G’day my friends, sorry I haven’t been around the blog much. My personal life has been extremely stressful the last few weeks and Matters To Be Attended very time consuming so just had to knuckle down in the material world; my creative self has taken a back seat. Quite resentful actually but need to let it go. LOL
On that very subject I have begun a piece on vocal screaming inspired by Tool’s Maynard James Keenan. In the song “The Grudge” he unleashes an 18 second scream live (in the studio he sustains it for 24 seconds but the live version is cool to watch.) It powerfully expresses letting go of the negative energy of resentment and demonstrates a potent chest voice and massive breath support as sources of MJK’s vocal mastery. It’s a great piece to focus on, though time is still limited and I have got a way to go – it’s a complex project. I’m making a video to go with it, all going well with the technical learning I need to apply. As well as MJK, I will focus on vocals by Chris Cornell, Mike Patton, Robert Plant, Jack White, and Lisa Fischer. I’ve noticed while wading through mountains of research is that there is nothing written about women’s vocal screams. Lisa is a force of nature, compelling in performance, sometimes overshadowing even the most talented of men around her. I sense that women’s power is once again being ignored, undervalued, disapproved of, and most of all, feared. These are slap-downs the Sagittarian woman in me strongly rebels against. So some of Lisa’s amazing vocals are in there; MJK himself would approve – having agitated for more female inclusion:
“That’s the hugest thing missing (from this Lollapalooza): feminine energy, and it’s disappointing. But it’s not for lack of trying. I had my wish list: Meshell Ndegeocello, Ani DiFranco, Tori Amos, PJ Harvey, Luscious Jackson.” — Maynard; L.A. Times, Aug 3, 1997
On that mutinous note, I’m doing this quick post because I came across the Tool song, “Hush”. MJK screams defiance and the mood feels right for today. It can’t only be me who sometimes thinks everything has gotten way too serious, and who wants to say things I probably should not. Just to get people to wake up and notice what awesome forces are out there if we stay open to them and let go of our fears. This tune is fun, funky, and definitely does not take itself seriously. Also I do respect a healthy dose of honesty. The world is often messy, inconvenient and cruel. Take time out and enjoy yourselves:
Robert Plant has a non-classical tenor voice, range E2 – C#6, 2 octave, 5 and a ½ note range. One of the truly remarkable vocalists of our time, as well as front man to the ultimate rock band of all time, Led Zeppelin, formed in 1968. Plant is assured of immortality. He ranks number 15 on Rolling Stones list of 100 Greatest Singers of All Time. From their entry: “”When I saw Sleepy John Estes and heard that voice — part pain, part otherworldly — I went, ‘I want that voice,’ ” Plant told Rolling Stone in 2006. Somehow, he got that voice, and more: The unearthly howl he unleashed with Led Zeppelin was a bluesman crossed with a Viking deity.”
The accolades are too numerous to list here and I have written elsewhere about his vocal qualities and some standout performances, and have more in the pipeline LOL. The first link is the studio version of the song “Babe I’m Gonna Leave You”, from their 1969 album, Led Zeppelin. It’s a killer track – acknowledged by many of his most committed fans as one of his very best. The second link is one of Plant’s early live vocals; a 1969 Danish TV version. It’s not a perfect gig but he traverses a lot of his range with his trademark intense passion-laden wails and screams. The significant notes are high E5 to low C3:
During this 1973 concert rendition of Since I’ve Been Loving You, Jimmy Page’s guitar virtuosity, especially the solos, and Robert Plant’s vocal expression, right from the opening sustained howl, are so insane the audience is awestruck. Page and JPJ each throw Plant admiring glances during his emotionally-charged performance; that legendary Led Zeppelin alchemy is electrifying. The song positively defines that revolutionary era of 12-bar blues-based hard rock. One Youtube comment reads along the lines of “I’d do terrible things to time-travel and have been there” lol. More on Led Zeppelin in future posts.
The other night I was asked to participate in a talent show here in Prescott at the annual Shoestring roundup. I play guitar here and there (actually a lot, as I put out three albums with my instrumental band the Reunion, the last one being in 2002. We will get to that later in future posts). With that being said, I was a little nervous, but had fun anyway, playing a short but sweet piece called “Barcelona” off my album, Closure. It’s a little ode to masters Rodrigo y Gabriela. I hope you enjoy it. Cheers!
This is one of the sublime Mike Patton’s best vocal performances. Since he is Vintage Vinyl News’ nominated greatest singer of all time, due to his extraordinary and unique 6 and a ½ note vocal range, and his extreme versatility, see post “Mike Patton – Extreme Vocals”, for me it’s a song really worth adding to the playlist. The lyrics have the symbolism and edginess Patton brings to all his work with FNM co-writers. It would mean different things to different listeners, but I think it refers to emotional isolation finding it’s expression in some kind of infidelity. (In the video he and the band are separated from their audience by a plate glass window.) It’s rocky terrain, which makes it a heroic place to go. And the silky sexiness of Patton’s timbre and delivery means you are quite happy to go there with him. I just love it!
If you’re interested, here is the Range Place’s list of best Patton performances:
‘The Best’ Vocal Performances
1. Il Cupo Dolore
2. Mayday
3. Infinito
4. Litany IV
5. Delìrivm Còrdia
6. Der Golem
7. Evidence
8. Vanity Fair
9. 9 X 9
10. Just a Man
Live:
1. Moonchild (Milan ’06)
2. Air-Conditioned Nightmare (Mr. Bungle live at Bizarrofest)
3. Happy Birthday (Live ’06)
4. Just a Man (Soundwave, Brisbane 2010)
5. Deep, Deep Down (Live in Amsterdam)
Ultimate Guitar (Music News @ Ultimate-Guitar.com, 12/06/14) has reported on Vintage Vinyl News’ update of the recent greatest singers of all time list. The original list was confined to Rolling Stone’s 100 Greatest Singers of All Time, and, as expected, named Axl Rose number one. VVN’s list has now been expanded to include the Range Place findings and Billboard awards. Based on their collective research, it’s not Rose. It’s Mike Patton with a staggering…wait for it…6 octaves and a 1/2 note vocal range. Until now Patton has been seriously underrated. A further 5 singers, including the Gunners front man, have more than 5, but alt-metal band Faith No More’s Patton is forever unique in this accomplishment in rock music (the world record holder, Christian singer Tim Storms, has spanned 10 octaves and according to Wikipedia also holds the record for the lowest sound produced by a human G(−7), or 0.189 Hz, eight octaves below the lowest G on the piano, or just over seven octaves below the piano – LOL, freaky!). Here’s the Range Place’s assessment of Mike Patton:
Baritone (Eb1 to E7) – 6 octaves, 1/2 note
This clip, “Midlife Crisis”, traverses 3 octaves. I’ve added a live concert clip from the ’97 Phoenix Festival to the studio version; both are extraordinary. The low notes are especially masterful; these are the most difficult to realize in a rock music context. Soundgarden’s multi-octave front man Chris Cornell does them very well too, but Patton’s vocal is effortless and powerful. He hits those notes assuredly and he’s barely out of his comfort zone, spanning from a significant low note B1 to high note B4. His technical prowess is impressive, crazy smooth register transitions, and his voice has a fine timbre. He infuses his soul into everything he sings, and is one of the most versatile singers on the planet. Wikipedia notes Patton is across: “crooning, falsetto, screaming, opera, death growls, rapping, mouth music, beat-boxing, and scatting” among others. All round, a darn cool front man, and a vocal genius.
I’ll be posting some more about Patton and FNM at some stage; there’s gold there.
Midlife Crisis – studio version with concert footage:
I have just realized that I’ve quite possibly become a rare creature – a recovering addict with a lot of experience in the program, who is unconcerned about their anonymity (not counting celebs of course – hell, the whole world knew about their “dancing days”; not a very big leap there).
I have disclosed that I am a recovering person on my post, About this Blog, as I felt that after 30 years around the program, there are stories worth telling about my experiences. I find it much more difficult to write about myself though, than to edit an informative piece – the rest of this blog covers more general topics, such as music, art and the environment. I did feel a little vulnerable ‘coming out’ in this way but expected little interest in it anyway. In fact it was a recent post on recovery and creativity, Movement in the Major Key, the first time I had written in any detail on these issues, which has had the best response on the blog. And so far the sky has not fallen in.
Of course it’s totally up to each person to make the decision for themselves, but I do feel it’s generally best for addicts, especially early in recovery, to share this aspect of their lives only with other addicts. Anonymity is important for a range of reasons recovering people all understand, including the protection of the fellowship and any similar entity we rely on so significantly. I have not specified my means of recovery nor published any identifiable logos – I am far from wanting to be the public face of anything. However my situation is that I no longer need to seek paid employment, so I’m unconcerned on this front, as might once have been the case. Also I am OK with who I am today, and feel that those who, through ignorance, might judge me for my past don’t matter. I don’t need everyone’s approval. I have many loving and supportive friends, and want the world to know who I truly am for many reasons.
Most importantly, I am happy to help in any way I can to overcome the stigma which sees many addicts afraid to seek recovery. And to carry the message that there is indeed a life after active addiction “better than any we have ever known”, to paraphrase from a well-known piece of literature. I feel also that the prevailing stereotype of the addict, in and out of recovery, needs to be challenged. Membership of twelve step groups is made up of a cross-section of society as we who attend meetings regularly can attest. I want to, at least to a greater degree than at present, ‘normalise’ this situation; indeed, it has been estimated substance addicts alone make up around 10% of the population, and that few families are unaffected by the disease, so why should recovery be completely outside of the community mainstream, a sort of underground movement, alluring as that seems? In Iran, recovering addicts meet in open outdoor venues as they are forbidden to meet behind closed doors. Needs must. Not that I’m advocating anything like that here in Australia, at least not in the near future, while there is still the infernal tinge of disgrace. It’s a delicate balancing act to navigate – social exclusion by choice or by necessity?
In my own case, I am mindful of avoiding sensationalism, and anything self-serving in my motivations (as in all things). However, as someone who has recently begun to recover my voice (weird as that might sound LOL), I no longer need or wish to remain in the shadows, in silence. There is quite possibly a greater good to be served here – advocacy for my tribe. And yep, recovery rocks my socks!
I haven’t always been a writer. My creative voice, that is, went gravely silent. For decades. Recognised as the best fiction writer in my Intermediate school (the two year interval between Primary and Secondary education), at the age of twelve the onset of depression, undiagnosed for a further twenty five years, and by my late teens addictions, both the substance and process forms, stifled it utterly. My outward, and to a large extent inner, life transformed when I got into recovery from addiction in my twenties. Eventually the black dog was also diagnosed and treated. Along the way, I completed a university degree with Honours, majoring in English and Philosophy, became a skilled academic writer, and then trained as a teacher. Teaching furnished me with public speaking skills, helping to overcome debilitating shyness. I completed a creative writing course and endured more than twenty five years of therapy. Still that elusive gift of imaginative expression did not return. Requiem. I mourned.
Mostly alone, I was wholly responsible for my life in the big wide world and poorly equipped from the get-go. Hence the imperative to work hard and make something of my life, to secure my future, was strong. I don’t blame my parents for the dissonance of my childhood. They did the best they knew how, but their respective upbringings had made neither competent parents. In their songbook, you fed and clothed kids, taught them to respect their elders, to never be a burden, corrected their mistakes, and that was about it. No ornaments of emotional sustenance, nor encouragement of potential were attempted. The reverse was true; they were hyper-critical, and forced me, the eldest, into a life-limiting role as carer of others. This was necessary for my mother, working full-time while rearing three children with little assistance from my father, who was domineering and demanding. Few other living skills were imparted. And for me, chained to mother indoors as domestic servant, forbidden to go out and to play, key social skills went unlearned as well. My siblings, though neither substance abusers, fared as poorly in the world as I.
Ironically, my particular misfortune, addiction, was also my greatest gift. Faced with its awful progression, it was clear I must seek recovery or else die; worse, I might go permanently and completely insane. The willingness to change thus instilled in me, I took up with gusto the opportunities presented to me to heal, and slowly learned those things previously a mystery to me. This integrated me more comfortably into the world. I acquired a room of my own, and eventually a little money – Virginia Wolf’s minimum prerequisites for a woman to write fiction. There were ups and downs; my recovery, though substantial at times, was disrupted by periods of relapse. And the rhythmic beat of an artistic expression remained absent.
An outwardly small, not even especially uplifting, decision changed everything. It arose during an interlude where I had become very isolated following a bereavement. Simon was my dearest friend, whom I willingly cared for as illness overtook him. I was obligated for sure; Simon had loyally and doggedly looked out for me while I endured my own skirmishes with illness. But it was more than this; the certainty that we were soon to be parted forever activated a wish to be by his side in the time that remained. He died leaving me sole proprietorship of our joint business, along with some money. He had been a huge part of my life for a decade and a half. My grief was considerable, and our life and death battle had been all-consuming. I had not sought assistance for my own needs and now was besieged with those confounded demons again. It was a painful place to be – so painful I vowed that, if I survived, never again would I abandon my own care so completely. I began once more to seek recovery, and this time it was harder than ever.
Desperate, I turned to a dedicated online forum, initially for assistance in obtaining pharmaceuticals to self-administer (the role of personal physician was too often my default in times of extreme trouble). On joining the group, I soon found a section called Sky Lounge, where members intermingled for other, livelier, pursuits. Attracted by the classic rock music thread, I began contributing to it. Rock music was a passion of mine but I had not followed it closely for many years. My vinyl collection had long ago been lost in the haze of the worst of my active addiction. All that remained was an uninspiring set of bargain basement CDs, and a cheap stereo set. My knowledge of rock music post-1979 was patchy to say the least. Yet as I keenly set about filling those gaps, an avid thirst for knowledge of the purest kind awakened. An inability to feel comfortable in the pursuit of pleasure for its own sake had curiously co-existed with addiction for me, even more so once my endgame became recovery. (Though not always able to maintain abstinence, the longing for its realization always resonated at the core of my being.) So it was miraculous to find myself profoundly absorbed in an activity purely for fulfilment – music and writing being my greatest loves.
On that thread, across time zones, I met TJ. We swiftly struck up a friendship, easy rapport being TJs character. Our musical predilections were closely aligned. TJ is an accomplished musician and songwriter – the maestro – younger than I. His knowledge of the most contemporary music far exceeds mine, though he has also been inspired by and still loves many of the rock immortals from the 60s and 70s. My writing ability seemed to impress him; he was reassuring about my talent and evolving skill. I was captivated by his musical expertise, and his selection of music; thus between us a chemistry developed. It seemed the most natural thing in the world that we become steadfast friends – ball and biscuit. Our interactions on the forum threads were lively and entertaining. My engagement with writing was thereby, in charming manner, embedded and refined. It was not fiction, but this mattered not at all. Fascinated by the background stories to the tunes, I explored and wrote about the creative process. TJ’s responses were priceless – a remark here, a tale there, when introducing me to a great many songs, my detective instinct would stir into action. A nocturne of rich pickings – through TJ’s gentle input and support, inspiration flourished, unconstrained. To my intense wonder, the trickle of ideas became a stream – with a bridge. Writing harmonised, and found expression, with music, within my soul. The collected notes and stories assembled into a symphony – a body of work. My lifestream.
This in turn became ultimate redemption. Motivated like never before, I returned to my spiritual centre for recovery, with a new determination. The entire tone of my being reformed. I have found beautiful freedom.
“To understand the Real Solutions the Budget Brings, You Need to Think Like a Bastard”
Tony Abbott with his bastard thinking cap on
Is the Federal Government’s Budget firing the first shots in a new deadly class war, in which only the already wealthy and privileged will be able to afford quality healthcare and education, and universities will increasingly be the preserve of their children, ensuring that only these will be able to obtain positions with power, thus creating an Elitist ruling class and an extremely large poverty-stricken underclass?
Have your say in the poll below.
Trish Corry, in her blog Polyfeministix poses the question, and arrives at the solution:
What can help understand the budget? The Bastard Thinking Cap Can!
The Bastard thinking cap blocks out all empathy and rational thought and just makes you think like a conservative, pompous, out of touch with reality, elitist Bastard. If we put our Bastard Thinking Cap on, the problems the budget is trying to solve becomes crystal clear. I will now outline the problem and solutions below with my Bastard Thinking Cap firmly in place.
On the topic of cover songs (Seether – “Careless Whisper”), Weather Report’s “Third Stone from the Sun”, imaginatively re-interprets the original, though it’s still jazz rock fusion. Hendrix’ mainly instrumental piece (it has some dialogue in place of lyrics) has often been cited as an early example of fusion. The song was released in 1967 on the album “Are You Experienced?” It’s a trippy perspective on Earth from an extra-terrestrial spaceship, with spacy reverberations. Virtuoso fretless bass player Jaco Pastorius, as always, dominates Weather Report’s version, soloing Hendrix’ lead on bass, employing improvisation, effects, slap percussion and inventively utilised harmonics. These were alien applications of the instrument in the day. The result is a uniquely creative expression of Hendrix’ most enigmatic recorded composition. Jaco does it his way and the audience is left in awe.
Third Stone from the Sun chorus
Weather Report, co-led by the Austrian-born keyboard player Joe Zawinul and the American saxophonist Wayne Shorter were extraordinary musicians, leading artists of the jazz fusion genre in the day. Joni Mitchell often hired the entire group (excluding Zawinul) for her studio albums, drummer Don Alias and Pastorius featuring on the 1980 double live album “Shadows and Light”, alongside lead guitarist Pat Metheny, keyboardist Lyle Mays and saxophonist Michael Brecker – a dream line-up. (Mitchell’s collaboration with Pastorius was dazzlingly inspired. Give the album a listen; unlike “Hejira” and “Mingus” Jaco performs on every track and it’s a striking auditory experience.)
Joni Mitchell and Jaco Pastorius – an inspired musical collaboration
Jaco Pastorius was exceptional among even these luminaries, hugely influential as he revolutionised the role of the bass guitar in the late 1970s and the 1980s. He notably used a floating thumb technique on the right hand, anchoring on the bridge pickup while playing on the E and A strings and muting the E string with his thumb while playing on higher strings, accomplishing distinctive syncopated ghost notes (a more rhythmic than melodic or harmonic musical value, thereby adding momentum and drive to a bass line). According to Wikipedia, (Jaco was known for) “highly technical, Latin-influenced 16th-note funk, lyrical soloing on fretless bass and innovative use of harmonics. He was inducted into the Down Beat Jazz Hall of Fame in 1988, one of only seven bassists so honoured (and the only electric bass guitarist)”.
Jaco Pastorius onstage
There have been extraordinary bassists in non-classical music – Victor Wooten, Les Claypool, Flea, Pete Entwhistle, and the prodigy Cliff Burton come easily to mind as top of their field. Yet to this day, no-one has played bass harmonics to greater effect, nor been as significant in the progression of these techniques than Jaco. He was murdered in 1987, at the age of 35, by a nightclub bouncer. It was a tragic end for a man who, while battling bi-polar disorder, lived for playing that instrument and expanding its possibilities. Robert Trujillo, Metallica’s bass player since 2000, cites Pastorius as an influence. Robert is custodian of the Bass of Doom, Jaco’s defretted 1962 Fender jazz bass. It’s been restored and Robert has been spotted playing it with Metallica.
Along with the YouTube link to Weather Report’s “Third Stone from the Sun” clip (#1); #2 is a compilation from 10 major rock magazines of the thirty best bass players in history; #3 is Rolling Stone magazine’s list, narrowed down to the top 10, with the addition by the poster of Iron Maiden’s Steve Ferris. These lists are always contentious of course, but I find them compelling anyway. Are you a fan of the bass guitar? Do you agree with either of these lists? Disagree? Who is your favourite bass player?
1. Weather Report – Third Stone from the Sun, with Jaco Pastorius.
2. 30 Best Bass Players in History (compilation from 10 major rock magazines)
3. Top 10 Best Bass Players (Rolling Stone list + 1)
Wedding Cake Island is a small rocky outcrop a few hundred metres off the coast of Coogee Beach. Island is an optimistic term; it’s wet and rocky – not a place to visit for recreation. The surf break around there is excellent when the swell is right, like most Sydney beaches.
Surfing Wedding Cake Island
Surfer Stephen Sharpe backdooring a big barrel at Coogee – “the Southie” just offshore.
This is a superb instrumental track from Midnight Oil; you don’t need to be a fan to appreciate it. There is a kind of vocal on the track. If you listen carefully, at 2:23 you can hear the words “north swell ‘round the Byron Pass mate”. The story goes that the studio recording ran overtime and a member of Cold Chisel opened the door and interrupted the session with this remark. “Bird Noises”, the album on which this track features, was recorded at the Music Farm Studios in the hills behind Byron Bay, pictured below. All the top bands stayed there and recorded albums in the 70s and 80s (I stayed there for a while around 1980 – I was well-connected in those days).
The new owner, Eric Roberts, has now refurbished the control room and expanded the console to it’s full 42 input capacity. He has added new effects units and Pro Tools and the whole studio is up and going again under the direction of Greg Courtney.
Byron Bay, also legendary for its beaches, is on the Far North Coast of New South Wales. (Waves refracting around Cape Byron tend to run almost at right angles along The Pass. These produce the surf for which it is internationally famous.) Keen Sydney surfers regularly take the pilgrimage – approximately 770 kilometres, about a 9 hour drive or 1 hour by plane – northward to Byron to experience these spectacular conditions.
I’ll create a post on Sydney’s beaches at a later date, but this is a nice piece of music to accompany the post on Circular Quay; Sydney is all about the Harbour and beaches. Surf music from a much-loved local band seems right. The Oils played and recorded alt rock and hard rock from 1976 to 2002, initially establishing a fan base solely in Sydney.
The tune was written by guitarists Martin Rotsey and Jim Moginie and features them on guitars. Rob Hirst plays drums and Peter Gifford adds bass. Charismatic front man Peter Garret (recently serving as Federal Minister for Education) is not included on the track. This was one of the rare Midnight Oil tracks played on local radio; their huge popularity was built almost entirely on their live shows.
Midnight Oil: Martin Rotsey, Peter Garret, Rob Hirst, Jim Moginie and Peter Gifford.
The Circular Quay precinct, on the south side of Sydney Harbour, about 6 kilometres by car from where I live on the Balmain Peninsula, is my favourite part of Sydney. Situated at the northern end of Sydney’s CBD, bounded by The Royal Botanic Gardens, The Art Gallery of NSW, the Museum of Contemporary Art and sparkling Sydney Harbour, it is dotted with bars, shops and cafes, and features the World Heritage listed Opera House and iconic Harbour Bridge, with the historic Rocks nearby to the West and the Domain to the East. It is spectacularly beautiful and filled with places to explore, colour and movement. Quintessential Sydney living; there is nowhere better to be on a sunny day (most days in Sydney). Naturally, it has long been the subject of local painters and its development has been meticulously recorded in this way.
Top: look what we’ve made – Circular Quay today, the Museum of Contemporary Art to left (out of shot), the Art Gallery of NSW and the Botanic Gardens, both also out of shot. We sardonically call the monstrous modernist development in front of the Opera House “The Toaster”. What kickbacks were paid, and to whom, we wonder? Maybe some detective work is in order. I’m pretty certain it was a State Labor Government in power at the time and they’ve recently experienced a corruption scandal. What puzzles me is, how do they feel when they daily look upon the result of their treachery? Because you know all involved now have…Harbour views. Oh the irony!
Paintings 1 & 2: Arthur Streeton 1864 – 1943, Landscape painter of the Heidelberg School art movement, or Australian Impressionism. Images of Sydney Harbour, circa late 19th C.
3 & 4: Margaret Preston 1875 – 1963, Australian Modernism of the 1920s, “Circular Quay” and “The Bridge” 1932.
5. Grace Cossington Smith, 1892 – 1984, 1930s Modernist influences: “The Bridge in Curve” 1930.
“Those who love much do much and are capable of much, and that which is done with love is done well.” – Van Gogh
Circular Quay, circa 1890s – Arthur Streeton
Panorama of Sydney Harbour circa 1890s – Arthur Streeton
The Bridge, 1932 – Margaret Preston
Circular Quay, 1932 – Margaret Preston
The Bridge in Curve 1930 – Grace Cossington Smith
The Domain, a huge expanse of grass and trees leading to the Botanic Gardens and the Art Gallery of NSW, with views of the CBD.
Royal Botanic Gardens at Harbour’s edge with views tdf.
The historic Rocks area, a little south west of Circular Quay.
Art Gallery of NSW, opposite the Royal Botanic Gardens.
Art Gallery of NSW interior.
The Museum of Contemporary Art, sited alongside the western walkway at Circular Quay.
I feel so unsure As I take your hand and lead you to the dance floor….
I do love a really great cover song. A track re-interpreted in a fresh and interesting way intrigues me. If you are a muso or band intending to perform a cover, you don’t want to just equal the original, especially when it’s George Michael, who’s a little, well, naff. There are many interpretations of original songs that stand as significant pieces in their own right and these are worthy endeavors. The Deftones’ hypnotic underwater metal rendition of “No Ordinary Love”, elevated by Chino’s breathy vocals, is an outstanding example, bringing the song into the 21st century. Yet Sade’s original is extraordinary also. Ideally you want to jam the song in a way the original failed to do.
With that in mind, Elvis’ intense 1969 hit “Suspicious Minds” is a contender for hottest cover ever (the original, released by the songwriter, Mark James flopped) and definitely has the edge in the popularity stakes. The song ranked #91 on Rolling Stone’s 500 Greatest Songs of All Time list and Elvis’ definitive version broke cross-Atlantic chart records.
“Careless Whisper” by post-grunge South African band Seether, for my money, tops both of these. The song grabs you in the guts with raw and powerful emotions due to some first rate musicianship and an impassioned vocal from Shaun Morgan. Its alt metal feel is innovative and progressive. In my humble opinion, this version of George Michael’s 1984 blue-eyed soul smash hit, from Seether’s 2007 album “Finding Beauty in Negative Spaces”, really, really nails the song. In doing so ittransforms a slightly cheesypop tune into a cool, edgy classic. The best cover song ever? Decide for yourselves.
Chris Cornell, best known for his lead vocals with Soundgarden and Audioslave, is widely considered to be one of the greatest rock singers ever. There’s no question his vocal accomplishment is considerable and his song writing and musicianship also pack a lot of cred.
Moreover he is a high baritone also capable of delivering spectacular high notes, making him part of a select group of singers. His 4 octave range voice is described as having a bright, husky timbre (distinctive sound) and the tessitura (the range – generally pitch – in which a given type of voice presents its best-sounding texture or timbre) equal to other outstanding baritones in rock such as Deep Purple’s Ian Gillan. It is distinctiveness, one of the most important determinants in ranking the quality of a voice (many equally accomplished singers lack this quality, or possess it in a limited way) that Cornell has to a high degree, most notably when heard in an acoustic setting.
The Range Place has detailed his vocal range:
Voice type: Baritone
Sung range: D2-A5
Total range: B1-C6
The link for a complete list of significant high and low notes.
In the Soundgarden song “Rusty Cage” he hits the low note F#2 and the high note B4, and reveals his vocal punch:
During the acoustic version of “Fell on Black Days” he hits the high note E5, and demonstrates not only power but the vocal agility so admired by fans of this exceptionally talented singer:
According to Wikipedia “Cornell was ranked 4th in the list of “Heavy Metal’s All-Time Top 100 Vocalists” by Hit Parader,[2] 9th in the list of ‘Best Lead Singers Of All Time’ by Rolling Stone,[3] 12th in “MTV’s 22 Greatest Voices in Music” [4] and was voted “Rock’s Greatest Singer” by readers of Guitar World.[5]” The Rolling Stone’s readers’ poll ranks him just ahead of Kurt Cobain and behind John Lennon. Cornell has a greater vocal range and more power than either of these singers, though he has had problems with his voice over the years due to some grueling training he put it through in the early years with Audioslave and Soundgarden. He’s nevertheless overcome these and continues to be one of the truly great singers in rock music. He is assured of being included on the illustrious list of Immortals occupied by singers such as the hugely influential Robert Plant, who made #1 on RS’ readers’ list. Personally, though the Led Zeppelin front man is also a favourite singer of mine, I prefer Chris Cornell. Take a listen. Do you agree?
Audioslave – Killing in the Name Rage Against the Machine
*For more details see Wikipedia Chris Cornell entry
Cross post: Soundgarden – Fell on Black Days acoustic
Hi dear readers. Here is a nice little singalong for the shower or wherever…I give you, from 2006, Gnarls Barkley – “Crazy”. The song was Rolling Stone magazine’s #1 song of the 2000s. How the hell did I miss it then? Musta been crazy or something.
Here’s the best version, with lyrics onscreen. We can lose ourselves in it or jive along to our little hearts’ content. It topped the charts in the United Kingdom, Denmark, Canada, the Republic of Ireland, New Zealand and other countries on release that year, having already been leaked in 2005. Records for Songs Charting tumbled almost everywhere.
The only thing I don’t love about it is that it’s too short, and there is no more of that groove. It was a one-off musical collaboration, created by DJs CeeLo Green and Danger Mouse, who decided to write the best pop song ever, for the 5 times Grammy Award-nominated album St Elsewhere. And they’ve pretty much nailed it. Now I need to link the song to one of my non-music-related posts. Perhaps a post from the Abbottoir? Perfect. Just who is craziest anyway? The residents of Bedlam or the lunatics running the show?
“You are the best. You are the worst. You are average. Your love is a part of you. You try to give it away because you cannot bear its radiance, but you cannot separate it from yourself. To understand your fellow humans, you must understand why you give them your love. You must realize that hate is but a crime-ridden subdivision of love. You must reclaim what you never lost. You must take leave of your sanity, and yet be fully responsible for your actions.” -Gnarls Barkley, in a letter to the legendary rock critic Lester Bangs
What’s your favourite song for the 2000s? And is your government really out to get you, or are you just crazy? These are big questions. Take your time if you must but please feel free to comment when you are ready. Meantime, life is short so be sure to have fun. Love is free, so love freely. That’s my only advice.
I love this concert at the Donington Music Festival in England in 1991, and can’t think of a better sound with which to launch my blog (see the About this blog post for further details about my site). The concert is part of
AC/DC’s Razor’s Edge tour. The band plays on a glass stage which provides some great film footage of Angus’ duck walking and other comic stage antics, showmanship which makes an AC/DC concert so high octane and compelling. That wiry body, capable of delivering such massive power, roves the stage relentlessly. Angus knows how to play to an audience and they love him for it.
The concert includes what I believe to be the definitive live version of “For Those About to Rock (We Salute You)” with real cannon salutes as a finale: video #1. Standing in on drums for Simon Wright (the only constant members have been Angus and Malcolm Young) is capable and enthusiastic Welshman Chris Slade, who possesses an impressive resume of English bands joined over a long and distinguished career. There are huge inflatable dolls of Angus and Rosie (everything about an acka dacka concert is huge). I have posted the YouTube footage of the concert but the footage and sound are of average quality: video #2. The individual clips are way better; the 26 cameras present, including one in a circling helicopter, provide outstanding vision.
Meta-rock I call it – hard rock so hard and rock-y it need only reference itself. Aussie pub rock at it’s very finest. The Razor’s Edge tour was released as an album in 1992.
Are you an AC/DC fan? Do you like this show? What’s your favourite rock concert? What makes it stand out for you? Please comment below; your feedback is welcome.
Minnie says…..
Still fuming about the photos.
e Donington Music Festival in England in 1991, and can’t think of a better sound with which to launch my blog (see the About this blog post for further details about my site). The concert is part of
Notes on Being 