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Post by Weak4Weeks on May 22, 2006 14:06:51 GMT -5
When you're feeling alright, I never see you coming But when you're hurt, you always come running but one of these days I know I'm gonna have to let you go....
I've always mentioned I have an uncle who sounds JUST like Paul. Chatty can vouch for this cause she's met him, and heard him talk, not sing, yet. Anyways, this is always one of his favorite songs to sing and it's eerie listening to the album, and then hearing him sing it. I love how Paul can control the entire tone of the song by keeping his voice hushed and slick during the verse and then bellowing out the chorus. This song is a masterpiece all though the background harmonies to my ear....are awful, {DON'T HIT ME!!!}
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Post by janebse on May 22, 2006 15:28:21 GMT -5
A delightful and fun song. I am amazed at how many young singers have not learned how to control their voice and can sing only one way--what I think of as bellowing or shouting it out. Actually I call it vocal acrobatics. The masters of the past have/had so much control. Listening to Nat King Cole,Ray Charles, Bing Crosby, etc, you hear patience, patience, patience as they let the song come to to them. They remind me of instructions I heard being give to famous jockeys in theTriple Crown. "Be patient. You will have plenty of time. Let the race come to you." ANd then the announcers in watching Bernardini race in the Preakness were rather amazed at how the relatively young jokey waited so patiently, not even urging his horse until the last bit (I was rather worried at this point.), and then watching the horse take it away.
In listening to someone comment on Ray Charles, they said, "He uses such a slow beat. You hear a drum beat, then wait, wait, wait (and it was a long while) before the next drum beat." The person then added, "I wouldn't be Ray Charles' drummer for love or money." But the curious part is that it turns out to be so right. ANd have you listented to Nat King Cole's phrasing. He takes all the time in the world. Paul was also a master of communicating the story of a song.
But today's singers, no patience, no variation at all.
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Post by Weak4Weeks on May 23, 2006 9:56:03 GMT -5
Wow, jane, that's an awesome way of putting it....lettting the song come to YOU. I think that is exactly what I attempt to master. Just feeling, and being the song, instead of impressing folks with your voice, and simply how low and high you can go, and how wiggly you can make your voice sound while doing so. LOL!
I remember Beej making a comment about the versatility of Paul's voice when we were having the debate about who was singing under Eddie on "You Really Got A Hold On Me". He could sing a gruff baritone or a smooth tenor. Lush, rounded, and full, are words I use to describe his voice.
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Post by janebse on May 23, 2006 12:49:00 GMT -5
Weaky, you expressed it correctly. What I call vocal acrobatics is a singer trying to impress an audience with his voice rather than with the song.
There are actors the critics love, but audiences never seem to respond to that much and the movies are never as profitable as one might expect.. Oh, people hear what the critics say and utter comments like, "He's a great actor," but they never buy tickets to the movie. And I've decided that what the critics see are the acting techniques and think, "He's really using such great techniques." But the audience responds to the story, not the acting techniques. And they buy tickets to see the actor who makes them feel the story.
Years ago I heard a singer sing "Old Man River" on the radio. When the song was over, I was crying. When the host of the show came on the air after the show, he was wiping the tears from his face. I do not thinkI would have been as affected if I had just thought, "My, he can sing high," or "My, how does he reach that low note."
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Post by smooth on Jun 13, 2006 19:46:45 GMT -5
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Post by Weak4Weeks on Jun 15, 2006 7:09:09 GMT -5
Nope, I wasn't epecting them to sing it a different way. The harmonies just sound bad to my ears. I may be alone in this opinion, but that's fine...
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