners were outraged, with media from the West beginning to call to bring down the wall. Many saw this concert as the point that mood shifted against the state, feeling that the East German Authorities had turned a peaceful concert into a violent political act. East Berliners saw the wall with renewed outrage, and it began to be viewed as something less permanent than it had been thought of when Bowie had recorded ‘Heroes’ a decade earlier.

A week later, US President Ronald Reagan visited West Berlin. Standing in front of the Brandenburg Gate, the very place that concertgoers had wished to listen to music from, called on Soviet leader Mikhail Gorbachev to "tear down this wall." 

So, did the Concert for Berlin help bring down the wall? The German Foreign Ministry certainly endorse this reading of history, tweeting on Bowie's death with a link to his performance of Hereos:

Good-bye, David Bowie. You are now among #Heroes. Thank you for helping to bring down the #wall. 

From 1987, public opinion had begun to turn sour, and by 1989, mass protests broke out across the country. This was because of many reasons, the dismantling of other communist states, lack of freedoms and a public appetite for democracy. In the end, the Berlin wall came down when East Germany tried to defuse the mass protests by making travel permits easier to obtain. This was incorrectly announced as an immediate effect and caused a chain reaction. People started gathering at the walls, and news reports announced that the gates were now wide open even though they were not. Although guards initially tried to allow people through in an orderly fashion, too many turned up, and the guards opened the border. People began to celebrate and dance on the wall and later that night tore it down. 

So, The Berlin Wall was brought down by political changes, a botched announcement and a change in public opinion. It’s hard to measure social change, but I like to think that this concert did help people understand they did not have to be separate. After all, music brings people together, and in the end, it was the people that tore down the wall.

References

The Berlin Wall: https://en.wikipedia.org/wiki/Berlin_Wall

The Berlin Wall TedEd: https://www.youtube.com/watch?v=A9fQPzZ1-hg&t=82s

The Mistake That Toppled The Berlin Wall: https://www.youtube.com/watch?v=Mn4VDwaV-oo&t=80s

The Concert That Rocked: https://www.bbc.co.uk/programmes/w3csyww1

Bowie and The Berlin Wall: https://www.wearethemighty.com/music/david-bowie-berlin-wall/

IF YOU HAVE ANY QUESTIONS PLEASE GET IN TOUCH OR BOOK A SINGING LESSON HERE.

What Makes Billie Eilish Great?

Billie Eilish has had a meteoric rise to fame, becoming one of the most famous artists on the planet. She has a very distinctive and divisive voice but there is no doubt she has had a huge impact on the music industry with it. What is it about her that connects with so many people? What makes Billie Eilish Great?

Technique

Tone

Billie is known for her distinctively quiet breathy tone but has that always been the way? I was quite surprised when researching this, she doesn’t use as much of that breathy tone on that first single Ocean Eyes.

Whereas in a live performance, later on, it sounds like this.

The first thing to bear in mind is that she was only 13 when she realised this single! But it shows that her trademark tone is a choice. It’s hardly surprising that she hadn’t fully embodied her vocal style at age 13 but you can hear the fingerprints of what was coming. She could have gone either way with the vocals. In this clip of her singing Alicia Keys age 12, you can hear how she could have gone towards a more standard contemporary sound. Perhaps, her voice could have ended up similar to Alicias!

But with time she has lent more and more into her vocal idiosyncrasies, giving her voice an authentic, fragile, and unique sound. Billie's breathy tone has been a choice or at least an amplification of a natural vocal quality rather than something her voice just does, meaning that when she needs a fuller tone like in No Time To Die she can.

She has flipped the idea of what a “good” singer is, on it’s head and although there have been singers in the past with this tone none have been quite as detailed and creative in their delivery.  

But what causes a breathy tone and how can we sing like that? Singing with a breathy tone is controversial in the vocal coach world because it is an inefficient way of singing. You have to put in a lot of breath to get a small amount of sound and it can be pretty harsh on some people's voices. Sound is created when air from the lung moves through two bands of tissue in your throat called the vocal cords. When making a full tone they close fully and the air puffs through the middle. It sounds like this… A breathy tone happens when you don’t put your vocal cords together fully, letting more air from the lungs leak through. It sounds like this… It is the force of this air that can cause vocal damage over the long term for some people. However, if you can do this without tension and without forcing out too much air, are warming up and exercising your voice with cord closure, and are giving your voice recovery time after singing you should be fine.

From what I see Billie seems to have a good group of people around her and I am very hopeful that she is looking after her vocal health. It is interesting to note that in her more recent performances, she has gone back to singing with more vocal cord closure, and although she does use that breathy texture she is a little more sparing with it. This could be because she wants to protect her voice or maybe she is just adapting to the emotional need of each song, making them less fragile and more self-assured. Either way, it shows that Billie will keep on adapting, changing, and creating, following the needs of her voice, her fans, and her songs. It will be interesting to see how each of the areas I am going to talk about has changed in a few years.

Range & Registers

Billie uses a relatively small range. She has a great resonance of her lower range when she wants it, dipping down to an E3 with a relaxed and easy technique.

I am sure she has more upper range than she uses although does go up to a G5 in her song Copycat.

It’s very difficult to get much higher than she does without full cord closure and her technique contributes to that thinner sound on her high notes. However, showy high notes aren’t important in her vocal style and it fits with the rest of her vocals. But who knows, it wouldn’t surprise me if one day she suddenly started using this range if she felt like the emotion of a song required it. I think she has many textures in her voice that maybe she hasn’t explored or shown us yet and I think she is so adaptable anything could be possible with what she brings to the table next. She has made a very bold choice to lean towards expression in her unique way and chooses to sing in ways that are less technically efficient to fulfil her emotional delivery. She is not about showing off but expressing something very real and human. 

Billie has control over her registers, sometimes keeping a smooth transition between head and chest voice by slowly lightening it off, and at others playing with the textures created when contrasting a slightly fuller chest voice with a light airy head voice. You can hear these two techniques in the two verses of My Future, pay close attention to the words ‘here’ and ‘better’

She can use a fuller tone as she gets higher in the range and even has a heavy mix that she uses very sparingly and sometimes with a little tension.

But because she uses this texture so sparingly that tension shouldn’t cause many issues and when she gets the belt spot on, it has an even greater effect than it would with other singers as it contrasts so much with the rest of her singing. She favours bringing her head voice lower than most contemporary singers, adding to that light falsetto sound.

Further Technique

Billie is so controlled and despite her reputation for throwing away technique does use the standard technique but only when it suits the emotion of the song or if she feels she needs it. She can have good breath support but often drops it and allows extra air to leak through or forces the breath a little. Sometimes she doesn’t have enough breath which contributes to a squeezed sound sometimes. However, I think this is purposeful. For those of you that are unsure, what breath support is - good breath support is a nice relaxed in-breath and then slowly letting the air out at the perfect rate to allow the vocal cords to vibrate efficiently.

When learning technique there are things you need, you want to be able to pitch well and sing rhythm well but beyond that stylistically, in my opinion, it is up to you and what you want to express. If you want to sing opera, you need brilliant breath support to create that sound, but if you want to sing emotionally and conversationally you need to be able to embody how we sound in emotional situations in day to day life. I am pretty sure that when I am upset or angry my breath support is not on point. Having said that, I think the key is to know how to do at least a basic amount of standard technique so if you want a big high note or long phrases or a balanced tone, you can do that, but don’t be afraid to let that go sometimes.

Billie is very good with pitch, even when she drops her breath support. For most singers, when you drop that, your pitch can wander. Partially I think this is down to her meticulous nature in regards to her music. When recording she will record until it’s perfect and when your body sings something enough, with that much detail, those details become muscle memory. I usually talk about vowels in this section but she doesn’t use them to aid her technique that much and again this is a place where she favours expression so I’ll get to that in the Emotional Expression section.

Emotional Expression

Billie Eilish expresses emotion in the most subtle stark way. So I’ve picked out some vocal technique that helps. Let’s start with vowels and consonants.

Vowels & Consonants

Her use of consonants is so nuanced. Due to her quiet vocal style and the production by her brother Finneas her vocal style has to be incredibly detailed as you can hear everything. I watched an interview with her and her brother on Rolling Stone Youtube, on how they made ‘Bad Guy’ and Billie recorded the vocals over and over until she got the perfect take. Just because the sound is small doesn’t mean it is easy and the detailing that goes into each song is beyond anything I have heard before.

Because of the use of close-up highly amplified and compressed microphones, you can hear every detail and therefore she uses quite soft consonants keeping her tongue really relaxed. She often favours a dental consonant where you use the flat of the tongue rather than the blade to produce the sound and sometimes even changing the consonants completely. With the production, you can hear every tiny mouth sound, and she uses these intentionally, whether it is a breath or a mouth slap. But, by softening the consonants you avoid pops in the microphone and don’t lose the fluid nature of her singing. Let’s listen to a clip of her singing ‘idontwannabeyouanymore’. Head straight to the chorus.

You can hear on the word ‘teardrops’ the t is dental, she drops the ‘r’ and uses a soft ‘p’. The c’ on “could’ is quite far forward and crisp and then on ‘bottled’ she almost makes the ‘l’ a ‘w’. ‘There’ is almost a ‘dere’. Then my favourite, she drops the ‘l’ on pools to make ‘poo’. And ‘mod’oo’s instead of models. Normally the consonants get in the way of smooth singing so by dropping them and changing them to vowels she maintains a smooth sound. Billie embodies a modern style of singing that has been dubbed ‘cursive‘ singing as if each letter is joined.

Her vowels change again depending on the emotional context, sometimes opening up and singing on the vowel, especially when she wants to get up to those higher notes, and sometimes closing and singing on the consonants or squeezing the vowel to make it sound more intense or vulnerable. You can hear both these techniques on this clip as she sings an open vowel on ‘Falling for’  and closes it on ‘lie’.

Again she mixes and matches between using a standard technique to achieve notes and anything else that will achieve the emotion, style, and storytelling. And sometimes she just does unusual things that sound cool. Listen to the vowel on this clip from My Future. On the words 'know myself’ instead of on an ‘eh’ she for myself she uses an ‘oo’.

Vocal Fry

Billie uses a more really interesting texture called Vocal Fry. This both echoes some of the really genius distorted production tools used by Finneas and is used as a great emotional tool. Vocal fry sounds like this. You can hear it a lot in ‘when the party’s over’

Vocal Fry happens when you are using a relatively small amount of air through really slack vocal cords and held together quite tightly. It means that rather than vocal cords vibrating in an even way like they do when you sing without any effects or distortion, air pops through in little irregular bubbles resulting in the creaking popping sound. The use of fry, breathy tone and full tone becomes a subtle yet effective vocal texture palette that she switches between to create her emotional picture. Interestingly, how she uses breath in vocal fry is pretty opposite from what she is physically doing in her breathy tone so it’s quite impressive how quickly she can switch between the two. You can hear those quick switches on ‘Bad Guy’

Breath

Billie makes the breath almost an equal part of the vocal textures as the singing. This is down to Finneas production, modern technology in mics and compression, as well her style. It is something that has been long used in cinematic sound design. In Hans Zimmer's score for Interstellar, he asked the 60 person choir not only to sing but recorded them breathing collectively. He wanted "to hear the exhalation of 60 people as if the wind flows through the dunes in the Sahara." To me, breath can express so much, whether it is a sigh or a quick sudden excited breath or even where it is silent.

The production in this is just gorgeous and so creative. The idea of hearing the breath is something that has come up a lot as well in modern art forms like ASMR and podcasting. Hearing the breath clearly is an intimate experience and makes you feel closer to the singer as if they are speaking into your ear. Taking these ideas and putting them into music is a massive part of the genius of her sound. I can’t think of any singer that performs their music to us so closely and intimately before and it is very difficult to replicate live. I have never been to any of her live shows so I am not sure how well it translates but in each track the combination of ambient synths and sounds and her voice and breath is captivating.

Dynamics, Phrasing & Articulation

Billies musically is phenomenal. She would not be able to speak to us so directly if she did not have this sense of phrasing and dynamics. She adapts to each song, generally favours a smoother more legato line rather than short and rhythmic and percussive but this works well with the style. She loves a slide where instead of hitting each note cleanly moves through all the possible frequencies in between each note. Her phrasing has constant movement. Dynamically she keeps within a fairly small and quiet range of volume but makes up for any lack of the louder dynamic range by masterfully using textures including a lovely relaxed vibrato.

She often does an interesting dynamic which is quite different to what most people would do. Instead of having a louder higher note and backing off at the end of a phrase, perhaps using some breath and keeping the vowel open. She often starts a higher note in a breathy place, slides down a third then lands the note in a fuller full cord closure slightly closed and squeezed and a pushed vibrato. It's a really intense sound and a real Billie Eilishism.

Production & Songwriting

Of course, I cannot skim past the genius production on her tracks. Their songwriting is catchy, dark and takes us to places we don’t usually explore in pop music. The production is subtle and considered, yet with bold textural choices used in just the right amount in the right places to evoke the world in which each song belongs. Again it has an ASMR feel, with crisp sounds, which are among the most common ASMR triggers, being a main part of the production. The clean base and minimal percussion that form the skeleton of her beats leave plenty of space for her unusual sounds and samples. For example ‘Bad Guy’ has very soft amplified finger snaps, claps and tiny scratching turning cog (All ASMR sounds) where you'd usually have a snare drum..

And this clarity of production happens in her vocals. Because you catch all these tiny sounds it is incredibly immersive. He also uses a cool trick that is also used in ASMR and binaural beats - stereo sound. Billie's vocals move between different ears. If you wear headphones you can hear that back and forth movement in Xanny.

Or when there are multiple layers of her voice he will have different tracks playing in different ears. It makes it sound three dimensional like you are surrounded by and immersed in Billie’s voice

Although he has produced for other artists there really is something special you get when they work together. For most singers, you will go to the studio and work with a producer for the allotted amount of time the record label will pay for. The work between the two of them does not feel rushed but each note is intentional. It is the sort of work that you would only do for someone you love and I think you can hear that love in its meticulous execution. Of course, that love is shown very clearly in ‘everything i ever wanted’ in which the music video begins with.

finneas is my brother and best friend. No matter the circumstance, we always have and always will be there for each other

And sometimes it just seems like they are having the best time together making some really fun music.

Social Context

I’ve talked about technically what I think makes Billie Eilish great but to me, no artist is truly great unless they and their music are doing something for the world and Billie Eilish certainly is. She has an activist spirit that runs through the lyrics of her songs and although her voice is quiet but her words are outspoken, becoming an icon for young people around the world. Tackling climate change in ‘all the good girls go to hell’, sexism in ‘your power’, mental health in ‘lovely’ and promoting self-love in ‘my future’. Outside her music she is outspoken regarding all of these topics as well as animal rights. Her music does not shy away from the dark side of human nature but explores where we should draw the line between darkness and light.  It’s fascinating to watch her learn lessons about life herself and express them through her music, giving a voice to the people who are going through the same things and providing a new perspective to people who aren’t.  This ability to communicate human truths is made even starker by the close-up production and vocal style. She is an intimate immersive voice in a technological pandemic world that is more and more lacking in intimacy. Speaking directly into the listeners’ ears, making you lean in and listen even more intently. From what I have seen she is providing a great moral compass for young and old people alike and it is wonderful to see an artist that underpins each song, fashion choice and social media post with the aim to make the world a little bit of a better place. 

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10 Musicians Tackling Climate Change

Throughout history, musicians have helped push social movements into the limelight. Today, when it comes to the climate movement, unsurprisingly, some artists have chosen to speak out. Expressing themselves and tackling climate change in the way they know best: through their music.

Climate change is something that has been highly politicised. I totally understand that there are people on both sides of the fence regarding how dangerous it is and if it even exists. However, with records showing an ever-quickening global temperature rise, many of our favourite artists are looking at their impact on the planet’s health, so I think it’s worth paying attention to what they have to say. 

This list is far from exhaustive, but I’ve picked ten artists discussing the climate today. There are so many others. Feel free to your favourites and what they’ve done in the comments below. Let’s keep the conversation going and celebrate the people who are doing great work in protecting our planet.

Childish Gambino

In July 2018, Childish Gambino, aka multi-talented musician/actor/writer Donald Glover released a new single called Feels Like Summer. Feels Like Summer could easily be mistaken for an anthem celebrating the joys of the season. But when you listen to the lyrics it is more of a cautionary tale, and maybe the relaxed pace is a perfect representation of the apathy we as a whole have towards climate change. The music video shows people enjoying the sun while the lyrics tell a foreboding story.

Seven billion souls that move around the sun / Rolling faster, faster and not a chance to slow down / Slow down / Men who made machines that want what they decide.

In the second verse, the song talks about the lack of clean water in many parts of the world, the ongoing decline in bee populations, and recent news of a rise in bird extinctions.

Every day gets hotter than the one before / Running out of water, it's about to go down / Go down / Air that kill the bees that we depend upon / Birds were made for singing / Waking up to no sound / No sound.

Before the choruses, there’s a repeated set of lyrics.

Oh, I hope we change

Architects

British metalcore band Architects released the album ‘For Those That Wish to Exist’ in February 2021, and even the title of the album makes you think. The lyrical content is pretty bleak - tackling the biggest questions facing the future of our planet and examining the part humans are all playing in its slow destruction. Singer Sam Carter invites self-interrogation to the part we are all playing in the song ‘An Ordinary Extinction’.

Are you fanning the flames? /  Are you torching the lighthouse? /  Stood in the way /  Complicity burning so bright, yet we delay

The album swings between prophetic doom and an almost hopeful plea for us to change our actions.

We're fighting to stay alive / How can we all survive? /  No second chances /  We're stood at the edge of the world

Gary Numan

In 2017 British New Wave singer Gary Numan brought out his album ‘Savage (Songs From A Broken World)’. The album explores a post-apocalyptic world that has become desertified due to global warming and hit number 2 in the UK charts - a success that he hadn’t hit for 40 years of music-making. This year, 2021, Gary follows this up with an album named ‘Intruder’ exploring climate change from the Earth’s perspective.

“The planet sees us as its children now grown into callous selfishness, with a total disregard for its wellbeing,” he said. “It feels betrayed, hurt, and ravaged. Disillusioned and heartbroken, it is now fighting back. Essentially, it considers humankind to be a virus attacking the planet. Climate change is the undeniable sign of the Earth saying enough is enough, and finally doing what it needs to do to get rid of us, and explaining why it feels it has to do it.”

Billie Eilish

Billie Eilish has swept the world with her whispering tone and dark themes. Although she is known as a prominent voice for mental wellness, she also campaigns for animal rights and has a lot to say on Climate Change. Although she shows her activist spirit in many ways, there’s no question one of the clearest is through her music. Take her song ‘All the Good Girls Go to Hell’, which features a petroleum-covered winged burning Eilish. She references the recent climate change fueled California wildfires and rising sea levels.

Hills burn in California / My turn to ignore ya / Don't say I didn't warn ya.

And once the water starts to rise / And heaven's out of sight / She'll want the devil on her team.

If the lyrics didn’t convince you, the video included a note from Eilish in the description encouraging people to strike to urge world leaders to pay attention to the issues that the world is facing.

“Right now, there are millions of people all over the world begging our leaders to pay attention. our earth is warming up at an unprecedented rate, icecaps are melting, our oceans are rising, our wildlife is being poisoned, and our forests are burning.”

Gorija

French Metal band Gojira have been frequent supporters of environmental causes. Singer Joe Duplantier has said if he were not a musician, he would be an environmental activist with Greenpeace or the Sea Shepherd Conservation Society. The band works with Sea Shepherd to raise money for the charity's work protecting marine animals. Members from the organisation are allowed to run a merchandise booth at Gojira gigs, and the charity named a $4 million ship that intercepts illegal fishing after the band. Their environmental activism has made its way into their lyrics as they explore feelings of futility and hope in their song “Global Warming”.

I had this dream, our planet surviving / The guiding stars always growing / And all the worlds, the fates all the countries / They're all rebuilding at the same time / I never fell and always believed in / We could evolve and get older / Open thy eyes and let all this flow in / Now see a new hope is growing inside / We will see our children growing

Paul McCartney

On Paul McCartney’s latest album Egypt Station, there’s a song called ‘Despite Repeated Warnings’. The song describes a crazed captain who refuses to heed warnings about an imminent iceberg. Eventually, concerned passengers surround the captain and tie him up to avoid disaster.

Despite repeated warnings / Our danger's up ahead / Well the captain wasn't listening / To what was said.

In the song, the people on the boat save the day by intervening, suggesting we can change the planet’s course if we all intervene and make sure our “captains” are listening.

“So I just wanted to make a song that would talk about that and say, 'Occasionally, we've got a mad captain sailing this boat we're all on, and he is just going to take us to the iceberg despite being warned it's not a cool idea,’” McCartney told the BBC. 

Xiuhtezcatl

I don’t think we can look at climate change without mentioning Xiuhtezcatl. Xiuhtezcatl is a tremendous force in climate change activism, protesting since he was six years old. At just 21 years old, he is one of 21 plaintiffs involved in Juliana v. United States, a lawsuit filed against the U.S. government for failing to act on climate change. He’s also spoken at the United Nations several times, has done three TedTalks with a focus on protecting indigenous communities and climate change, and won awards for his protest music. In his song ‘Broken’ he touches on many uncomfortable truths. First, the fact that the climate crisis is already taking a toll.

While the walls fall and the world burns / Seas rise, and the clock turns. /The earth fighting back with hurricanes /And the earthquakes and the pouring rain."

He also points out that although it may not affect older generations as much, it will be a massive issue for the next generation.

How will you look your child in the eyes and tell them / Their future wasn't worth fighting for, could've done more but didn't listen / Didn't wake up, didn't speak up, didn't fight back when there was still time.

And that if we do our part, there is still hope.

Fight for what we love, start healing the world's hate. / Build beauty from the ashes after the world breaks.

Lana Del Ray

Pop singer Lana Del Rey is another artist making climate change a central theme in her music. In her 2019 song ‘The Greatest’, Lana speaks of a generation burned out and apathetic and the world getting hotter.

If this is it, I'm signin' off / Miss doin' nothin', the most of all / Hawaii just missed a fireball / L.A. is in flames, it's gettin' hot / Kanye West is blond and gone / "Life on Mars" ain't just a song / Oh, the livestream's almost on

Bon Iver

Bon Iver’s albums are generally pretty difficult to understand, favouring emotional indie-folk sounds over lyrics and peppering each song with words he coined himself. However, Justin Vernon makes his meaning clear regarding climate change, asking in his 2019 song Jelmore…

How long will you disregard the heat?

And offering us a look at a stark future.

And one by one, by one / We'll all be gone.

He told The New York Times

The bad stuff might be over soon, but maybe the good stuff might be over soon, So you’d better figure out how to enjoy this life and participate in it.” 

Neil Young

Throughout his career, Neil Young has never been one to shy away from environmental activism. It’s still amazing to see a legendary artist take on climate so directly today. In 2019, he released Colorado, an album lamenting the climate crisis and issuing a call to action. As just one example, ‘Shut it Down’ calls for systemic change. 

People tryin' to save this earth / From an ugly death / People tryin' to live / Working in a world of meat factories / All around the planet / There's a blindness that just can't see / They're all wearing climate change / As cool as they can be

However, Young makes one thing clear; he believes we can still act in time. 

When I look at the future / I see hope for you and me / Have to shut the whole system down. 

That’s the end of our 10! As I say, I couldn’t cover everyone, and I haven’t even counted the artists doing great work outside of their music.
- Coldplay are scrapping touring until they can find a more sustainable way to present their music live.
- Massive Attack are working with academics to find an eco-friendly alternative to touring.
- The 1975 pledging to plant a tree for every ticket sold for their sustainable show runs on vegetable oil.

A few years ago, it was easy for us to ignore, but as time goes on, I think all of us have seen a change in our local climates. The world is changing around us because of coronavirus, but also to arguably a far greater threat - climate change. It can be challenging to see the point of making a stand through all the prophecies of doom. But, I agree with Neil Young - there is hope, but we all need to act, and we must all act now. Whether it is by changing your diet, paying attention to your purchases or protesting, we all have a part to play and the more we do, the better.

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5 Easy Feel Good Songs For Women To Sing

You want to sing and are looking for songs that will start you on your singing journey and just feel great. Whether it is for karaoke, starting singing lessons or singing around the house, I have five no-pressure full-of-joy songs to get you started. 

People often ask me where to start singing, and it can feel intimidating. However, there are lots of songs you can choose that feel great to sing and help you build your confidence. When people start singing, they often run into pieces that feel too low or too high. I’ve picked five songs covering different ranges and eras, so hopefully, there will be something for everyone. As people have various ranges, I’ve chosen songs that will be in a comfortable range for various people, so you might have to try them out to see which ones work for you.

Dream A Little Dream Of Me - Mama Cass

Range: (G3 - A4) Best for Mid Voices

"Dream a Little Dream of Me" was first recorded in 1931 by Ozzie Nelson,but this isn’t the most famous version. There have been over 60 cover versions of this song, including by Ella Fitzgerald and Doris Day. But, the version we are looking at was sung by Mama Cass Elliot of The Mamas and The Papas. This song has a gorgeous, flowing, easy to remember melody with repeating sections. With a range of G3 - A4, some higher voices may struggle with the lower notes. However, it is an adaptable song. If you have a higher voice, I suggest trying the Doris Day version or the Ella Fitzgerald for something jazzier. It has smooth phrases with plenty of space for breathing. This song can be a great song to start you with breathing technique by taking each phrase on one relaxed breath rather than chopping it up. But it also sounds good if you don’t want to overthink the breathing. Mama Cass does play around with the melody on the repeat at the end of a song. These changes can be really fun to try out. If you don’t feel ready yet, you can repeat what you learned in the first half, and it will still sound great.

1,2,3,4 - Feist

Range: (A3 - B4) Best for Mid/High Voices

“1234” is a song from Feist's third studio album, The Reminder. The song was written by Sally Seltmann aka New Buffalo, an Australian singer-songwriter. Sally loved Feist's work and had written a song she felt too like Feist's to perform herself. After she got the chance to support Feist on tour, she showed her the piece. Feist loved it and adapted some of the lyrics and “1234” was born. This is a fun song with lots of repeated notes, easy to remember lyrics and a simple melody. With a range of A3 - B4, it generally extends over the break, which can be tricky for some singers. However, it does not require power and the melody, rhythm and short, broken phrases allows a lot of space and time to manoeuvre over that tricker area of the voice. So, it is ideal as a first step to understanding the registers of the voice. Tonally this song suits lighter voices, and although it doesn’t matter if you can’t get much power behind your voice in this song, it still has cathartic ‘woah’s in it that you can enjoy with the pressure of it having to be big.

Da Do Ron Ron - The Crystals

Range: (D4 - G4) Best All Voice Types

"Da Doo Ron Ron" is a song made popular by the American girl group The Crystals in 1963. The title and lyrics "Da Doo Ron Ron" were initially just nonsensical syllables used as dummy line to separate each stanza and chorus until proper lyrics could be written. However, the producer liked it so much it was kept. With a range of D4 - G4 it has a small range that can fit anyone and be adapted easily if needed. This song has a really simple melody, with simple rhythms that repeat. It has a lot of space to breathe with short phrases. It does have longer notes in it, however, none of these needs to be held to make it sound good. Because of its simplicity, it is a great one to give a go if you struggle with pitching. The higher “yeahs” can be replaced by a spoken yeah if it is a little high for you or you aren’t comfortable pitching the higher notes yet. There are some fun simple ad-libs at the end if you feel ready to try them out. However, it will sound great without them as well.

You’re So Vain - Carly Simons

Range: (G3 - A4) Best for Mid Voices

"You're So Vain'' is a song written in 1971 by Carly Simon as part of her No Secrets album. It is probably Carly Simons most famous song. The song was originally titled "Bless You, Ben". The first words were: "Bless you, Ben. You came in when nobody else left off." Carly wasn’t satisfied with it and put the song away until she was inspired by an undisclosed famous party member at a yacht party. This is such a fun cathartic song to sing. With a range of G3 to A4 it is best for Mid voices but can work for many higher and lower voices. The verses melody is a little more complex than some of the previous songs with some unexpected melody lines and rhythms in pre-chorus that may need a little attention. But sing this with gusto and it will work a treat.

Night Like This - Caro Emerald

Range: (G#3 - G#4 with the option to go up to C5) Best for All Voices

"A Night Like This" is a song by Caro Emerald, taken from the album Deleted Scenes from the Cutting Room Floor. It was first presented in an online Martini commercial in 2009 and was released officially later that year. The lyrics are inspired by the 1967 Bond movie Casino Royale. With a range for G#3 - G#4 it sits comfortably in most women’s voices. There is, however an optional higher head voice ‘oo’ in the bridge that starts on a C5 for the more adventurous. This is a fun song with short phrases and lots of space for breathing. It has a bouncy choppy feel so you don’t need to worry about smooth phrases and is great fun to really get into that Bond story and it is really fun to dance along to as well, the more fun you have with it the better!

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5 Easy Feel Good Songs For Men To Sing

People often ask me where to start singing, and it can feel intimidating. However, there are lots of songs you can choose that feel great to sing and help you build your confidence. When people start singing, they often run into pieces that feel too low or too high. I’ve picked five songs covering different ranges and eras, so hopefully, there will be something for everyone. As people have various ranges, I’ve chosen songs that will be in a comfortable range for various people, so you might have to try them out to see which ones work for you. I’ll link in the entire song and a karaoke track in the description below so you can give them all a go after the video. 

Bill Withers - Lovely Day

Range: (E3 - B3 with optional higher section up to an E4 ) - Best for All Voice types.

"Lovely Day" is a song by American singer Bill Withers and Skip Scarborough. It appears on Withers's 1977 album Menagerie. The song is notable for Withers's sustained note towards the end, which, at 18 seconds long, is one of the longest ever recorded on an American Top 40 hit without help from effects. With this said, don’t be intimidated. Of course, this is a great song to get started on breathing, as although there are extended notes, there is the time within the piece to make sure you breathe fully. You don’t need to get to the end of the note to make it sound good. You can cut it short or switch to the repeated “lovely day” backing vocals. With a range of E3-B3 on the main melody, it is comfortable mid-range for most men. There is an optional high section that goes up to an E4 on the last verse and chorus if you feel adventurous. If you find this a little high, you can take the same melody as the earlier verses. This is an adaptable full of joy song that you can fit around your voice

Don’t Worry, Be Happy - Bobby McFerrin

Range: (B2 - B3 with optional head voice B4) Best for Mid/Low Voices

"Don't Worry, Be Happy" is a song by American musician Bobby McFerrin released in 1988. It was the first acappella song to reach number one in the U.S. which it held for two weeks. The song was inspired by posters and business cards printed around the US by an Indian Mystic saying “Don’t Worry, Be Happy”. Bobby McFerrin loved the simplicity and charm of the expression. This is a fun song that has options to play around with octaves and head voice. It also sounds great if you drop the head voice oo section down the octave or whistle it if you want to and there is also the option to sing the bassline if you are a low singer, which is fun. There are technically some lower notes if you count his pitched speaking. However, you can pitch these to fit your voice. The main melody sits between a B2 and B3 and it is a great song to get you started with understanding how different pitches feel in your body without having to sing overly. This is a catchy song so easy to remember, has loads of space to breathe and can be easily adapted to fit your voice. I’ve written that it is better for Mid and Low voices. But, as the lower notes are spoken, it can be sung by high singers as well. And it just leaves you with a big smile on your face!

Love Me Tender - Elvis

Range: (A2 - F#3) - Best for Mid/Low Voices

"Love Me Tender" is a 1956 song recorded by Elvis Presley and published for the film of the same name. The words are credited to Ken Darby under the pseudonym "Vera Matson", his wife’s name, and Elvis himself. However, the songs melody was adapted from American Civil War Ballad "Aura Lee". This song is catchy with a simple melody and structure, so easy to remember. It has short phrases and lots of space to breathe and is an excellent start to working on legato phrasing, making sure every note is joined and smooth with the breaths between each phrase. With a range of A2 to F#3 this song can be a little low for high voices but sits comfortably for mid to low voices. Of course, there are higher backing tracks on youtube, so if you have a higher voice and struggle with the low notes, you can also sing it in a higher key. This is a beautiful song for romantic among you.

Jack Johnson - Banana Pancakes

Range: (E3 - E4) Best for Mid/High Voices

“Banana Pancakes” is a song written by American Singer/Songwriter Jack Johnson and Steve Harang. It was first released in 2005 as part of Jack Johnson’s album In Between Dreams. Written initially to distract his wife when he wanted her to stop what she was doing and get her to hang out - it was eventually was developed into a complete song. This song is a little more complex than the others songs I have picked in terms of medley and is towards the top of chest voice for lower singers. However, with a range of E3 to E4 it will sit comfortably for mid/high voices without venturing too high. This one is fun and bouncy. Again I have chosen something with loads of breathing room. There are some small runs in it which might need a little attention or can be missed out entirely. This is such a happy chill vibe song that it is bound to leave you feeling great and is a great song to bring to summer parties.

What A Wonderful World - Louis Armstrong

Range: (C3 - D4) Best for Mid Voice

“What A Wonderful World” is a song written by Bob Thiele and George David Weiss. It was first recorded by Louis Armstrong and released in 1967 as a single, which went straight to No.1 in the UK. With a range of C3 to D4, this song sits solidly in the mid-range for most men. It might need to be taken down a couple of step for lower voices and, on the other side, can be sung up a little to make it more comfortable for higher voices. The main challenge in the song is its dynamic melody. However, it is a slower song, so you have lots of time to think it through as you go. If you are struggling, try singing it with the slow-mo feature on youtube until you feel comfortable and accurate with the melody. It has lots of short, smooth phrases with space for breathing and is just one of the most joyful songs ever written.

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