ronws

I think you misunderstood Draven. What he means is that you are the greatest obstacle to what you want to achieve. I have found that improving on singing mainly involved getting out of my own way, to learn how to walk without stepping on my own feet, so to speak.
You said if you had that range nothing will stop you. He said, you will. That means that you can often hinder yourself with preconceptions about what you can or cannot do, what you think is happening to make a sound, which may be different from reality.
But can you sing that range? Yes, you will.

Just for the record: Singing Success is not SLS it's a vocal program. Studying with an SLS teacher is not the same as using the Singing Success program. There's nothing wrong with goo, gee, mum, or whatever exercise you may label as SLS. It's how you do those exercises that counts not the exercise itself. That's why you need a teacher. And that's also why I personally don't believe in vocal programs.
Yes there are a lot of bad teachers out there, some SLS some not.
"Speech Level" doesn't mean you have to sing with a low volume and no support... It's more about not pushing and reaching up and down for notes... There's nothing wrong with singing big as long as you do it with good technique.

something MDEW said in my old siren thread. Makes good sense now for this thread


 
Yes. I have been referencing "shedding weight" as you ascend. But if you are already really light to start with then you dont have anything TO shed and you might have to work more to maintain air pressure and cord closure etc

I really liked it. And I want to say that the folky rock and southern fried rock and assorted outlaw country and stuff is really good in your voice.
side note: my wife and I know a guy in Austin who has been singing all over the state for decades. A guy named "Shake" Russell. He actually helped Clint Black craft "Nothing but the taillights" when Clint was unknown. Anyway. so Shake sounds just like Harry Chapin. I have expected him to sing this song.
Another side note: I have been working on an original song for quite some time. And even have entertained the notion of making it a three-way singing thing between myself, you, and MDEW. We may not be able to get together for brisket but we can sing about it if I ever get it finished. Kind of medium shuffle with a ZZ Top kind of turn-around in the riff.
And another side note: back in the 90's, I auditioned for as a singer for a band called XLR8, headed by a guy named George Chapin, one of Harry's nephews. I ended up not getting the gig. They took back their old singer because he coughed up some recording eqiupment they were needing. That band didn't go as far as the previous band George was in, which was called Silverado, a locally known band that was big around here for a while.

I really liked it. And I want to say that the folky rock and southern fried rock and assorted outlaw country and stuff is really good in your voice.
side note: my wife and I know a guy in Austin who has been singing all over the state for decades. A guy named "Shake" Russell. He actually helped Clint Black craft "Nothing but the taillights" when Clint was unknown. Anyway. so Shake sounds just like Harry Chapin. I have expected him to sing this song.
Another side note: I have been working on an original song for quite some time. And even have entertained the notion of making it a three-way singing thing between myself, you, and MDEW. We may not be able to get together for brisket but we can sing about it if I ever get it finished. Kind of medium shuffle with a ZZ Top kind of turn-around in the riff.
And another side note: back in the 90's, I auditioned for as a singer for a band called XLR8, headed by a guy named George Chapin, one of Harry's nephews. I ended up not getting the gig. They took back their old singer because he coughed up some recording eqiupment they were needing. That band didn't go as far as the previous band George was in, which was called Silverado, a locally known band that was big around here for a while.

I really liked it. And I want to say that the folky rock and southern fried rock and assorted outlaw country and stuff is really good in your voice.
side note: my wife and I know a guy in Austin who has been singing all over the state for decades. A guy named "Shake" Russell. He actually helped Clint Black craft "Nothing but the taillights" when Clint was unknown. Anyway. so Shake sounds just like Harry Chapin. I have expected him to sing this song.
Another side note: I have been working on an original song for quite some time. And even have entertained the notion of making it a three-way singing thing between myself, you, and MDEW. We may not be able to get together for brisket but we can sing about it if I ever get it finished. Kind of medium shuffle with a ZZ Top kind of turn-around in the riff.
And another side note: back in the 90's, I auditioned for as a singer for a band called XLR8, headed by a guy named George Chapin, one of Harry's nephews. I ended up not getting the gig. They took back their old singer because he coughed up some recording eqiupment they were needing. That band didn't go as far as the previous band George was in, which was called Silverado, a locally known band that was big around here for a while.

And your progress is following the curve of what mine was. I developed huge power and volume up top and the finer control, when needed, came later. And true, it depends on style or genre of music as to how much softer, finer passages are needed. As long as what you can do is repeatable and does not result in loss of voice or pain. Notice I did nt say fatigue. Anything, including singing, can be fatiguing after a while because it is involving the use of tissues and muscles, etcetera, the body corporeal.
With practice and the actual training effect on muscles, down to a certain size, it becomes less fatiguing especially if staying within an expected limited of vocal usage specifically for singing. For beginners, I would suggest no more than 3 hours total in a day. But that's just my amateur idea.
But I do know a smidgeon about anatomy and mainly a little bit about how musculature works because I used to lift weights. I could butterfly 110 lb (50 kg) free-weights, or 135 lbs (65 or 70 kg) on machine. Muscles, when challenged with a workload greater than normal, tear down and re-build bigger, to handle the increased work load. You don't grow more muscle tissue, what you have tears down and re-builds bigger.
But if the muscle, instead, is now being tasked to complete the same work load but more often or for longer durations of time, then it re-builds the same size but more dense. The muscle cell then remains the same size but its material gets thicker. You can see this effect on fingertips when you learn to play guitar. Your finger developes a callus. The skin of the fingertip has not grown bigger, it has grown more dense. Muscles do that, too, to handle the workload expected.
In fact, a vocal nodule is the same thing. One point or another on the meeting surfaces of the folds that suffers repeated collisions, similar to how your your fingertip collides with a string on a guitar, rebuilds itself in that area thicker, to withstand repeated collisions and, in so doing, it is protecting the rest of the tissue and ligaments inside. Nodule is not a cancer, it is a callus. And it can have an effect on the sound produced because it is thicker than the surrounding tissue and may not vibrate as fast as surrounding tissue.
How do you get rid of nodules or any callus? By not doing what brought that on. A guitar player who quits playing guitar will eventually lose the calluses. Because epthileal tissue replaces itself all the time. You are literally not the physical person you were seven years ago.
With some activities you can reduce or avoid calluses by wearing gloves or other protective equipment, the main idea being to avoid the collisions of tissue with tissue or some other substance.
I don't think one can say that any training system will prevent calluses. But a training system like 4 Pillars goes a long way because it teaches you how to sing properly without damaging yourself, in a healthy way designed to keep you singing strong and loud and expressive for the next thirty or forty years. You can be the next John Bush.
When you are using your body in a proper manner, less damage occurs.
Now, you can go and be a rock star, where the pitfalls and dangers are still there. Being a rock star is a job, like any other job. Only, it's like an intermittent salary job, more like a commissions-only job. The exception being union musicians working in studios. but their pay is hourly and they are guaranteed three-hour blocks. But it is a job with difficult work environments. 
Stages may look glamorous but can be filled with danger. Pieces put together improperly. Smoke machine output obscures steps and obstacles and down you go. That's another thing. What's in the smoke machine? Vegetable oil, like a vaping tool? You will live. CO2? That is going to dry out your voice and make you sleepy.
You know why Van Halen put the m&m thing in their riders? I get this directly from reading Roth's memoirs, "Crazy From the Heat." He liked to do all those acrobatic karate moves. Slight bit of history, he had a weak bone condition as a child and had to wear metal braces from foot to shin bone until he was about 11 years old. Once the braces came off, he started studying kenpo karate, in which he holds a black belt. And also, the japanese sword fighting. In fact, he lives in Japan part of the time.
So, he likes to do the more acrobatic martial arts move as part of his show. And union rules in some cities require the use of local union workers to build stuff. And they would consistently NOT build the stage to his spec, Weak spots that would twist his ankle. Or build it in a venue with a low ceiling and not say anything. One show, David started with the jumping leg split off the drum platform and cracked his noggin on the ceiling.
Well the thing about contracts for tours, if either party fails to complete the contract, penalties are awarded. So, if tour management and locals failed to even exclude the proscribed m&m's, Van Halen did not have to pay them. This has the effect of teaching tour managers and union locals to read the contract carefully and do exactly what it says, including stage construction.
But you are also on the other side of the contract. You have to appear and perform on the assigned show dates and any others that are added as the tour goes on. Failure to appear involves a penalty. Either in the form of not receiving the performance fee from that night or some decided penalty amount from the whole amount of compensation.
So, there you are, 6 months into a 15 month tour, trying to sleep on a tour bus bouncing down the road, stretch in a bunk with the drummer's stinky feet about foot from your nose. You are at the mercy of whatever food you can find at truck stops, when you are usually busy making a bee line for the bathroom because you do not want to drop a deuce on the tour bus because that tank is NOT vented.
You have to get up early to do a radio interview because fans like that and it invites them to spend some hard-earned money to come to your show. The more press you get, usually the better the sales numbers in albums, show tickets, and merch.
In fact, side rant impending: every once in a while, people have to rag on Geoff Tate and say how his voice went to crap. And they usually link in a vid where he was doing a radio show interview and sang a song and was sounding rough. But if you listen carefully to the interview, they came into town the day before and did the show the night before. Left the stage approximately midnight. So, he gets back to the hotel to take a shower, change clothes, pack his stuff and check out for prep to ride to the next town. Get something to eat because it is been more than 8 hours since he had anything to eat. And then show up at the radio station about 5:45 am to prep for the interview. So, he has not been to bed since sometime the previous morning. He has been up and about for about 20 hours or more. And is singing a song because they begged him to do so.
And armchair or computer desk experts point to that as proof.
That could be you. So, training with 4 P is going to give you endurance and a methodology you will need to keep with you in those physically adverse conditions. You are on the right path with the right system and I know so because I hear Robert singing and his heroic sound fills any room. You also have one of those heroic voices and will go far.
Just watch out for low ceilings and brown m&m's.
 

Elise this is common. F4 and F#4 are uniquely challenging.
The ability to adduct and twang in this position is important, but it is only part of what needs to happen, the more intuitive part. The other thing that needs to happen that is not intuitive until you learn what to do is, ... Typically singers are lacking:
- TA engagement. No Belt musculature, or it's not strong enough.
presming that is strong enough, it would then be an acoustics issue. Typically, failure to narrow the vowel, which in turn has the effect of locking down the TA.
Therefore, try shading in /ou/ as in "would" to the formant sound color chemistry.  /ou/ will physically narrow the upper vocal Tract, lock the TA down, amplify a fantastic resonance, and add other secondary benefits like, warm the sound and dampen the larynx. 
Remenber!!!  You are adding /ou/ ishness to the other sound colors for a multicolored sing vowel (formant), not trading one for one as you would with language vowels.
Leverage the tongue as to gain more stability as well. 
Dont try to "hit a loud note", amplify the resonance / formant. If the acoustic mass is too heavy, it won't balance and therefore will not work. You'll just keep choking.
yiu can also practice modifying into /uh/ as well. It is a brother of /ou/, as such, it can really be great for getting a smooth bridge, however it is weak on musculature and you won't get the same narrowing + TA stability you get with /ou/. 
Do it with good  onsets and  sirens inside a 5th interval. 
Do you have Pillars? There are  training routines and videos in Pillars that show you how to do this that TVS students train. 

I agree with Gnee. And I, like you, Muffin, tend to play guitar and sing at the same time because it is what I have done since 1974, when I started learning guitar (teaching myself.) But Gnee is right, you will get better recording quality if you record the tracks separate. Also, it sounds like the G or D string is out of tune. Something mid-rangy.
Also, I liked how you sounded on the high notes. You handled those better than I expected, considering you are a beginner. Though you have certainly been working on it.
And this song is definitely in your wheel house, But I agree with Gnee, clean up your articulation and really make the song yours.

Collin,
Way to go... 
Your Review:
- Collin your singing flat. 
- You need to tighten up the intonation and the rhythmic cues.
- I do like your energy. I can tell that your "feeling" it and are enjoying it... that is important.
You simply have to tighten up intonation and rhythm.
Clean this up and try again.... 

Thank you (and all the rest of you guys) for YOUR encouragement and support.  

Simon, this is not the first time you say something like this! So, if you don't care, or if you think it sounds horrible (as you mentioned a few times in other threads), why in the world should we spend our time reviewing any song from you?! Several people, including myself and Robert, have already told you in different threads that you need to train seriously if you really want to improve your singing. If you are not willing to work hard to overcome your technical difficulties there is no point in posting the same songs over and over again. Have you noticed that no one (except me and Robert) took their time to comment on this thread? As I've been here for some time, I can tell you that is not just their busy schedules or that they are being mean to you. It is simple like that: if you are not putting your time on this, they aren't either. Peace

And your progress is following the curve of what mine was. I developed huge power and volume up top and the finer control, when needed, came later. And true, it depends on style or genre of music as to how much softer, finer passages are needed. As long as what you can do is repeatable and does not result in loss of voice or pain. Notice I did nt say fatigue. Anything, including singing, can be fatiguing after a while because it is involving the use of tissues and muscles, etcetera, the body corporeal.
With practice and the actual training effect on muscles, down to a certain size, it becomes less fatiguing especially if staying within an expected limited of vocal usage specifically for singing. For beginners, I would suggest no more than 3 hours total in a day. But that's just my amateur idea.
But I do know a smidgeon about anatomy and mainly a little bit about how musculature works because I used to lift weights. I could butterfly 110 lb (50 kg) free-weights, or 135 lbs (65 or 70 kg) on machine. Muscles, when challenged with a workload greater than normal, tear down and re-build bigger, to handle the increased work load. You don't grow more muscle tissue, what you have tears down and re-builds bigger.
But if the muscle, instead, is now being tasked to complete the same work load but more often or for longer durations of time, then it re-builds the same size but more dense. The muscle cell then remains the same size but its material gets thicker. You can see this effect on fingertips when you learn to play guitar. Your finger developes a callus. The skin of the fingertip has not grown bigger, it has grown more dense. Muscles do that, too, to handle the workload expected.
In fact, a vocal nodule is the same thing. One point or another on the meeting surfaces of the folds that suffers repeated collisions, similar to how your your fingertip collides with a string on a guitar, rebuilds itself in that area thicker, to withstand repeated collisions and, in so doing, it is protecting the rest of the tissue and ligaments inside. Nodule is not a cancer, it is a callus. And it can have an effect on the sound produced because it is thicker than the surrounding tissue and may not vibrate as fast as surrounding tissue.
How do you get rid of nodules or any callus? By not doing what brought that on. A guitar player who quits playing guitar will eventually lose the calluses. Because epthileal tissue replaces itself all the time. You are literally not the physical person you were seven years ago.
With some activities you can reduce or avoid calluses by wearing gloves or other protective equipment, the main idea being to avoid the collisions of tissue with tissue or some other substance.
I don't think one can say that any training system will prevent calluses. But a training system like 4 Pillars goes a long way because it teaches you how to sing properly without damaging yourself, in a healthy way designed to keep you singing strong and loud and expressive for the next thirty or forty years. You can be the next John Bush.
When you are using your body in a proper manner, less damage occurs.
Now, you can go and be a rock star, where the pitfalls and dangers are still there. Being a rock star is a job, like any other job. Only, it's like an intermittent salary job, more like a commissions-only job. The exception being union musicians working in studios. but their pay is hourly and they are guaranteed three-hour blocks. But it is a job with difficult work environments. 
Stages may look glamorous but can be filled with danger. Pieces put together improperly. Smoke machine output obscures steps and obstacles and down you go. That's another thing. What's in the smoke machine? Vegetable oil, like a vaping tool? You will live. CO2? That is going to dry out your voice and make you sleepy.
You know why Van Halen put the m&m thing in their riders? I get this directly from reading Roth's memoirs, "Crazy From the Heat." He liked to do all those acrobatic karate moves. Slight bit of history, he had a weak bone condition as a child and had to wear metal braces from foot to shin bone until he was about 11 years old. Once the braces came off, he started studying kenpo karate, in which he holds a black belt. And also, the japanese sword fighting. In fact, he lives in Japan part of the time.
So, he likes to do the more acrobatic martial arts move as part of his show. And union rules in some cities require the use of local union workers to build stuff. And they would consistently NOT build the stage to his spec, Weak spots that would twist his ankle. Or build it in a venue with a low ceiling and not say anything. One show, David started with the jumping leg split off the drum platform and cracked his noggin on the ceiling.
Well the thing about contracts for tours, if either party fails to complete the contract, penalties are awarded. So, if tour management and locals failed to even exclude the proscribed m&m's, Van Halen did not have to pay them. This has the effect of teaching tour managers and union locals to read the contract carefully and do exactly what it says, including stage construction.
But you are also on the other side of the contract. You have to appear and perform on the assigned show dates and any others that are added as the tour goes on. Failure to appear involves a penalty. Either in the form of not receiving the performance fee from that night or some decided penalty amount from the whole amount of compensation.
So, there you are, 6 months into a 15 month tour, trying to sleep on a tour bus bouncing down the road, stretch in a bunk with the drummer's stinky feet about foot from your nose. You are at the mercy of whatever food you can find at truck stops, when you are usually busy making a bee line for the bathroom because you do not want to drop a deuce on the tour bus because that tank is NOT vented.
You have to get up early to do a radio interview because fans like that and it invites them to spend some hard-earned money to come to your show. The more press you get, usually the better the sales numbers in albums, show tickets, and merch.
In fact, side rant impending: every once in a while, people have to rag on Geoff Tate and say how his voice went to crap. And they usually link in a vid where he was doing a radio show interview and sang a song and was sounding rough. But if you listen carefully to the interview, they came into town the day before and did the show the night before. Left the stage approximately midnight. So, he gets back to the hotel to take a shower, change clothes, pack his stuff and check out for prep to ride to the next town. Get something to eat because it is been more than 8 hours since he had anything to eat. And then show up at the radio station about 5:45 am to prep for the interview. So, he has not been to bed since sometime the previous morning. He has been up and about for about 20 hours or more. And is singing a song because they begged him to do so.
And armchair or computer desk experts point to that as proof.
That could be you. So, training with 4 P is going to give you endurance and a methodology you will need to keep with you in those physically adverse conditions. You are on the right path with the right system and I know so because I hear Robert singing and his heroic sound fills any room. You also have one of those heroic voices and will go far.
Just watch out for low ceilings and brown m&m's.
 

Man, you are getting a lot of volume up there, which is a good step, I think. And those are the right kind of songs to start with, too. As time goes by and you become more acclimated to that part of your range, your expression will vary. Right now, it's like a long and loud note that changes pitch during the melody. Which I think is okay, for training. Because I can hear you have pretty good vowels and your articulation is nice and easy, allowing the note to go forth.
Right now, you have volume that could crack a mountain and I know that is a delicious feeling. And 30 years from now, when you are still able to do that, it will be delicious, then, too.
Keep up the good work.
 

Man, you are getting a lot of volume up there, which is a good step, I think. And those are the right kind of songs to start with, too. As time goes by and you become more acclimated to that part of your range, your expression will vary. Right now, it's like a long and loud note that changes pitch during the melody. Which I think is okay, for training. Because I can hear you have pretty good vowels and your articulation is nice and easy, allowing the note to go forth.
Right now, you have volume that could crack a mountain and I know that is a delicious feeling. And 30 years from now, when you are still able to do that, it will be delicious, then, too.
Keep up the good work.
 

Ecxellent job, Jeremy. You sound uncannily similar to John on this one. Including some of the same mixing values. John Lennon - "I don't care! Put some ketchup on it!"

More tricks and hacks in our production thread. For this, I need to use Felipe as an example, at least of end product, regardless of what he may be actually doing. When he does a recording, he treats the whole recording.
Here is what I mean by that. Say you are buying a karaoke track from the link supplied here. Don't assume that you cannot do stuff to that backing track, Go ahead and do stuff. And run a compressor on your master track to glue everything together. Treat the result of your singing with the backing track as a whole new product. Really be the producer.
Use auto-ducking compression to lower track volume of the music when your singing appears.
Put some EQ plug-in on the backing track and notch down a decibel or two around 2 kHz. The human voice sits in that area and you can give it prominence that way while having it sound like it is in the mix, as a whole.
You can also do a high-pass filter at a low point. Because if  you dip the backing track at 2 kHz, you may make it bottom-heavy unless you take off some bottom end.
And if you are like me and like to record stuff, even covers, playing your own instruments, realize some things that can make mixing easier. An output from a keyboard, or outboard guitar modeler, like the Line 6 Pod or my Roland GS-6, is already providing some compression. The quietest and loudest notes are not that far apart. So, don't apply extra compression on that track.
You can fatten rhythm guitar with layers. Either double track playing the guitar part again, or duplicate the one that you have and give it different eq, effects, pan, etcetera.
Lead Guitar should not be doubled but you can  fatten it with chorus and delay, either with your effects unit before input or with plug-ins on the track.
Bass guitar should be direct inject and you can mutilate the stuffing out of it, later, if you want.
Unless you are an awesome drummer in an awesome room with a plethora of mics and a tuned set, stick with either MIDI or keyboard drums. Worst case scenario, it may sound "programmed" but at least the timing is correct. (Thinking of Glen Fricker's t-shirt "1 2 3 4 this shirt is already smarter than your drummer.")
 

More tricks and hacks in our production thread. For this, I need to use Felipe as an example, at least of end product, regardless of what he may be actually doing. When he does a recording, he treats the whole recording.
Here is what I mean by that. Say you are buying a karaoke track from the link supplied here. Don't assume that you cannot do stuff to that backing track, Go ahead and do stuff. And run a compressor on your master track to glue everything together. Treat the result of your singing with the backing track as a whole new product. Really be the producer.
Use auto-ducking compression to lower track volume of the music when your singing appears.
Put some EQ plug-in on the backing track and notch down a decibel or two around 2 kHz. The human voice sits in that area and you can give it prominence that way while having it sound like it is in the mix, as a whole.
You can also do a high-pass filter at a low point. Because if  you dip the backing track at 2 kHz, you may make it bottom-heavy unless you take off some bottom end.
And if you are like me and like to record stuff, even covers, playing your own instruments, realize some things that can make mixing easier. An output from a keyboard, or outboard guitar modeler, like the Line 6 Pod or my Roland GS-6, is already providing some compression. The quietest and loudest notes are not that far apart. So, don't apply extra compression on that track.
You can fatten rhythm guitar with layers. Either double track playing the guitar part again, or duplicate the one that you have and give it different eq, effects, pan, etcetera.
Lead Guitar should not be doubled but you can  fatten it with chorus and delay, either with your effects unit before input or with plug-ins on the track.
Bass guitar should be direct inject and you can mutilate the stuffing out of it, later, if you want.
Unless you are an awesome drummer in an awesome room with a plethora of mics and a tuned set, stick with either MIDI or keyboard drums. Worst case scenario, it may sound "programmed" but at least the timing is correct. (Thinking of Glen Fricker's t-shirt "1 2 3 4 this shirt is already smarter than your drummer.")
 

I like this mix better. It sounds cleaner.

good learning curve. I have figured out a major mistake ive been making on all my mixes...including those ive posted here,
Since i always start with drums, I tend to have them WAAAAAYYY to hot. Then I add guitars and im probably already up around -5db or so. So I dont have much headroom to play with and as I add tracks it just gets to be a mess and ive had to resort to all kinds of freaky workarounds to get the levels even vaguely right
So I took my mix that I posted above, which sucks, and I pulled everything down to nothing and I started with drums at a nice low level and I added bass and then guitar. Wow, its like magic lol. No running out of headroom, no having to do weird doubling sends on extra tracks etc etc.
 
Its great...im like halfway to being an idiot savante

So, I gather. Whereas, I learned a few times that it does no good to complain. Like one friend said, "no one listens, anyway."
And I have had great recordings using a cheap mic and Audacity, before. So, I know Reaper and my other mics do just as well or better. But in either case, it boils down to what I do with it.
And I have had a few people tell me I could not do a particular thing. And I would prove them wrong, which can be a delicious feeling, at times.
A co-worker and friend of mine said I would not be able to get a master electrician license because the test is just so hard, blah, blah, and blah. And so, that year, I took the test twice and passed the second time. First time, I use a study guide all summer. Didn't pass. Second time, waiting for the testing date, I did word search puzzles and passed. And let him know I did word search puzzles. So, not only did I get to prove him wrong, but rub it in a little.
The object of a word search puzzle and code book test is the same. The answer is right in front of your eyeballs, literally. You just have to allow yourself to see it.
And, I finished the exam before anyone else. 100 questions, 5 hours, open book. Even after re-checking all of my answers, I was finished at 4 hours and 25 minutes. I made sure my friend knew that, too.
And the next time I got a word search puzzle book, I wrote on the cover, "Ron's Master Electrician Study Guide" and took it to work.
It's how I was raised. My mother had a saying, "May God have mercy on your soul, because I won't."
Which was awfully close to the motto of the Outlaws MC - "God forgives, Brotherhood doesn't."
And I was still his friend but there are things I cannot forget.
So, take the things you feel you cannot accomplish and then prove yourself wrong.

I was pleasantly surprised. Normally, you have a clean, almost operatic voice, which would of course, fit this song. But you had some grit. And I confess, I wanted to see how you handled the bridge. And you did it dead on perfect.
Bravo, Senor Carvhalo, bravo. As good as the original, which is probably the highest compliment I have given anyone, considering that even though I am not religious, I would nominate Dio for sainthood. Which would probably tick him off, since he was not all that fond of the church.

never ever said anything COULDNT be done. I fully plan to make mindblowing music. I just like to reiterate and complain out loud how every single itty bitty step has to be some extreme uphill battle.
The Beatles were 4 guys plus a great producer plus studio musicians and  none of them ever worked a day in their lives. Im 1 guy doing this on top of a full time job. You know the spiel
 
Matthew 21:28-32
28 “What do you think? There was a man who had two sons. He went to the first and said, ‘Son, go and work today in the vineyard.’
29 “‘I will not,’ he answered, but later he changed his mind and went.
30 “Then the father went to the other son and said the same thing. He answered, ‘I will, sir,’ but he did not go.
31 “Which of the two did what his father wanted?”
“The first,” they answered.
-----
 
Im like the first son. I moan and complain but in the end im getting the work done
 

Easy peasy, lemon squeezy. Let me know when.

I understand now. Sometimes, I dislike karaoke with included BV because they are recorded with someone else's ideas in mind.