MDEW

I just took another listen this song. Your chorus is pretty catchy(you do have a little of the Molly Hatchet growl in there) but it is a little too catchy to be repeating at the end, Replace the repeated chorus with a Lead Skat like you were using in the beginning of the song. George Benson style. You can keep that rhythm that you liked so much.   Just a thought.

2 hours ago, ronws said:

No, brown did not sing through the nose, he just had a thick sound.

 

He got that Thick sound by a sort of "German Knodel"(like the sound in the beginning of Def Leppards Rock of Ages). The growl in his voice was made by the sound going behind the soft palate like a gargle.

 Sing Flirtin with disaster with the sound of "Gunter Glieben Glauchen Globen". See what happens.

Sounds nice Javastorm, I did not notice anything that needs to be addressed in this song. I am not familiar with the original but your version stands on its own merits. In other words I will most likely listen again just for enjoyment.

Nice tone. A little too many chorus repeats but you knew that already. You sound pretty good already. With 4 pillars you will only get better.

Welcome to the forum.

. Do you still have the means to boost the vocals? Sounds pretty good other than that.

 Sounds good Ellis, keep up the good work.

     Sounding good Jeremy, If you have been concerned with too much weight or intencity I think you are on the right track.

 I have noticed that there are a few songs that I sing where the original singer is using more of a light "Almost" falsetto voice and I am singing a heavy chest but then again I have a slightly different "feeling" I want to express in the song. A heavier phonation to express a deeper feeling. As long as you have the means to make the choice and know why you are singing heavier or lighter then you are on the right track.

   I haven't been around the review section for awhile, What you have done on this is a great start. Felipe made some fine suggestions and I cannot add to that except to say that what you may perceive as "Weight" in Bruces voice is not "Weight".

   Bruce may have a slightly "Tighter" sound but his voice is a little different than yours that is all. As Bob, Felipe and Daniel would say it is in the Vowels at this point for you.

Sounds good Felipe.

   Hey Joe, I came into this thread in mid discussion. I did listen to your clip but I did not read all of the posts that came before the Singer vs Coach issue. Just enough to get the jist of things.

   Most of the time here the reviews are based on where a person is in his training, and that seems to have been the general review standpoint at the beginning of this thread. If there are no major faults in pitch and tone then focus ends up on presentation: if things seem odd or something just doesn't "Click" for some reason.

   There was no mention that you had a program or anything(in the beginning), But, for some reason those who do(have a program or teach), end up getting a more detailed critique. Other members and a few on line coaches have given lessons while they themselves are still in training. I do not see why that should have been brought up to begin with.

   I also find myself having issues with a reinterpretation of a famous song. That kind of bugs me a little because I also will change a song to fit my personality and style. The problem is not usually of reinterpretation but that the new melody/tone/emotion does not fit with the musical background.

   When working on a song I will often search for how others have presented the song. See/hear what works in my opinion and what doesn't. When you find the same song presented by different artists you will discover that almost everything has changed in one degree or another. From instruments to drum beat/tempo to the melody itself. When it is good, everything fits together and seems as one unit. When it is bad there are inconsistencies.

    I am not sure where I was going with this......... too many starts and stops while typing............ anyway welcome to the forum and I look forward to hearing more of your interpretations.

   Just to be clear, None of my comments were about the OP (Joe ). I came into this thread after the subject of "Teaching Vs Singing" came up. My comments were just about the "Teachers" should be good "Singers" subject. In my view that is "BULL" as I stated before Singing itself is about the Singers choices of Style, Presentation. Register .....(Paraphrased). Teaching is about training and guiding the ability to present those choices. Not to make the choices for the singer.

   Joe did a fine job as far as the singing itself. (Pitch, Tone, solid voice throughout the song).

   And a critique section, in my view, should also cover some of the other aspects of singing. Does the phrases flow in a musical context? Is the emotional value of the song being expressed? Does the choice of "Falsetto" vs "Belt" work within the musical theme of the song? Is the Tonality of the voice a proper match for the underlying music?

    The answers to any of those questions are only opinions,  and the OP has the right to accept or dismiss the view of the poster but they are still aspects that most people will concider when listening to the song as a consumer or member of an audience.

    I post in a critique section expecting a critique. Sometimes we are not good judges of our own sound and choices. Family and friends can not be trusted to give critique and advice on our choices either. They either want to encourage us through undeserved praise or give us bad critiques out of jelousy. Better to be reviewed by those who have no stake in our emotional well being and will give an honest opinion, Either good or bad.

   No, it should not be a judgement of some ones character, But you would post something that you have just started working on to find out if you are on a path that seems pleasing to most or not, then adjust as necessary.

   I would much rather have people on this forum give me a heads up that my choices for a songs presentation are bad than to present that song to a live group and be booed off stage.(This is not about the song presented here, just my view on the critique section itself)

    Hey G, Great to hear you now have the "Four Pillars" course. It makes a difference when you have someone walk you through a coordination instead of just hearing how something is supposed to sound. Guiding students through workflows is shear brilliance. (Hats off to you Robert) And having it flow like a real classroom is awesome in itself.

    Joe, The vocals sound great. I just want to make a quick comment on the "singing vs Training/Coaching " thing.

    There are a lot of choices in the singing aspect that have nothing to do with Training/Coaching. Prosody, Rhythm, vocal punctuation, inflection, choice of vocal weight, diction, To scream/distort, woofy growl or fry, Soft voice, full voice, staccato, legato ..........   All of these are artistic choices. A guide for making these decisions are not usually a part of training. Maybe they should be if one is going to call themselves a "Singing" coach. But it is not necessary for a "Vocal" coach.

    These choices are up to the singer. A singer can make bad choices on these things and still have perfect control of their instrument and the ability to train and Teach others to make Healthy, Solid, Beautiful Sounds.

    Training to have the ability to sound like Janis Joplin or Celine Dion does not mean that everyone is going to accept the choice that you made between the two on a given song.

Awesome, glad to have you here.

Vice is always more exciting.  More like Keyboard failure. I would say that my typing is faster than my brain......I use the H&p method. Hunt and peck ........ Both for typing and thinking. Singing also........ But I am getting better at all 3.

   I read somewhere that Vibrato should be above the note and Tremolo refers to when the note drops below the pitch. Usually associated in singing when the voice is a little too week to keep the note steady. A big difference in the sound and feel of a note.

   Another interesting tidbit, a slightly higher intonation gives the vice more excitement and a slightly lower intonation gives more of a somber/lazy feel. Even if the pitch itself is so close that it is otherwise imperceptable to the ears.

  Even though it has been a while since I listened to other Versions of "Wichita Lineman" Your versions sounds awesome. The music and the voice fit nicely and there was no feel of something missing.

  Edit: I must correct myself......... Tremolo is a fluctuation in volume .........  made by the pulsing of the diaphagm instead of a fluctuation in pitch ........

    I'm not sure what to say about the tone or if it even needs fixing....I am just in awe of the fact that anyone can sing those notes. Sounded good to me.

The more you sing it and the more confident you are the better the tone will become.

Sounds great Geno. I love the sound of higher voice...... And your lower voice.............. middle is cool also...........

   I think  learning the difference in Musical theater Belt and your style of singing will help "Thicken" your higher notes.  Just like in a lower voice, you can choose the "weight", "Color" or timbre of the higher voice to some degree. After you strengthen the coordination.

Manolito, Have you read the thread on Belt voice musculature and bridging E4 to A4? The last few pages of that thread dealt with the difference between Musical theater Belt, "Rock Belt" and Classical "Belt". Maybe you find a little of what you are looking for there.

   Are you wanting to go into Musical theater or is it that your teacher is leading you in that direction?

    The neck is straight enough and the frets are in good condition. Once I really do the fretwork it will be fine,  Whoever mutilated this sanded the neck down so it is pretty thin. The oid pickckups are weak. In the recording I am using the neck pickup. If I use any of my other guitars with the same setting on the recorder, I get a really deep bass sound. With this one there is barely any low end.

   I don't know much about wood so I do not know if it is ,Alder, Ash or pine, But the body is one piece of solid wood. When I put the sealer on getting ready to paint, the body had a deep antique yellow tint to it and the Burnmarks on sides, front and Back just sort of popped out at you. There are a lot of cracks that run from the butt of the guitar to the neck. The sealer made them more prominent also. .......... It looks like the guitar is going to split apart, but they are just surface cracks. The body is solid.

   But it feels good in my hands and looks cool. A really nice practice guitar. Plus I do not have to worry about putting marks on it or scratching the finish.

Thanks gno,

 I do not have pictures of the results but I did take pictures before I started working on it.

I figured there were too many Fake Stevie Ray guitars out there........so I took the sander to it. I could not go deep enough to get all burn marks and scratches out so I put a coat of sealer on and looked cool that way so I left it. I will take pictures tomorrow sometime and upload them. I put a set of Gold Gibson control knobs on to match the gold hardware.

If you click on the picture it will open on a new page that you can enlarge  to see what kind of damage was done

Sounds good Jeremy, You should record this with just a guitar or keyboard. It sounds like a fun song to throw in at a party.

     Thanx Gneetapp and Ronws, The guitar used "woody" was given to me when I sold an old amplifier to a collecter. It is a 1970s Fender Strat. Someone got the bright Idea to try and make a Stevie Ray Vaughan Copy out of it. It is a righthanded guitar but Stevie's is Left handed so they bought a Left handed bridge/tremelo and Cut the original pocket to fit it in there........ Stevie Rays' hardware is "Gold plated" so this guy bought Cheap imitation Gold plated hardware. Then preceded to cut, gouge, scatch, sand and a mulitude of different types of destruction to "Copy" Stevie Rays guitar, which pretty much looks that way becuse Stevie played the Hell out of it. I am not sure how the collector got a hold of it but I told him that I had been finding old guitars to practice "Fixing" them. He went to the back of his trailer and brought out this guitar which was in several pieces, the hardware in a plastic bag, the neck seperated from the body. He said it had been under his bed for more than 20 years.

    I was going to repaint the guitar, but after sanding off the original paint and putting on a coat of sealer, with all of the former distruction, Burn Marks, gouges, discoloration from years of exposed wood and such, The guitar just had too much character to cover up again. I am still using the same cheap hardware and the tuners are so loose that even if you get it in tune to start playing, by the middle of the song you are out again. I put the "Good" guitars away because I am working from my home now and ran out of room to keep them whithin reach. The plan is still to buy new tuners for it but the money has not manifested as yet.