text:
[Watch] Mariah Carey Showcases New Song From "Me.I Am Mariah" @ Toyota Summer Concert
Mariah Carey is back in the public eye, gearing up for the release of new album Me.I Am Mariah… The Elusive Chanteuse.
The latest outing saw the Diva give a live concert in the heart of the Big Apple where she performed Touch My Body, fan-favorite Always Be My Baby and A NEW SONG, in the disco-inspired You Don't Know What To Do.
It wasn't Mimi at her most polished, but early mornings and open air will do that to her voice. There were some promising notes and "moments" - forgetting the words to Always Be My Baby, anyone?- throughout. But the thing that irked me most was big-mouth Wale talking during the intro to You Don't Know My Name. Someone better smack that guy upside his head have a quiet word with that dude. You do NOT talk over Mariah Carey- EVER!
Devonte' 16 May 2014 at 22:00
Now, I did not say that Mariah Carey was the "best singer" nor did I say that Celine Dion is the "world's worst singer" and I most certainly did not say, or even imply, that a "good singer must have perfect technique".
The only reason why you're clearly upset and protruding accusations is because I defied your biased subjectivity with logical objectivity.
Once again, both Whitney & Mariah, especially in their primes, were far superior vocalists to that of Celine, in virtually every aspect, and that is a fact; in both studio recordings & live performances, their vocal musicianship was/is unparalleled. If you knew anything about vocal technicality, which I presume you do not, you would see the incoherence within your previous statements/arguments. Yes, whereas I will agree that Celine is definitely talented, her technique has vastly improved these past several years [though not severely] and she does possess a fair deal of interpretive expression, that is simply not enough for me (and the rest of the majority) to place her within alignment with two of the greater and most influential vocal artists in Popular music of the past 25 years and that is not my fault.
opieEverr2 16 May 2014 at 22:04
That "new hit" wasn't in the video I saw. I liked it. :-)
And ....Yes that "Wale" needs to be introduced to Penguin...
http://i352.photobucket.com/albums/r349/reddragon2_photos/15g6454656.gif
theitfactor 16 May 2014 at 22:06
Not when she started. Celine went through a lot of training; in the early 90s, she wasn't able to belt it as hard as Mariah and Whitney. But she apparently kept on training and notes became easier, although "lighter" (she worked on mixing it seems).
Early Mariah had tremendous control, which allowed her to take her voice in any range she wanted within a line or phrase.
If you like the very classical delivery, you're likely going to like Celine more than Whitney. Whitney took her voice from the soft dynamics to a bluesy big gospel belt rather easily. Also Whitney's head voice >>> Streisands.
What is up with these people ? It seems that when a legend falls, people forget they ever could sing.
ROFL That was the trashy sexy cooking show equivalent of classy sexy Nigella. Only with music.
That All By Myself note always seemed extremely coarse and strained to me. It's often used to cite how she can control her vibrato, but I think the tension there is why she didn't have the vibrato. It went with the music, so I still love it.
LOL Still disagreeing on the musicality of Whitney. Which I don't think is the same as technique but you seem to suggest it is?
ruru 16 May 2014 at 22:15
haha i love hart ! this is my favourite lol "NOPE NOPE NOPE LOOKING ASS BITCH"
https://www.youtube.com/watch?v=kftCu7JNET8
From all that I have seen of Whitney she lacked sense in when to belt and when not. I guess you could call that a preference for "classical" delivery, if one thinks the song should dictate the dynamics, not one's "amazing" belting ability.
But the thing is, it only became "classical" because Whitney lacked that sense and so did many of her fans. ;-)
IMO Whitney was a terrible thing to happen to female singing. And I dare say there are a great many doctors agreeing with that. LOL
LOL. Well, it is and it isn't. Essentially, Mariah's vocal musicianship was always greater than Whitney's (just as Whitney's use of dynamics & improvisational ability was always greater than Mariah's) but she did possess quite a strong deal of it, in live performances namely and moreso than Celine I believe.
Sorry i dont have a vocal powerhouse to debut and show you here but im really feeling this new track, the 90s girl in me is jamming out hard lol.
https://www.youtube.com/watch?v=pWo7SC-tG4U
Will Mariah ever get back?
https://www.youtube.com/watch?v=t51VXdwTPr8
I think her nodules are probably encumbering now, but she knows that without them, she might just be a lesser Ariana Grande, with possibly lost lows and whistles she used to distinguish herself.
Keep plugging away dude! I for one much rather hear Celine than Mariah and certainly anybody more than Whitney. With the sole exception of She Whose name I Refuse To Utter of course.
https://www.youtube.com/watch?v=XSUE7ADGweo
a lil generic as you said but iv heard worse :).
Disqus is fucked up again, My (opieever) post keep incorrectly showing as being from TheItFactor.
I agree Mariah's was greater than Whitney's for sure. But not than Celine's. No, I cannot agree with that. :-)
Versatile Listener 16 May 2014 at 22:28
Ever since I first heard Sky I was a fan of hers. She has some good older stuff too.
Black Robin 16 May 2014 at 22:30
Well, not everyone feels obligated to be sweet, kind and endearing all the time, ESPECIALLY when you have people here from different backgrounds who form vastly different opinions. It's a forum...it's built for shady, backhanded comments and if people can't take it in stride then that's their fault. I'm not saying that the people who throw "shade" are right.... but before I go any further with that point I gotta express this point. I seldom see people throw shade here. Everyone tends to be blunt as hell buuuuut since you said "shady" I'll continue on with my point. Back to people throwing "shade", you gotta expect for people to have thicker skin on the internet than what I've seen. And this sheer tonal shift you're detecting is a result of growth of the website. More people come and as they do more opinions form and as a result... conflict might arise. Now the issue of whether someone is mature enough to resolve the issue with civility is just another topic all together.
I just don't think your little "rant" is truly realistic of what a social forum is all about... You're a sweet kid and hella optimistic but no... I don't "personally" think the commentators here are overly shady or b*tchy, just strongly opinionated at the most. Just wait two years and see how this site grows and the type of comments that'll be here then. LOL.
I got a question based off an inference I made on you based upon your comment. It's nothing "shady", I just wanna know do you value "keepin' it 100"? LOL, I might come off as blunt on the internet but in person...I make my internet persona seem like I sugar coat everything by comparison...LOL...
Also, your concern is appreciated because ultimately we all wanna see this site grow and I hope nothing I stated came across as offensive because it was not my intent at all.
Correction! That should have been "this would NOT impress for anything but tone"
i love dolly haha !.
Hmm, there are doctors that say Maria Callas was pushing too hard. They aren't right or wrong. Really, without a larynscopy, it's hard to tell if a singer is abusing their voice. I was surprised to watch a documentary in which they showed singers having to get a larynscopy to see if their cords are banging.
There are also doctors of the opinion that belting is bad, period.
I don't know in what shape or form Ms. Houston missed out on dynamics. Celine doesn't have that flutey head voice or much heft in the lower.
I really see this as "I hate Whitney" more than an unbiased POV.
Anyway, Lara Fabian remains the upgraded, working version of what Celine tries to sound like, IMO. Her mix is not so heady that it sounds like a man belting in falsetto.
Well, as you know, I am all for feisty but I do feel that feisty doesn't always immediately need to be expressed in crash language and reflections on people's person.
Not saying I am completely innocent of that myself. Though I do feel I rarely start that off. But I will give a little back of what I get sometimes.
LOL Hard to stay unbiased once you listened for a while and find a person doing something you hate. ;-)
I was referring re doctors to seeing a surgeon from VanderBilt stating they see young people coming in who are harming themselves with those antics, trying to do what Whitney et al do/did
The interpretation is the form where Whitney was failing imo. I stated that in my comment earlier.
I utterly fail to see how anybody cannot love Dolly. :-)
I kind of tink it's the nature of voice. Voice is really as much as an art as a technique. Some people here are well-educated in technique--either through schooling or a hefty amount of self-teaching. These people someitmes clash with those who view vocal purely as an art.
And because it's so highly technical, few people without some self-edification get lost. This "loss" creates a high-brow "better than thou" in some users because they realize what they understand is scantly understood by others.
IMO, you'd get the same degree of feistiness on a forum that discussed physics theories because of its open-endedness and unwanted charlatans.
And with those who view it as a combination! ;-)
Well, let's think about this:
If I tried right now to do what Pavorotti did, I'd hurt myself.
If I tried right now to do what Michael Bolton did, I'd hurt myself.
If I tried to do what Freddie Mercury did, I'd hurt myself.
Only really 2 of the above singers have techniques most coaches would praise. The other two have something in their voices that enable them to do that.
Many people can do mixed voice, but to the extent Patti Labelle does it would hurt them.
Voice is also god-given. For what some can do, it would hurt them. Others can do it without much difficulty, either due to anatomy or technique.
Anatomy's impact on voice has been long known and exploted in opera. The phrase "The Fat Lady Sings" arose probably because bigger diagphrams conferred a higher degree of stamina.
I meant 1 singer: Pav, ofc.
jules 16 May 2014 at 22:56
lalalala ¡∆¡
https://www.youtube.com/watch?v=b68AkJtjdPs
i would post a proper reply but black robin kinda summed up my opinion. there are people here who last year annoyed me a lot but since then iv found them of facebook and now their "friends" people i see and talk with regularly so you cant be to annoyed with the way someone acts on one blog.
we all love our divas and will fight for them lol.
http://37.media.tumblr.com/8110de320795fd208569d14363887593/tumblr_n5hcm3Cd9y1qlvwnco1_500.gif
i remember posting this somewhere on some forum; she really has a lovely, bright tone. And her phrasing is º∆º
Lol, I can argue against this with something something free speech is needed, but it's not really even the new commentators throwing shade. Some veil their hateful, dismissive opinions as almost as similar to facts, and when it comes to things like that, someone is going to have to be a crusader and try to politely tell the person to fuck off.
but even criticisng someone's notion of expressing their 'opinion' ends up with the one being criticised trying to defend their reasons through some kind of semi-linguistic, bs rhetoric based on pedantry that were not clearly thought about in the first place.
What most commentators really lack here is a sense that nothing is absolute but realtive, and criticising an artist because they don't fit your taste is incredibly short-sighted. Free speech≠hate speech, and most seem to interchange both more often than not.
Eh, I love shading :). people who take offence at shading are normally those who consider their views to be absolute...until proven otherwise. Shading makes them realise their arrogance and pretension.
I'm not saying that critcising an artist is wrong. I'm saying that you should try to express your criticism in a meaningful way, and trying to rationalise your subjective hatred is...a waste of everyone's time.
keeping the arie marie dynamic here. if she actually stop sounding congested like a morning songbird, her head and falsetto can be really lovely and ethereal. tbh heap's style fits a lot more in arie than her retropop elusive style atm as a chanteuse.
https://www.youtube.com/watch?v=syw1L7_JYf0$
HauntinglyHollow 16 May 2014 at 23:24
Her track You're Not The One is so amazing !! One of my favorites...
she feels like a warm down to earth soul, like a gran you go visit at the weekend that makes you lunch and is really sweet haha such a joy to watch.
Yeah before I saw this I always saw her as a fun and sarcastic lyricist with a sweet voice but this performance showed me more of her nice voice.
Albrt Alvarx 16 May 2014 at 23:39
i like this song more than the previous singles! she should release this one instead of thirsty, this one, is really good! it could be a hit, it's really catching and make you wanna dance!
First off all, nothing is "god-given".
Aside from that you seem to be making my point. I said that Whitney was imo a terrible thing to happen to female singing because people tried to sing like her. Without having natural ability or technique.
Let's be real here, not nearly as many people tried to sound like Pavarotti or Bolton for such a long time as female singers try to sound like Whitney or Mariah.
Bolton and Pavarotti did not have such a huge cultural effect on generations of wannabee singers. Nor did Freddie btw.
Sure some folks no doubt tried to sound like them. But not as en masse as females have tried to be Whitney. Consequently not as many ended up needing medical care. That's a basic numbers game in itself already.
Opera has no relation to the discussion anyway because Mariah, Whitney, Michael and certainly none of those wannabees damaging themselves had the training and technique operatic singers have. Nor do they take care of their voice the way trained opera singers do.
Btw what factual data do you base the assumption on my dislike of Whitney is a "bias"?
I was around when she hit the scene and simply found her a major ego singer (much like LaBelle btw). Why would that be a more biased opinion than yours is? I am just guessing but I would think you pretty much grew up under the influence of Whitney when it comes to female singing? I'd wager the guess yours is at least as likely to be a biased view, if not more likely. ;-)
My view of Whiney btw was already in place prior to her demise and that demise has had no effect on my opinion in any way.
Reiko Kanaki 16 May 2014 at 23:59
Not my cup of tea, but I can see why some might like it. It certainly hearkens back to the Music Box/Emotions era. Not here for 90's Mimi though.
LOL I don't know but I feel..."shaded".
Your comment contains a lot of self contradiction btw.
Have to say..I was surprised to hear she has tattoos. I am not wondering if Alison has any hidden as well LOL
Sneaky Monkey 17 May 2014 at 00:10
Which of these 2 songs do you prefer and which of the two do you think had a larger impact internationally
http://m.youtube.com/watch?v=WNIPqafd4As
http://m.youtube.com/watch?v=3JWTaaS7LdU
https://www.youtube.com/watch?v=8oBKUIp1fKg
I don't even know what we're discussing anymore but it seems like a moot point. You think Whitney was subpar vs. Celine; I don't. Many here don't. You took my opera relation and talked technique when I talked physical attributes. Let's just end this here.
lol comparing someone's musicality to that of someone's else is funnily ironic and petty, but heh. heh. heh.
it's not even the same song, the same sentiment, the same cultural significance,...
weak, weak signifier.
(and streisand is one of my faves)
I think you missed the essence of my response there.
But seeing as you just got through comparing Celine, Mariah and Whitney's musicality, guess how that went over with me? ;-)
"IMO Whitney was a terrible thing to happen to female singing. And I dare say there are a great many doctors agreeing with that. LOL"
Nope, it's her fame and the general ignorance on the constructs of music are what destroy music. Her persona≠artistry. And as an artist, she does not owe her singing to anyone, BUT AS A PERSONA, the industry moulds her into a certain form to please certain groups of audience, based on age, gender, ethnicity, etc...
and whitney "lacked" sense of classical music? Reallyyyy? She mostly relied on classical techniques. As a soprano, she achieved her resonance/squillo through classical technique. Her head and chest were linked through....
Her songs destroyed her voice, which became overused. If opera singers compare their musical training to sports, then Whitney's voice were overstrained calves because of undertaking a marathon that was far too long than she could endure.
I think Whitney's musicality was less. I never used such a term as "sub par".
But yes, clearly you do not know what you are arguing. But you ARE getting nasty about it. I would suggest you indeed end it here. :-)
ps "many here don't"...Brian may have a point of one reason some older posters are staying away, I happen to know some stay away because of the constant praising of certain singers at the expense of certain others. Your "many here" holds little value.
I need not say anything because your third paragraph, in particular, says it all!!!!!!!
Sick of a non-moving back and forth != nasty. Take it as you may; it has little effect on me or Whitney's legacy.
Also, why on earth do some of you have like 3 names?
Dude, maybe you just need to get some sleep? Or glasses?
Where did I ever say Whitney lacked "sense of classical music"???
As for what she relied on, you Mariah and Whitney fans really need to get over yourselves. Neither of them received the kind of training your average proffesional classical singer has received nor do they have that kind of control. They might have had the talent to make it in that field HAD they followed the required education, but fact is..neither ever did nor was interested in doing so.
And if her songs "destroyed her voice" I dare say you again are making my point for me. These songs did not happen to her. She chose to sing them and sing them in the manner she did.
And I would also say the alcohol and drugs might have had a huge hand in the destruction of Whitney's abilities.
Or to put it more succinctly..Whitney's ego destroyed Whitney. And it was exactly that which I could never stand...her ego.
Argh! I've such a strong link with My heart because Titanic was one of the first 'serious films' that I've watched, and I was 5-6 back then...
And I'm going to say that I prefer My Heart partly also because of how I will Always Love You is overexposed to the point that the song becomes unbearable. But as Whitney and Parton's versions are my faves.
Gauging their international impact, this is an interesting question, because when it comes to I will always love you, Whitney's artistry is dilute into her voice...literally...as in when you listen to her, you'd think of her voice as a discombobulated blob that has largely defined a generation of karaoke singers...but it's not really only that.
I don't want to go towards the racism thing, buuuut it is true that My Heart internationally (e.g I'm looking at you, Asia) is marketed partly as a song sung by a caucasian. I don't want to go into detail because I'm lazy.
So, international appeal: equal in diff ways.
Go, shoot.
And, no, not really you. Maybe including you. But not really you. I never really focus on the person, but on their arguments--unless they become their arguments.
She did ;) but i would like to keep away from Gaga's actions and focuss on the fact that when Gaga does something, anything, she is always attacked and critisized by everyone. On the other hand, Katy does even bigger sh*t and people somehow act like they do not see...
Fair, her ego destroyed her. A megalomanic amount of ego works to so many people (Gates, Jobs...Kanye West). But even when she chose her songs, being someone who wanted to live as a singer, she had to comply more or less...like any other opera singer, really. Musicians don't just choose the parts they want in order to get by. They do auditions even for roles they don't like, because it exposes their artistry.
I'm not saying that she's Bambi, but she's also arguably a vessel.
lol, since when did i compare the three? i really hate comparing musicians, because it's just vile and stupid and stupid and stupid and immature. i believe in knowing them through their artistry, which in itself is unique and should be/is incomparable.
I don't think you have much of a chance arguing with some people here. Their argument style can be seen as:
1) List accolades/esoteric jargon when the chance arises
2) Complain of the other not being capable of arguing with you
3) LOL LOL :-) :-) LOL!
I'm pretty sure her record company had A LOT to do with pushing her belts. They do it to almost all artists. Why? People like those big sounds for whatever reason. If they got them, they'll be exploited.
You prefer present Mariah? ;-)
Except prior to Whitney belting wasn't praised the way it is now. THAT is one of the after effects OF Whitney's style.
That's ridiculous and simply not true. Musicians can absolutely choose whether they want to make a music or not. The willingness or unwillingness to live with the consequences of one's choices, that is again a matter of ego.
And again ...Whitney was not like "any other opera singer" .She wasn't ever any kind of opera or classical music singer. She was a pop singer. The career choices are completely different.
That is because nobody really cares about Katy Perry. Maybe you should look at the silver lining in that? ;-)
Eheh...keep having this naive view of the creative industries, and you'll go nowhere. Hell, even the Supreme Goddess Kate Bush confessed how she was/is still under the tyranny of her contractors when creating music.
'The career choices are completely different.' This is like saying how a fiction writer's career choice is completely different to that of a fiction writer...no. They occupy different facets of the same industry, and so being an industry these facets share many, many similarities.
Katy Keene is one hell of a lucky girl...
Ugh! I wanna love Dami Im because of her representation and her abilities... but her management and her musicality--or the way she shows it--are just cringeworthy.
I don't know about this; even though I'm a late 80s baby, the first voices I was introduced to were: Tina Turner, Chaka Khan, and Aretha Franklin--all of whom belt.
My grandad used to keep all the old school people in his car, and that's what I heard. These women had tremendous ability to belt, even beyond most of whom we discuss here. Whitney's whole head/chest voice transitions are bested by her mother's in strength in some recordings.
The way I see it: Whitney and Mariah "refined" a lot of what was already done. They were also thin and very pretty, making them more marketable to the music video generation.
JustErics 17 May 2014 at 02:14
I'm digging this new single. Beats the hell out of thirsty and reaffirms my belief that each song on this album has it's own identity.
I have a general question to the deeper afficionados here: Is the fach system used here completely meaningless?
Are you guys basing it off of their head-voices? I can kind of get an understanding from head voices (e.g. Patti's is obviously dramatic), but belts leave me in the dark because those designations are reserved for a specific style of singing.
I'd think it'd be easier to evaluate males in this fashion, however, because males do seem to do some form of "mixing" in opera, even if that's not the term for it.
Also, disco style songs have been quiet popular recently get lucky, treasure etc.
I can say safely that I am awaiting Lana's album more than Mariah's. Her new material just doesn't do it for me anymore. No doubt she'll have some virtuosic vocal tracks that required a bit of retouching to make the cut. Over the years, her ego and voice have also been inversely correlated.
I didn't say belting wasn't done. I said it didn't have the kind of status it had after/thanks to Whitney. I know there was ahuge shift because I was there before the shift so to speak. ;-)
And I said to either you or Jules (disqus leaves it unclear to which one of you) that you grew probably grew up during a time where that status was already suffering under the Whitney effect.
The fact that you also heard other music doesn't incubate you from the cultural effects of the era you grow up in. Because that isn't so much shaped by what you (or your parents) listened to but also greatly but what was played on the radio, in public places, used in movie and tv soundtracks, what your friends and classmates listened to etc etc
I am not "naive" at all. I am well aware naive and dim people think they have no choice and act accordingly. What I am saying is that it can't be used as an excuse because fact is ...they do have a choice.
And I doubt Kate Bush would have made the songs and albums she did make if the music industry had the kind of grip on her that you claim it had on Whitney and whomever else that excuse is used for.
Reason she made those albums and few others did...she did not allow that music industry to dictate her beyond a certain point. A point SHE CHOSE.
And yes the career choices are completely different.
I think you don't really know what you are talking about.
Your analogy is ridiculous.
Ricky Yong 17 May 2014 at 04:56
It's weird though, I mean is it possible to smoke and have a smooth voice? Usually it's very croaky and raspy etc. Btw, where are you from?
Brian 17 May 2014 at 05:15
I most certainly do value keeping it real and keeping it truthful but at the same time there is a way of doing so without being as pandora's boxy about it as some of the people on here have been. Im not going to name people who this rant was based off of but I wouldnt put you down on that list Maroon. And I don't think the fact that this is a forum means that its built for harshness, negativity, pride, and hate. Because this is the internet some people lose their sense of social appropriateness and it bothers me because what I send across on the internet is me 100% but not all of the dumb hateful things I may think. There is just a way of portraying ones self without resorting to meaningless hate speech that on occasion (not all the time but there have been moments) rises up in the clashing. I mean I have no problem with honesty-but its the way that honesty is sent across that makes it so much different than it can be.
Which is honestly all I really expect from anyone. Only give out what you expect in return. And if one gives out lots of hate then that is a sad person who I feel sorry for. :)
Matheus Dias Lee 17 May 2014 at 05:23
Hey sometimes I like to write vocal analyses, similar to the vocal profiles here in this website and I would like for you guys to tell me what you think of them if you have time. They happen to be about K-pop singers and I only have written 4 so far, so I'll let you guys see and tell me your opinion. The ones I've written were for SHINee's Taemin, Jonghyun and Onew, and female singer, BoA. Hope you enjoy and give me your feedback.
http://kpopvocalanal...vocal-analysis/
http://kpopvocalanal...nalysis-taemin/
http://kpopvocalanal...-analysis-onew/
http://kpopvocalanal...lysis-jonghyun/
I consider there to be two kinds of shading. 1. The Fun bitchy shade. and 2. The shade that leads to a pool of darkness that inhales all of the good in the world faster than a womans monthly.
You can clearly hear a muffled sound at the part where the voice goes out. I don't think she lipped though. She usually has the track go on for the audience instead of leaving them going "wtf was that". Im guessing it was edited.
Yes, her new music and style resonates better with me.
Her ego isn't necessarily inflated; it could be a defensive mechanism stemming from emotional trauma from her first marriage,
Of course, this all both conjectural and conditional on the iffy existence of said trauma.
Even if her ego is large, I think her net worth does warrant it. She is ridiculously wealthy, she worked ridiculously hard for it, and she has the right to be ridiculously proud of what she has accomplished.
Here's a woman who is the most awarded woman in Grammy history (and second most awarded all around), is enormously respected amongst her peers (from Bobby mcFerrin to Sting to T Bone Burnett to Yo Yo Ma to Vince Gill), made 15 albums to date and has had full artistic control since her third album at 19 years old.
https://www.youtube.com/watch?v=aHDwgWiShi4
The 5 other people on the stage with her, all highly successful and respected musicians...also in full control of their musical choices.
And all off them btw making a good living from their work.
ps she is singing live which in her genre means..live.
Joshy Sensei 17 May 2014 at 08:04
Hey guys i have a suggestion: Let's f*cking have an Award Ceremony!!!!!!
EthanA 17 May 2014 at 08:52
Oh Mariah...no. Stop. That one actually kinda hurt. I mean, yeah, it's early morning, but that was...words. And I could instantly tell where she was lipping 'Always Be My Baby'.
That's it - someone needs to ban this woman from performing outdoors. Bad shit goes down otherwise.
EvilTroyandEvilAbed 17 May 2014 at 10:13
Little Mix cover Dark Horse.
I think they just completely upgraded the track for me. Wish they'd had live music but the vocals are just straight up magic. They also add some little changes to the melody after the big big break down/bridge.
https://www.youtube.com/watch?v=QPcfySUK7j8
yeah, i knew about her having them but i was surprised when the news said she had her chest covered lol. maybe mariah has a tattoo of her self on her self hahaha.
RevelHope 17 May 2014 at 10:39
But there are many songs in which mariah couldn't sing of celines like its all coming back to me now, so much emotion, and falling into you. Also, mariah use to lower her key to songs even in her prime, celine did but not as much, you're acting as if she didn't. Has mariah ever sung anytime you need a friend in the same key? Celine did have musicianship but she knew when and when not to show it and celine is just as influential. I still say you're wrong. Put celine and mariah side-by-side and you'd see.
Yes, yes, yes, okay, mariah is the greatest singer ever, even better than barbra streisand as another commenter said. Continue to make her seem great when she can't sing for shit today! Blah...
Your arguments are becoming more and more absurd and outright- pathetic.
1) Today, Celine Dion's voice may be in "better condition" but her technique is still as weak as it always was and that is a fact as well as what is important if you want to continue arguing that she is the "better vocalist".
2) Please locate me to the sentence, of which I wrote in response to you, that says/said "Mariah Carey is a greater singer than Barbra Streisand"? Is our entire debate not based off of who the greater voclaist is between "Mariah and Celine"? So, why on earth do you continue to protrude such inane accusations & assumptions?
3) Mariah Carey is a COMPLETELY different singer and vocal artist to that of Barbra Streisand. Mariah is a 'Light Lyric Soprano' with an adept coloratura extension whereas Babra is a 'Lyric Mezzo Soprano' - Barbra's vocal musicianship is, indeed, otherworldly but for the musical genre's/styling's in which Mariah sings, hers is just as mighty.
Essentially, both their voices posses traits & characteristics that the other cannot execute as easily, if not - at all. She may not be on the same level as Barbra, vocally, but she is just as influential as a singer and most definitely withholds the talent to have her name plastered beside hers. Celine Dion, on the other hand, as a singer, isn't even worthy of kissing neither of their feet and never will be.
Well, even you wrote above that celine's vocal pro's were her stamina (sustaining notes) and her diction so she's clearly good at something. I don't know you keep making it seem as if she's the worst! Why? Mariah can phrase in her uuper resgister bust so what? celine can hold the notes for long periods. Mariah can sing an F5 but celine can hold it with more power because her voice is louder. Isn't that the truth?
No, it is not the truth.
Now, it is extremely clear to me that you know NOTHING about vocal technicality if you believe that one "sustaining a note or notes" within there upper register is more difficult than "phrasing" words up there.
1) Do you understand the agility/flexibility it takes for one to glide through the highest vocal lines whilst staying within the meter, at any interval, and being centered to pitch with crystalline intonation as well as tonal accuracy & consistency? Notwithstanding, but the clarity of the diction has to be perfect for you not to sound like an incoherent jumble. Anyone can belt and sustain an F5/F#5/G5/G#5 etc. for a moment but the skill needed to execute such brazen power up there also, much like Mariah Carey, Aretha Franklin & Vanessa Amarosi can, is intense and Celine could never do that.
2) Now, once again, I am in no way implying that Celine Dion is the "worst singer" ever as I've said that she does possess talent; there are a number of songs by Celine Dion of which I enjoy, namely 'The Power Of The Dream, Falling Into You & Be The Man' but, factually & objectively speaking, she is an "amateur vocalist" and is not a greater singer [albeit extremely respectable one] than Mariah Carey... or Whitney Houston.
Primo Uomo Assoluto 17 May 2014 at 11:46
It's largely speculative, and based on many profiles I've seen, they are very incorrect
But art requires technique ;) art is by definition skill/craft used to express
So if it's not crafty, if it's not skillful, it is not art.
Very cool, thanks for the clip
When you vocalize from E2-E4, that's the cleaner sound you have
Then you start to splat as you go higher, this could be due to uneven passaggio, of course, but to me it also suggests you are a heavier type of tenor as your passaggio starts at around E4-F4 which is typical of spinto and dramatic tenors.
As you go higher it becomes more splatty and less and less coordinated, so this is a vocal extension that is not yet under control.
I think you are perhaps a baritone or spinto/dramatic tenor (potentially) speaking, as you seem to also have a good amount of metal in your voice. The upper extension is still not under full control, but you have a talented throat, so please take care of it and develop your talent further :)
lol, there's really not trying to get through you. ok.
(also, let's not take note of the fact that Alison had failed ventures as an independent teenage singer before getting her big deal, nor did Kate Bush need David GIlmour to 'polish' her sound. But you'd prolly find something, something against those supported arguments with something that...eheh.)
Young Tan 17 May 2014 at 12:50
I'm not sure how well this new song would do commercially if she released it but it's better than her previous efforts at least.
But celine has phrased on G5's & A5's though and they sounded much clearer than that of mariah's. Also, celine can still some of her signature ballads in the same key today whereas mariah can't. Doesn't that count for something? and Celine can still hit F5's etc. Mariah just hits hem!!
I will gladly continue this conversation but just know that you will continue to remain wrong, okay?
1) Celine has NEVER actually phrased nor sung an entire sentence (for more than 5 seconds) between the F#5 - G#5 region whereas Mariah has, including that of the G5 - A5 region. I have numerous examples to support my "factual" claims and if you would like some, I will proudly supply them to you.
2) The majority of Celine Dion 'signature' power-ballads are based, primarily, within the middle-register and consist of, largely, either lower- mid or upper- mid belts; 'Where Does My Heart Beat Now, The Power Of Love, Because You Loved Me, It's All Coming Back To Me Now, The Power Of The Dream, My Heart Will Go On & I Want You To Need Me' are all centered within that region. On the other hand, a large amount of Mariah's 'signature' power-ballads consist of upper- mid & upper belts: 'There's Got To Be A Way, Make It Happen, If It's Over, Anytime You Need A Friend, My All, Whenever You Call & Can't Take That Away' etc.
3) Yes, whereas - admittedly, Mariah no longer has the range nor endurance to truly aspire to sing such songs again, Celine, too, has NEVER had the range, endurance, technicality & musicianship to sing them at all and NEVER will.
The difference between you & I is that I'm arguing from an objective standpoint and can agree to Mariah's vocals flaws & faults, especially those of today, but you seem to believe that Celine is void of any.
Well, celine is still the biggest commercial seller out of them all which means more people identify with her more than the other two as she's emotional and can connect with an audience! Also, whitney wasn't a perfect singer either! she had weak points too. Her lower register was weak & she strained the higher she belted!
https://www.youtube.com/watch?v=r-qLbWFyLVY
1) "Sales" have, absolutely, no bearing on the debate we are having so that statement of yours is automatically insignificant.
2) You don't have to like her but, objectively speaking, Whitney Houston was a fantastic Pop vocalist. Between 1985 - 1992, her voice was wondrous. Out of the three, Whitney possessed the much more superior, musically- interpretive wit; she ad-libbed/improvised much better than M.C and Celine especially and her raw gospel roots only added to that effect - she also had one of the finest connected voices out of any Pop vocal artist to date; her transitions from chest to head voice were seamless with no drops of support or resonance [other than Barbra Streisand, very few Pop singers possess that skill] and every note was centered accurately to the body of the melody and her diction, intonation and sense of pitch & harmonics was immaculate. She was also the much stronger live vocal performer and show-woman.
Whitney's only weakness was her lower register and the fact that she never learned how to 'mix' properly however she sang from the mask and was, nevertheless, able to produce the richest & most vibrant sounds within her upper register of any contemporary Female singer I know - she NEVER began straining, somewhat, until post- 1996.
Guest 17 May 2014 at 13:53
Hey everyone! I know people here are very knowledgable when it comes to music and voice , so I'm asking this question here.
Is it actually possible for someone to transition from what seemed like a contralto or low mezzo voice to a soprano? I'm 15 now. When I was around 12 I used to sing in lower keys and have an overall low voice and I was convinced I was going to become a contralto.
After I got voice lessons and my technique improved , I realized that not only had my range expanded (Eb3-F6 from a 2 octave range) , my whole tessitura sort of became higher. Yet I'm not sure if I'm a mezzo or soprano. Contralto is definitely out. I couldn't even hit a Bb4 in chest/mixed voice but now I can belt Eb5..
I lose resonance below A3 but I remember that my low notes USED to be really solid O.o erm so I'm basically really confused about my voice . I do sing soprano in my acapella group and my friends tell me my higher notes sound nicer. But my voice originally was a lot lower. So is it actually possible that I became a soprano or is just that I've learnt to sing higher or something?
It's almost as if the bigger Mariah's boobs get, the weaker her voice and musicality become :/.
Leith 17 May 2014 at 14:00
I think it is possible (and not that uncommon) that voices in development that seem to be going to a certain category end up in a completely different one. My case was pretty much the same as yours: I was heading to a rather medium-low baritone category when my voice changed, my voice started to slowly get lighter until I became a leggiero tenor (although there's still some doubts about whether I'm really a leggiero or a high baritone). I more or less keep my ease in my lower end, but my voice became very light.
So yes, I think it's possible that a change like that happens, although you'd benefit more from Primo's and Sasuke's opinions, who are much more reliable than me when it comes to voice pedagogy. I must add, though, that I developed some bad habbits with my speaking voice that have also affected to the quality of it.
Just for laughs............
http://64.19.142.10/24.media.tumblr.com/16c1dbd61de032fccdfa2db6e0c3eb45/tumblr_n5pz9vIChK1trziiao1_250.gif
So, would you say that Celine's mix was greater than Whitney's then? I think it was, especially in the uppper register! She also had a stronger lower register, she could go as low as C3.
That tends to happen. An untrained mezzo sounds like a contralto and an untrained soprano can sound like a low mezzo.
In her prime, Whitney's voice possessed more resonance than Celine's; it comes from her having a larger voice, better placement, her notes being, predominantly, chest dominant and having been sung from the mask. When belting, Celine, both in her prime and today, resonates the best between G4 - D5. whereas Whitney was able to resonate well between G4 - G5.
Whereas Whitney's lower register wasn't as naturally stoic, it was still far more ample than that of Celine's of whom is, hopelessly, monochrome in her lower register. Whitney was able to carry a sound, with a bold 'ping', as low as D3 and C3 post- prime; Celine's loses solidity below F#3/G3.
Aaron 17 May 2014 at 14:49
Question - I am a lyric baritone I'm pretty sure. I can get down to Eb2, and I'm most comfortable singing in the 2nd and 3rd octaves as a whole, but my whole voice is quite light I don't have that heavy sound a lot of men do singing that low. But my question isn't about fach.
I can sing up to F5 (sometimes F#) in my outer limits, and that's in mixed voice or head-voice (I used to think my head-voice was falsetto till I learned the difference between the two). Is it normal though to lack ability to go higher in falsetto? Always thought falsetto was supposed to be able to take you beyond your normal voice's limits...and I do have falsetto but I seem to be able to have lower notes in falsetto than I do in my natural voice. It's strange. I'm not complaining since I have a 3-octave range. Quite pleased about that.
Is it just I need to practice my falsetto more? If so I'm not too worried. In my style of music that I write, high notes aren't too important anyway. And I can go high for a guy (especially a baritone guy) so no worries.
thedigblackbick 17 May 2014 at 14:52
Yeah, it's not abnormal for your falsetto to not reach the higher fifth, especially for a guy. I would say you're just untrained, and with training, you can extend your falsetto range.
https://www.youtube.com/watch?v=dlHyN1eJgTI
That gif. LOL
When people talk about big range, my first question is...which notes can you actually project without a microphone and without needing to get screamy?
Charlie XCX's debut album sounds so much like Marina and the Diamonds. I love her. At only 14 when she made and produced this album...her lyricism and clear tone are very good. https://www.youtube.com/playlist?list=PL9EIwsyI5bFDPgtx9i3JOgQGqZeQdOP-a
An untrained mezzo will not sound like a real contralto. No way. She will not have high notes, but that's not the same as actually having the vocal color of a contralto.
Thanks :). I wouldn't mind getting training one day but not too worried if it never ends up happening. Quite happy with things as they are.
Thanks! Indeed we face the same situation. My low notes are quite easy, I don't strain but I lose resonance and a lot of volume. And yeah, my voice has become much lighter and higher as well. Btw, who are primo and sasuke? I don't see their comments ._.
You are 15. Your voice is not done changing or growing up. Be patient. You have plenty of time.
It is completely normal that as your voice develops it will go higher or lower. For example, the French pop star Alizee started as a very low mezzo, in her lowest notes sounding almost contralto when she was 15 years old. Then, as she aged her voice became higher, and she lost some of the low notes and gained some higher notes, and can't sing her first album songs in their original (low) key.
Same thing with the soprano Renee Fleming, she says that with age her voice has actually opened up "up there", though she never lost her low notes she is able to sing in a higher tessitura with more ease.
Same with soprano Joan Sutherland, who in her late teens and 20's was thought to be a lyric-mezzo soprano because she didn't have a high C, then as her voice grew she was thought to be a spinto soprano or dramatic soprano. Then she developed her voice further and she extended her top to F#6 and her tessitura shifted from D3-G5 to A4-C6
I am Anyello Dei Primo Uomo Assoluto Supreme of this generation
Pleasure to make your acquaintance :)
My top notes (I'll say the E5-F5) I need to project loudly just 'cause it's so high up. I don't need to shift my larynx up ala Christina though...
That said, it's mixed voice but mostly head-voice. I'm still a baritone and can't chest-belt that high. My pure chest-belting voice ends somewhere in the middle of the 4th octave.
Oh I see! Guess I'll just have to wait.. Thanks for the information!
HAHA! Pleased to meet you too :)
Another question, for those who've listened to Patsy Cline, what voice type was she? I read somewhere she was a contralto...I'm like 'nah I don't think so'.
snowvine 17 May 2014 at 15:39
I'm not so sure, but I don't think so. I attended her most recent traditional concert last year when she contacted major sore throat, but she still sounds AMAZING. But when you listen to the CD of the concert, you can pretty much tell her voice is a bit coarser than usual, I'm from Malaysia by the way, more specifically, I'm from Perak. :D
Have no idea but I do know I love Patsy. :-)
https://www.youtube.com/watch?v=kRNdap-ioNM
If you keep practising that lower register you will certainly get that strenght back in almost no time, just like I did, the problem is that you lose that ease almost as soon as you get it, so you have to practise it quite often in order to keep it.
LOL It's my favorite. It comes in handy so often.
"worked ridiculously hard for it" Sounds a tad exaggerated to me tbh
Here's a guy whose voice you might recognize from that annoying Avicii hit
https://www.youtube.com/watch?v=YRws_QXije0
Diva Devotee 17 May 2014 at 16:51
I await expansion on this! :)
just a little bit of fun on my side.
I don't know about you, but for me every time she's about the perform, she is having something (e.g. not feeling well, sore throat, etc etc) and I think that's because she smokesa whole damn lot... I'm from Selangor, finally another Malaysian! *whoop whoop*
http://www.youtube.com/watch?v=YT19FrY-1Ec I dig this.
Seren 17 May 2014 at 19:00
I'd personally rather stick my dick in a blender, than listen to either song.
matrix54 17 May 2014 at 19:00
The metal might be from my sinus issue. I've always got a little a little something in my throat (I do drink as much water as possible). It's wasn't as prominent as is usually is, but enough for a steely quality when higher notes take hold. I like the steeliness, as it gives the texture of the voice a little a color, so it's not just high and shrill. At times, I do color it heavily for an edgier sound, but I usually leave it as is because it's the most natural.
Or, I'm just wrong and I have a naturally grainy voice lol
LOL You and me have very different ideas of what constitutes "working hard". Lucky you!
But even when just talking singers I seriously cannot call working as a back ground singer for a while "working ridiculously hard". Especially since Mariah signed her first contract at 19.
Hell, she "worked so ridiculously hard" that when she started to write songs as a teenager according to Wiki they had to look for somebody to play keyboard. Guess during all her "ridiculously hard working" it never entered her mind to like learn how to read music and play an instrument herself?
And oh my, this professional artist, unlike other artists I guess, worked so "ridiculously hard", she went to a studio to record and even...TOURED!!!
Yep, she worked way harder than your average professional musician does.
In the mean time, I understand she never managed to hold down a regular job for longer than two weeks? Shame really because maybe then she wouldn't have been so "poor". Unlike again, your average 18 year old living on his/her own.
To recap..Hahahahahahaha! Only a spoiled rich or middle class teenager will buy into that as a description of "working ridiculously hard"
Any adult reading this will, while writing a reply, at the same time be looking into whether there actually exists a "rolls eyes" big enough for that load of .....
In spite of what Mariah "the elusive Chanteuse" might claim herself, she actually did not work harder than most. I dare say in fact many artists work harder. And still none of them could be described as working "ridiculously hard".
To be honest, I think the major causes of such sickness is that in the recent years, she lacked discipline in managing her voice the way that she used to be when she was in her 20s. For example, right after her concert with Malaysia Philharmonic Orchestra, she went splurging on ice creams. ==" She only goes on a strict regime when she's having a major concert. To be honest, if she's indeed is smoking, then it doesn't really explain the sweetness of her tone and hell of a breath support that she has for the past 19 years. Lol! This is one of the performances when she had major sore throat: http://www.youtube.com/watch?v=VpEjsgnRWGE There are moments when she looks like she's struggling with the notes that she usually can cover effortlessly. But still, at her worst, she sounds much better than typical overhyped pop stars. Lol!
Imo, her biggest problem in the recent years is her lack in her dedication to memorize her own songs. Even with the songs that she used to sing for oh-so-many-times, she messes them real bad at some of its lines. Those who are not familiar with the songs that she sings might not notice, but as an avid fan, I am slapping my forehead. =="
Yeah! Fellow Malaysian! <3 I'm not that active here though since I lack the musical knowledge that so many people here have. Lol! I'm more like a silent reader. Lol!
MikeyPop 17 May 2014 at 20:34
merci beaucoup. <3
I love when she sings in this style, although I wish the instrumentation stayed a little low key and didn't clutter her voice, but it's still great.
Dan Tyminski! I wish producers could at least credit their singers in songs because their gorgeous vocals really do deserve recognition.
Looove. And it's still amazing how much she even improved since, I really do wish True Romance and SuperLove got more attention.
Jordan 17 May 2014 at 20:41
The delusive chanteuse
Now that we're on the topic, I'd like to ask you for some advice, Anyello Dei Primo Uomo Assoluto Supreme of this generation (I feel like I'm adressing to a Game of Thrones character lol). I've found out that the problem with my voice that my vocal chords don't close properly, but it's not due to nodules, but due to a bad habbit that I've developed.
It started like this: since I was a child people said that my voice was too loud, but I never felt like I was screaming or forcing, and my throat never hurt. People wouldn't give it too much importance since I was just a kid, but when my voice changed and darkened, the complains become more frequent, and people always said things like "dude please lower your voice, it resonates too much". So, to fix this, I tried to make myself sound quiet, and the way I did it was by using a weird mix of chest voice and falsetto while speaking (although I wasn't really aware of what I was doing). That makes my voice sound a lot lighter and less loud. Problem is, I've gotten used to this and now I don't know how to correct it, and I'm afraid that using this kind of "speaking-technique" (which has also taken over my singing technique) may damage my voice with time, kinda like Mariah's been damaged by all that whispering.
I pretty much notice this issues when singing or when trying to speak loudly, I feel that no matter how much I use my diafragm or open my throat, my voice lacks some kind of "ooomph" (if that makes any sense). Basically, I waste a lot of air when speaking and singing that isn't used to produce sound and just passes by my throat.
Do you have any advice for that?
They honestly have so much knowledge about how to be a good girl group. Amazing vocals and harmonies and timing on when to employ what. As well as fantastic dancing, and stage presence. I just wish they were bigger here in the states.
And I love that they sang this song because they really were a dark horse in the X Factor.
Okay, this is a shot in the dark, but - do the words 'Razia's Shadow' mean anything to anyone here?
I agree! The post can feature current diva's who are doing really great. (January would've been a great time to give Beyonce that honor, for example), or used as anticipation for when they're about to release an album or whatnot, or even a throwback to feature artists who were classics but a little forgotten at the moment.
The post can feature something like their five best performances, and a big blurb on their qualities such as dancing, stage presence, what makes them unique/special/deserving of attention, etc. List different vocalists they're inspired by, and the people they have inspired, and more. I'm sure Joshy has many more ideas to give also. (Have fun at the beach!)
I loved that album, back when it was still in my iTunes library.
My old laptop just died a while back, so I lost everything that I didn't have saved in some form, which was around 60,000+ songs :/ I've only got around 10,000 songs as of now, on my laptop.
Thank you for posting this, though! I'm going to go re-download the album asap.
Really good actually. I kinda wish more of DD's vocal profiles could be that in-depth (no shade!), I really liked that you have not only the singer's range, but also their supported range, because that gives a really good idea of where they really are, as well as the analysis of each specific register, and agility, because while DD does include those in some profiles, it's nice to see them more organized and in-depth. The posts seem well-written too, you never get too biased or too harsh on a singer, it's just the flat out tea.
Thank you!! I wish I could post an analysis of mine here on this website as well, like of any of these k-pop divas or someone else, I'd be very happy to add some of my knowledge and share it with everyone else ^ ^
As much as I'd love to listen to this, it's not showing up for me. I don't know if anyone else is having this problem.
They didn't? There's a video out there of him singing the song at some festival with Avicii though.
Truth be told..he is not a favorite voice of mine actually. But I like this song and also whenever he sings the lead, Alison does some real nice fiddling. And I am still undecided, after 7 years, which I love more... her singing or her fiddle playing.
Can't hear it now but I could a few hours ago. Maybe he removed it?
LOL you shouldn't give good ideas away like that. Instead use it for your own blog. :-)
"he fact that Alison had failed ventures as an independent teenage singer before getting her big deal,"
You have really no idea what you are talking about have you?
Alison Krauss signed with Rounder at 14, made her first album at 16, second at 18 and third at 19. The latter being also her first Grammy win and making her the second youngest Grammy winner at the time. And that was the album on which she had full artistic control.
So what "failed ventures ARTE you talking about? That signing at 14? Or winning many fiddle contest and being called the most promising fiddler of the midwest at 13? Really, do enlighten us.
And all that is beside the point, which was that it is absolutely possible to be in artistic control as a recording artist AND be successful enough to live comfortably and even be a silver Red Cross donor.
And wtf does "polishing" by David Gilmour have to do with anything.
Indeed, you will never get through to anybody with "arguments" like that because...they are not "supported arguments", they are blithering nonsense.
As a matter of fact, it is you to whom facts are not getting through. And in your attempts to ignore them you reach for off topic and blatant nonsense.
I wasn't to bothered by the instrumentals. It makes it very atmospheric imo.
But yes the singing sounds great. Her voice truly does sound haunting.
I use only one name. Spelling just changes sometimes due to posting as a guest rather than a Disqus account and posting from different devices.
If we are going back and forth we are moving.
I was under no such delusion but maybe you were? The idea that my opinion would have any effect on Whitney's legacy?
Is that why you felt you had to try and argue my opinion? Were you worried it WOULD have an effect on her legacy? You should have said so at the start. I could have put your mind at ease right then and there..nothing either you or I or anybody else says in this blog will have any effect on Whitney's legacy dude. Relax when it comes to that. :-)
1. Haven't been watching Idol, whoops.
2. Christina Grimmie's improved a lot since her YouTube cover days. Her higher notes have been sounding more resonant and well supported also in recent months, most likely with her career taking off a bit and being under coaching, and the help of coaches from The Voice. I was actually very impressed with her version of Wrecking Ball, not only the big note that everyone talks about, but also by how much she's grown. She's shown improvement in musicianship also, as shown in her covers of Dark Horse, Hold On, and How To Love, she's not simply doing the whole Sing-The-Song-And-End-With-A-Belt thing anymore, she's actually showing creativity. While her voice is still growing at the age of 19, she's shown considerable improvement. She could improve on her runs, which are fine but at times can seem labored and forced, unlike other singers who can easily produce a long complex riff. Her voice of course is somewhat of an acquired taste, as it has a very youthful quality, and has somewhat of a "congested" sound at times, as well as her very shrill belts. But she's still in the lead for winning this season, with her one million+ fanbase garnered from YouTube, and the fact that she's been in front running for the entire season, aside from a minor blip last week.
3. In my personal opinion one of the middle/average tracks off of the album, the belting in the chorus is great and seems well supported, although the problem with the song is that it's hard to tell due to it's vocal processing. Which I'm surprised by, Michele has sung many songs on Glee with as little vocal processing as possible and still managed to make a good pop cover, so I'm confused to why she went this route on the album, but it's understandable with the electro/baby dubstep sound. The problem with this song, like a lot of songs on the album, is that they're not exactly songs for the A-list pop star, they're songs that are given to a singer that gained attention from a TV show and they just pump out a few half decent songs without much thought. I am happy though, that Lea kicks it up a notch and changes the chorus up in the final chorus, and that this song includes her trademark high belting, unlike Cannonball, which was a very "easy" sounding song for someone of her caliber of talent. Although this song is in no way a standout, despite being a nice enough cut, it's simply just another filler on this album.
Speaking of the great Patsy Cline, just found this performance at a recent tribute to Patsy by Leann Rimes
https://www.youtube.com/watch?v=S664M5IZGx0
Well he was credited in the song notes, but not explicitly in the title, which is just listed as "Hey Brother" instead of "Hey Brother (feat. Dan Tyminski)", but Avicii did that with all songs on his album too so.
Maybe it's just me, i'm sure if this song was ever to be finalized and released, it'd probably have nicer mastering, so I shouldn't complain about a leaked demo's sound quality haha.
Hmmm you have a point there.
Hi, so I plugged myself last week, but it was kind of when the FFAF high kind of died down. So excuse my being #thirsty, but I have a blog!
It's a little different from DivaDevotee as I'm not as geared towards vocal technique as the crowd is here. It's mainly just about mainstream pop music in general, although I'm not hesitant to stay towards other genres. I currently have an introduction post, and three other posts if you wanna get a quick idea of what I'm about. As well as my writing style, which is even gayer than DDs. More posts are coming! As I've recently finished my AP exams. (:
(Disclaimer: In no way am I claiming to be a good writer or qualified to even comment on these topics, but I have a big mouth and a lot to say about pop, so why not make my own blog about it?)
http://mikey-pop.tumblr.com/ Check it out if you would like!
Check it out guys! It's actually really fun to read!! ^ ^
Really. I'm still listening to her older stuff and unreleased music, then I'm gonna try out her newer EP's and albums. She needs more recognition, so unique. And beautiful I might add lol
I didn't realise that different strokes that she released at 1985 wasn't an album, and that she was eventually persuaded to create music videos despite her adamance against the idea, and how also her popularity was significantly helped by movie soundtracks.
Lol, David GIlmour has everything to do with Kate Bush getting her record deal during a time when rock and roll was everywhere. And they before her debut, the record company actually told her to train her 'persona' and her identity as a female artist. There's an imitation of control but in no way is this 'full artistic control'.
LOL and what do awards even have to do with artistry. And you're comparing MERIT to talent? Tori Amos was a child prodigy, but you call her as a KB 'imitation'. You're a fucking walking contradiction; get over yourself.
Your arguments are air. And your ego inflates your sense of reality. Get over yourself. There are so many unknown artists infinitely less known than Krauss, Bush and these other major label artists, and all of them state how they could easily get a major record deal if they compromised.
If you're looking for musicality and artistic control, you dn't use these major label artists as examples, because that becomes ironic.
"you reach for off topic and blatant nonsense"
*Barbra Streisand and AK posts*
You're funny in your delusion.
Deon Campbell 17 May 2014 at 23:41
Can you look on YouTube and do a vocal analysis on a singer named Christina Marie. She's on the voice UK. THANKS!
I was more so talking about how the lower set mezzos in pop are often mistaken for a contralto specifically if they don't have the best technique. I'm well aware that an untrained mezzo will not sound like a real contralto. I can distinguish between a contralto and a very low mezzo with ease (compared to this time two years ago LOL).
Hon, the subject wasn't "musicality and artistry". It was artistic control. And my point was that artistic control is in the hands of the artist.
That is why I cited Krauss because she is an example of an artist in artistic control. I also stated that she was making a decent living while being in artistic control. I also said there are in fact many more.
You tried to argue against that with nonsense.
Different strokes was just a fun project by a 16 year old boy and his 14 year old sister (Because that was actually his thing). That is not a "failed venture". It was not intended to sell loads of copies. It was a case of anything it sells is a succes
And the fact that her popularity increased thanks to a movie soundtrack is beside the point because even prior to that she was already making a good living and had full artistic control (again..the subject under discussion, Figure I better keep reminding you since you lose the plot already during the writing of your reply).
Fact that her success increased doesn't mean she wasn't living off her music already before that as well as had full artistic control already.
Your argument simply is moot.
And I already explained that Kate Bush did not have to make albums or sing in a way she didn't want or tour when she didn't want. Her artistic control was only compromised to the point where SHE was comfortable with.
Your whole stance was that all artist are forced to do things they are not comfortable with. I simply gave some examples of the fact that this is simply not true.
Whether awards have anything to do with artistry depends on the award.
But I actually didn't use that to demonstrate "artistry" (which again is also not the point of discussion. "Artistry is not the same subject as "artistic control"). I used that to show there are no "failed ventures" in Krauss' past. To demonstrate that in spite of your nonsensical claim, Krauss was successful from the start.
But seeing as she HAS full artistic control, there are anyway no "failed ventures" in her career so far. Because dude, if you have full artistic control and are an artist rather than a fame whore...you don't release what you aren't content with yourself. And if you are content with what you made, it is not a failure. Especially not if hundreds of thousands of people loved what you made as well.
Tori Amos was a child prodigy at classical piano. Which has nothing to do with her later pop work which was clearly heavily inspired by Bush.
But your little rant on that subject pretty much shows the real reason you are arguing me here.
You are just pissed off because I happen to think very little of your idols and have expressed my low opinion freely. And argued it better than you did your "defense". This should make you stop and think before trying to argue me again. If you can;t even come up with solid argument in defense of your favorites, do you really think you CAN on people you obviously know nothing more about than their wikipedia entry?
Maybe if you manage to come up with actual to the point arguments and facts, you wouldn't need to resort to blatant nonsense and when that is successfully countered, personal insult. :-)
Ps that is another example of blatant nonsense right there " unknown artists infinitely less known".(you might want to look up the meaning of words like unknown and infinitely ). ROFLMAO honey, if they are that unknown, nobody is offering them contracts nor would we know they were offered a contract but refused.
I actually just checked her out, besides her breathy and quiet lower register, she has a pretty good head voice, pitch, agility and mixing. Her belts are great and she control her sound pretty well! I watched two performances and I'd say she's pretty good!
Btw I bet you actually don't know a single thing regarding that album Different Strokes. Other than what the Alison Krauss wiki entry said that is.
Well, here's a little enlightenment just for you...
Its' an instrumental album which at present, if you can find a copy anywhere, you will be able to sell for a couple of hundred $ ( I know someone who bought it for 300 but he was willing to go to a 1000 or more)to many a Krauss fan.
Here's video of two of the four that feature Alison. For you...completely free of charge
https://www.youtube.com/watch?v=XmLhfw48xm8
lol, do you think I actually like Whitney besides listening to a youtube playlist of some of her songs? All your claims are condescending and don't actually have any kind of meaningful output, outside the fact that you dislike Whitney's style of R'n'B and would do great lengths to rationalise your preposterous. At no point in my argument did I actually say anything that condescended any of the artists as much as you do.
Lol, the subject was 'artistic control? 'Hon' look at the beginning of the comments, where I started to argue about musicality--something you claim that Whitney gets undeserved praise for. And then we went with your ignorant claims of her being 'dangerous'...(that's such a laughable opinion. Anyone who blames an artist for their influence over the succeeding generation is laughable. It's not her fault that they try to imitate a skilled singer through gimmicks).
The fact that Whitney was/is more known than Krauss does not compromise either person's artistic ability, nor does it mean that neither Krauss nor Whitney had total control of their creative output. The argument of having control over one's creative output is such a laughable argument, actually, because anyone who has an ounce of knowledge about the creative arts industries know how these industries work.
Just on a technical level, you really have no idea how much money an album takes to make and how the costs are influenced by the genre the singer does, do you? Record labels are not only there to give the singers money but to fund their projects. Through this, they need to comply to certain directions.
haha, Wiki entry. I'm not even going to point upon how petty you've become.
And, lol, Tori Amos heavily inspired by Kate Bush? That just clearly highlighted your freaing narrow mindedness. Have you even listened to any of Amos' songs beyond simple uncultivated remarks about her artistry? Or knowledge of how and how varied songwriting works? Kate Bush has a sound that is perpetually changing throughout her albums, whilst still retaining some trademark 'links' between albums (e.g 'eeee' sound throughout the Sensual World and RS)--her artistry largely depends on the tonality of each album (except the second one); Amos on the other hand has one defining sound that remains thriughout her albums; their narratives are completely different and even their narrative styles; the only thing they have in common are their magic realist and surrealist styles. And surrealism and magic realism are writing genres--songwriting is writing.
Lol, ironically, your attempts to discredit my claims in your last paragraph just reflects more of your ignorance on this matter, alongside your pedantic focus on semantics--all of which did not even remotely discuss about the essence of my claims on independent music.
My 'favourites'? Haha, that's funny, I just said in another post how one song by Dion was dear to me. That claim coming from nowhere is almost appalling.
I enjoy this song like I enjoy all of Lana's songs.
Glad I shared it then. :)
pretty sure some will get offended...
https://www.youtube.com/watch?v=hRXc_-c_9Xc
EdwwarddElric 18 May 2014 at 11:44
I completely agree with you. However in recent times (in the
modern art period) expression has overtaken skill in such an extreme way that
some people would consider your statement the equivalent of a religious
extremist. Just look at Fountain by Marcel Duchamp or one of a thousand people
who just throw paint at walls or "performance art" etc. Opera has due
to its requirements (that are strictly written down. A trill is a trill. A
phrase is a phrase etc.) resisted this but all this has still changed the opinions
of most people outside of that world.
http://www.youtube.com/watch?v=qktaWEGt5vU Love this
re your favorites...I was referring to Amos ( I seem to recall I at the time already told you I listened to a few CD's by her) and didn't we argue on Gaga as well?
Yes, Amos is heavily influenced by Kate bush as she has admitted. Going all "pedantic on language again" (because dude, that is what we are using here conveying our views. Silly me to then think the words we pick and their definition carry some importance.)..."heavily influenced" is not the same as copying.
See, that is again where those pesky words and their definition come in. I pick my words carefully, to convey my view. Unfortunately you read incorrect definitions in them and then argue something I didn't say.
And you are still talking "artistry when I was responding to your remark on "artistic control".
You really should learn how to stick to the subject in your arguments.
And yes it was your remark on "artistic control" which I responded to and you
You can cite all the excuses in the world but reality is reality.
A record contract is not like some disease which happens to you and is beyond your control. It is a agreement two parties sign. As such each party is in in control of what he agrees on. Any contract can also be broken by each party. There are consequence for each action, there are reasons why and in how far any individual sells himself and his ARTISTIC CONTROL away. But in the final analysis the choice of how much artistic control an artist has is always in their own hands.
Your read on how the music industry works is limited regurgitating of arguments sell outs, but even more so their fans, use to substantiate their/their fave's choice or excuse their failures.
That is not an argument against the reality of where the control really lies. Those are excuses.
It's like a thief defending his stealing with the excuse that he wanted the item and hey, reality of the world is that if you don't have money to buy it, you have no choice but to steal it.
"You have no idea how much it costs to buy it. And it costs what it costs because the manufacturer had to invest a lot in producing it. I had no choice, my hand was forced by economy!"
And the personal insults dude, are not arguments but you do undermine yourself with them. :-)
And that dear "crusader" , is called a blatant lie. :-)
And with that I am going to leave this discussion until you can come up with an argument proving the choice of the amount of ARTISTIC CONTROL an artist has is not ultimately in their own hands.
Instead of excuses, incorrect info from wikipedia and especially an inability to stick to arguing actual words/thoughts expressed in preference for personal insults.
But hey..how absolutely lovely and grand of you that you stick to trying to insult the actual person you are in conversation with. Instead of being "condescending" about some artist you don't like.
You are a wonderful human being and I am thrilled to have been in discussion with one who doesn't interchange free speech (or argument for that matter) for hate speech.
"Free speech≠hate speech, and most seem to interchange both more often than not."
"Some veil their hateful, dismissive opinions as almost as similar to
facts, and when it comes to things like that, someone is going to have
to be a crusader and try to politely tell the person to fuck off."
Consider yourself told Jules. :-)
https://www.youtube.com/watch?v=OvGvH__lmL0
this is the first time on the site that i've discussed about Amos, and I've never talked about Gaga.
incorrect info from wikipedia... and you quote my own rhetoric... that's a bit ironic in itself, eh? you're arguing about the validity of my facts rather than arguing about the facts themselves, while you can't come up with some genuine facts either.
And your point regarding Amos is so short-sighted I can't believe that you even read my previous arguments. Influence≠imitation. Just because they might have some similarities in tone does not mean that one is the imitation of the other, in the same way that not all Jazz singers are imitations of one artist, nor are country artists the same. your confusion of influence and imitation are quite appalling for someone who considers words' 'definitions' ;).
And hey I remember in the Amos post your saying that Amos is 'an imitation' of Kate Bush.
I mean; you talk about me insulting you, when your quip against my argument on sales is that I'm a fan trying to defend my artists. I'm actually pro-piracy after having done some work experience in copyright laws. that's not even an argument at all. and yet you ironically refer to my arguments as those coming out of a fan. look at yourself in the mirror. even with your other discussions the others note the same things but more politely.
Instead of giving facts, you dismiss backhandedly the arguments, saying that they're 'excuses' when you could have been giving antithesis to them.
In no way are your arguments arguments.
Haha trying to disprove me further by saying that my definitions are wrong is funny again, because it has/had no relevance whatsoever to my actual arguments.
Consider yourself told :).
Pure chest voice in general stops dead at F#4 for all voice types, above that it is always ratios of mixed voice, balancing chest/head voices. Nobody can belt out F5 in "chest voice", it's just not physically possible.
But that doesn't really count, it's like when articles call Mariah an alto or Leona Lewis a mezzo-soprano or Christina Aguilera a spinto soprano :P
https://www.youtube.com/watch?v=0qzgWSooFYw
Just really beautiful.
https://www.youtube.com/watch?v=fyUf6Sx1Rkg
To change the general pace for a bit....lets' rock out to the Vaughan brothers. :-)
https://www.youtube.com/watch?v=8FovbfsgyuA
I just need to share one more video because Perrie hits an insane belt at around 2:48 during Change Your Life. It took my breath away.
http://www.youtube.com/watch?v=ty2NSR5dCco
And this is what was played at the Alison krauss & Union Station concert before the artists hit the stage. One of Alison's favorite bands
https://www.youtube.com/watch?v=UifZgFEYpV4
Yes, that's a bit more complicated than regular singing technique as it involves speech therapy, but I think what you need to do is vocalize in the middle of your voice the following exercises.
First, in a middle voice note such as A3, Bb3, B3 or whatever feels comfortable (no higher than D4), take a big low breathe (expanding your stomach), a breathe for singing, and supporting the sound hum with your mouth closed. Hum your favorite melody simply on the middle of your voice. First do it softly, then increase volume, always with your mouth closed but teeth not touching.
After this, taking the same type of low breathe, say the word "Hung", stretching the "ng" sound for as long as the breathe allows you to. And every time, increase the volume of the "ng" sound. At first it will feel very weird, and might make your head buzz and feel dizzy. This is mask resonance, and you need to find it in order to sing with a healthy technique. If you are doing it well, you should feel a strong buzz on your nose and sinuses. If you are not doing it well, you most likely have your soft palate low on your mouth, and you must consciously lift it up by raising your uvula (the fleshy thing hanging on the back of your mouth).
After you've found the resonance on the "ng" sound, always in middle voice", vocalize an "ee" sound. This is the dead giveaway of a falsetto or poorly supported head tone, so starting on the middle voice, like, on G3, take a low breathe and sing "ee" vowel, increasing the amount of volume on the note, not pushing with your throat but just increasing the breathe support.
Then, start going up the scale, always with an "ee" sound, it might sound weird and operatic to you, but it's the sound you need at that moment to rehabilitate the voice. As you go up the scale, singing an "ee" vowel will become more difficult, so sing the "ee" as an umlaut, like the sound between "ee" and the vowel in "you". So, sing an "ee" but with your lips as if saying "you". Vocalize an octave, from G3 to G4, always trying to add more core to the sound. It will sound operatic and weird to you, but you'll notice it will start giving more core to your voice.
Let me know if it's clear enough or you need an audio demonstration of it.
And Seren, this one is for you. Hope you like it as much as I do. (though I of course don't understand a word )
https://www.youtube.com/watch?v=boI5cTbPIHs
Exactly :) I think that's the case when it should only be attempted with people with the years of study and the ear for it. I've seen so many articles calling Mariah an alto, Christina a spinto soprano, Leona Lewis a mezzo-soprano, etc. Or videos calling Usher a Wagnerian Dramatic Tenor and Michelle Williams a dramatic contralto, etc...I didn't know if to laugh or cry.
I think "performance art" is for the most part a great deal of bullshit, to be honest :P throwing paint on something doesn't make it a piece of art, just makes it a bunch of splatted colors. Or, like Yoko Ono, she screams into the microphone like being electrified, according to her to express the real emotion behind something. But that's just...ugly...does not require skill whatsoever and in my opinion it is not art.
Have you seen Celine's performances of "Love can move mountains"? The woman has a good ear and a good instrument, but her taste level is clownish.
Thanks a lot, it was perfectly clear :D I know I've felt that buzz you talk about before because it was what my voice felt like before I fucked up my technique, and there are days when, for no particular reason, I feel it again and my voice feels very comfortable. I also have this little problem that my nose is constantly stuffy, but I just bought a thing called "nasal lota" that a friend of mine (who is allergic to dust and therefore he's constant mucus factory) recomended and says that it works wonders, let's see how this works.
BTW, if you don't mind, could you also recommend me some exercises to learn how to use my pure head voice? I won't be practising that part of my voice until I fix this problem first, but I'd like to know what I should do to practise it, because I think I've never been able to produce a real head voice sound, just a chest-head mix or falsetto. Thank you in advance!
Greenbean 18 May 2014 at 18:47
I love her whistles http://www.youtube.com/watch?v=95fwhb3KksU
Taste, as you so often like to point out, is..subjective. I haven't seen said performance but I have heard Celine sing with lots of taste.
Can say the same for Mariah, can't say the same for Whitney.
I much rather see tasteful musicianship which at times misses the board but usually is spot on, than the constant tastelessness of always putting your ego before anything else.
I am guessing that is not your equally subjective taste. But that's life, we don't all have the same taste. :-)
YES A MISIA FAN. FINALLY. This girl has raw ability in the sixth octave. Head voice, whistles, falsetto, even belts (she belts an Eb6 around 3:30 in this video).
I'm not a J-Pop fan, but I may become one just for this woman.
https://www.youtube.com/watch?v=JdaSjC7zm2k
LOL, you can email me!!!! montrezrambo@yahoo.com


[Top Ten Tuesday] Sepuluh Buku WAJIB Baca Tiga Bulan Mendatang ~ Funny. Smart. Single. Crunchy. HOT.
Ooh Scythe is great, I hope you enjoy it!
thanks for stopping by... yes, I'm so pumped for reading Scythe! Thank you.
I thought it was very interesting to learn what the seasons are like in Indonesia. Thank you for explaining it! Here in Canada, there are places where very cold, winter weather last for 8 or 9 months of the year. (I live in southern Canada where it's much warmer than that). It's amazing to see how much the climate can vary from one part of the Earth to another.
I think that Scythe sounds like it will be a great book.
That's true, Lydia. I am currently reading Naked Traveler #8 by Trinity (local book here in Indonesia) and according to her, Canada is way colder than Iceland? WOW, just WOW. Yep... ready for Scythe!
I haven't read any of these. I hope you enjoy them! Here is our Top Ten Tuesday.
No matter what the season, I hope you like these books! I'd like to read Scythe at some point too.


Chirfi Guindo is Executive Vice President and Head of Global Marketing, Market Access and Customer Innovation. He has served on the Executive Committee since November 2017.
Mr. Guindo joins Biogen from Merck, where, most recently, he was President & Managing Director of Merck Canada. His experience at Merck includes several leadership positions in Canada, the USA, France, Africa and the Netherlands.
Mr. Guindo brings 27 years of experience in the global pharmaceutical industry during which he has worked across a range of functions, including Finance, Sales & Marketing, General Management and Global Strategy/Product Development in specialty, acute and hospital care.
Mr. Guindo holds a degree in Engineering from Ecole Centrale de Paris (France) and obtained an MBA in Finance/Economics from New York University's Stern School of Business.


Flavio not only generates a fresh breeze but also light. Ceiling fans with lights like this one are particularly practical. There is no need for a second power connection on the ceiling and light and cooling air are easily combined.
Suitable for use in sommer and in winter, the mode of the fan can be changed to left or right rotation via a switch on the casing In winter the warm air below the ceiling is pushed down into the room, which helps to save heating costs as the room feels warmer.
The ceiling fan has three speed levels and comes with six dual-coloured blades in graphite and wenge so you can choose which colour you prefer.


text:
Telehealth Resources, Links, and Tools
Home / Resource Hub - Article / Telehealth Resources, Links, and Tools
In Prevention, Suicide, Telehealth, Treatment
Telehealth Resources, Links, and Tools2020-07-302022-03-24https://casatondemand.org/wp-content/uploads/2019/06/casat_ondemand.pngCASAT OnDemandhttps://casatondemand.org/wp-content/uploads/2019/06/casat_ondemand.png200px200px
Created On July 30, 2020
Many of the following resources were developed early in the COVID-19/Corona virus pandemic to help behavioral health providers to accommodate people faced with recommendations for social distancing, face coverings, and other means to reduce the risk of becoming ill or spreading disease.
Telehealth Learning Series for Substance Use Disorder (SUD) Treatment and Recovery Support Providers
The Addiction Technology Transfer Center (ATTC) Network, the Center for Excellence on Protected Health Information (CoE-PHI), the National Consortium of Telehealth Resource Centers, and the Center for the Application of Substance Abuse Technologies (CASAT) at the University of Nevada – Reno (UNR) are facilitating a FREE, national online discussion and resource sharing opportunity for substance use disorder (SUD) treatment providers and peer support specialists faced with transitioning their services to the use of telephone and videoconferencing methods in response to COVID-19 social distancing guidelines. The ATTC also has a plethora of toolkits, print media, multimedia and other materials in their Products & Resources Catalog
Bringing Prevention Virtual
The Prevention Technology Transfer Center Network (PTTC) to assist prevention professionals as they transition to delivering services and programming from face-to-face to virtual settings. Additional resources will be added to this page as they are developed. Resources include videos, Podcasts, and Print media.
Responding to COVID-19 | Telehealth
The Mental Health Technology Transfer Center Network (MHTTC) has responded to the current public health emergency by providing definitions and evidence base for telehealth. Upcoming events by the MHTTC include best practices, adaptations, and innovations for telehealth available in the MHTTC Products and Resources page.
Suicide Prevention Resource Center (SPRC) resource links for multiple audiences, including American Indian and Alaska Native communities. Register here to view SPRC's new webinar on telehealth with suicidal patients. For more resources on telehealth and suicide, visit Zero Suicide's Providing Suicide Care During COVID-19.
Mental Health Technology Transfer Center (MHTTC) Network Resources
Building Telehealth Capacity – The Center for Connected Health Policy defines telehealth as "Telehealth is a collection of means or methods for enhancing health care, public health and health education delivery and support using telecommunications technologies." Given the current public health emergency, telehealth has become an essential way to provide mental health services.
SAMHSA Telehealth Resources
The National Council for Behavioral Health web site
Best Practices for Telehealth During COVID-19 Public Health Emergency – This document by the National Council for Behavioral Health is intended to provide the necessary background and resources necessary to help practitioners begin or expand the use of telehealth and includes a list of additional resources.
Tools and Resources for Telehealth
Resources For Older Adult Populations
Resources for the Treatment of Sedative, Hypnotic and Anxiolytic Use Disorder

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