Past Pages

Showing posts with label Scene. Show all posts
Showing posts with label Scene. Show all posts

Thursday, January 5, 2012

Discussion - Top 5 Vocal Performances - Rock, Pop etc. - July 12, 2005

TOP 5 VOCAL PERFORMANCES IN ROCK, POP, COUNTRY, FOLK OR BROADWAY MUSIC (in no order): Criteria doesn't have to be an outstanding vocal technically, just a vocal performance that stirs up the goosebumps. Could be a performance by anyone.

Naturally my list would change from week to week…

1. Time To Say Goodbye - Andrea Bocelli and Sarah Brightman: It's very rare that an 'opera-lite' song crosses over to the pop charts and sells millions of copies worldwide. Sarah Brightman has had a wonderful career singing Broadway, opera and pop songs, but the marriage of her voice with tenor Andrea Bocelli is heaven made. Doesn't hurt that the song is well written and wonderfully arranged too.

2. Wuthering Heights - Kate Bush: One of those songs that STILL gives me shivers every time I hear it. The original version had a great vocal, but she recorded a new vocal for the release of "The Whole Story" and it blows the original out of the water. To think she wrote this when she was 16 is even more astounding.

3. Hurt - Johnny Cash: Johnny Cash will never go down in the record books as a brilliant vocalist...he will go down in the books as a gifted interpreter, and "Hurt" is his best. I defy anyone to not be moved when they hear the delivery of this vocal. I would love to find out if this was done in one take...it sounds like it.

4. Thunder Road - Bruce Springsteen: First song I ever (consciously) heard by Springsteen. I remember sitting in my chair just stunned at the performance – one of those times when the world stops turning and all you hear is the song. The delivery of the last line “We’re pulling out of here to win” still cuts to the bone every time I hear it. I guess it was the timing too because it was really the first song that ever really ‘spoke’ to me when everything around me seemed to be turning to crap.

5. Goodbye - Emmylou Harris: Comes from the "Wrecking Ball" CD produced by Daniel Lanois - chock full of stirring vocal performances. "Goodbye" is a Steve Earle penned song and she delivers a breath-taking performance. She does this thing with her voice that is very hard to describe…she delivers a line and then pushes the vocal an octave higher, but it’s the transition that’s gut-wrenching. Her voice is so distinct, so clear, so mesmerizing...I'd listen to her sing the phone book.

HONOURABLE MENTIONS:

- Just about anything from "Pet Sounds" by the Beach Boys, but with more of a nod to "Caroline No" which is sung entirely by Brian Wilson, lead and back-ups...a classic in every sense of the word.

- In a canon of brilliantly sung material, it's difficult to choose a Bee Gee song that shines above the rest, but "Fanny Be Tender With My Love" would be my choice. The modulating crescendo near the end of the song where the three voices carry the song home gets me every time.

- I've never considered the Beatles great vocalists - they wrote amazing songs and sung them well, but great vocalists? Could be argued. That said, there is one song where the vocals are clearly, head and shoulders, the best vocal they ever put together. McCartney's nod to the Beach Boys with "Here, There and Everywhere" is about as good as you can get. His lead with the combined back-up harmony vocals of John, George and Paul are simply amazing.

- Just about ANYTHING by Joe and Eddie, the gospel/R&B/folk singing duo of the late 50's and early 60's. If you haven't heard them - run (don't walk) to your local record store and pick up a CD, any CD by them...you won't regret it.

- The Band's "It Makes No Difference". The studio recording has a great vocal by Rick Danko, but the live recording for "The Last Waltz" shatters it to pieces. Danko sings it like it was the last song he'd ever sing.



Eagles Concert - Montreal - March 29th, 2005


Hi all - Hope everyone had a wonderful Easter weekend. Ours was quite good,
and ended on a very pleasant note...free tickets to see the Eagles last
night. When the show was announced Sue's company scooped of 50 of the
finest reds they could find, and as luck would have it we were given two
exceptional tickets. I wasn't feeling all that well yesterday - struggling
with (another) head cold, but the price was right!!!
Don't believe the Gazette review...believe this one. Why? We stayed for the
entire show - the Gazette reviewer did not.
When one purchases a ticket for an Eagles concert, one should know what
they will be getting for their money. The band has made no bones about the
fact that they are milking the "musical nostalgia cash cow", just like
every other successful band from that era. Let's face it, these guys
haven't been musically relevant in over 30 years, not counting the
occasional solo hit. Certainly the steep $125.00 ticket price is a lot to
ask for a trip down memory lane, and I'd be the first to lambaste the band
if they didn't deliver the goods, but they delivered on every count. The
musicianship, the harmonies, the sound, the use of video - it was all
there. It was a late start, but they promised to play their entire show,
and they did just that. They played twenty seven songs, 18 of them genuine
Eagle hits, with the occasional foray into the solo careers of Glenn Frey,
Don Henley and Joe Walsh. The band (Henley, Frey, Walsh and Timothy B.
Schmidt) were supported by 8 other musicians, including a killer 4 piece
brass section. They didn't have the guitar virtuoso's of Don Felder, or
especially Bernie Leadon of their early days, but they had a young lad
named Stuart Smith, who was likely in diapers when "Take It Easy" first hit
the airwaves. As a guitar player, and a critical one at that, I was very
impressed with Smith's playing. His deft touch and almost anal attention to
detail was impeccable, every solo played note for note, with the occasional
flourish just to remind you that he had his own chops to share.
The band started with "The Long Run", and Henley's voice was in fine form -
he was probably the strongest vocalists of the evening. They brought things
back immediately with some of the more softer material until they unleashed
Henley's classic "Boys Of Summer" - a definite highlight of the evening.
They used a series of video screens behind the band to display some great
video, and this accompanied by some great lighting/strobe effects made the
song even more powerful. Joe Walsh continued the mood with a rousing
version of "In The City". By all rights, this man shouldn't be walking the
planet - the amount of drugs and alcohol he has consumed is legendary, but
a few years of sobriety have served him well. He can still make a guitar
sound like a wild animal. A very short intermission and then they were
back. They kicked things off in low gear, a small little acoustic set that
included the abysmal "Hole In The World". To these ears, this song is the
musical equivalent of a chain-saw enema, but in a live setting it came off
far better, almost enjoyable ;-) The second set was generously sprinkled
with solo material, with Joe Walsh getting the lion's share of stage
time...and rightly so. If you want to end your show on a party note, he's
the man to hire. He started his stuff with "Walk Away", a song likely only
familiar to a handful of fans, but it paved the way for a rollicking
version of "Life's Been Good". He said that he first started writing this
as an "industrial love song", but it began to take on a life of it's own.
He also wore the "helmet cam" for this number and wandered around the stage
while visuals of the audience were transmitted from his helmet to the video
screen. Henley followed with a KICK-ASS version of "Dirty Laundry" -
another tune that benefited from video imagery and great lighting, not to
mention the remarkable solo's from Joe Walsh. Walsh returned with "Funk
#49" (a personal favorite) and ripped the arena apart. They closed their
second set with "Life In The Fast Lane" and they played like they truly
were enjoying every minute.
The first encore was predictably, "Hotel California". Unfortunately, at
least to my ears, the song didn't come off as hoped, largely due to the
fact that the studio version has 1/2 dozen guitars layered into the mix.
Still though, the closing guitar solo between Walsh and Smith is what
'arena-rock' is all about...and they delivered the goods. The second encore
started with THE arena rock song, "Rocky Mountain Way", and again Walsh was
the party animal. Not to be outdone, Henley delivered "All She Wants To Do
Is Dance", and the band pulled out all stops, including a rather spirited
dance from Glenn Frey. The final encore brought "Take It Easy" and
"Desperado", perhaps the two best known Eagle tunes, and both delivered
with the appropriate demeanor.
The sound of the show was great, save for the bass. You could see Tim
Schmidt play the instrument, and you could feel the vibrations, but
discerning different notes was an impossibility. The drums sounded amazing,
and naturally all the guitars were crystal clear. Most impressive though,
was the trademark vocals...flawless in every case.
Below is the set list for those who are interested.
Rob
The Long Run
New Kid In Town
Wasted Time
Peaceful Easy Feelin'
I Can't Tell You Why
One Of These Nights
Lyin' Eyes
Boys Of Summer (Henley)
In The City
Already Gone
INTERMISSION
Tequila Sunrise
Love Will Keep Us Alive
Hole In The World
Take It To The Limit
You Belong To The City (Frey)
Walk Away (Walsh)
Sunset Grill (Henley)
Life's Been Good (Walsh)
Dirty Laundry (Henley)
Funk #49 (Walsh)
Heartache Tonight
Life In The Fast Lane
First Encore - Hotel California
Second Encore - Rocky Mountain Way (Walsh)
All She Wants To Do Is Dance (Henley)
Third Encore - Take It Easy
Desperado

9 1/2 Guitar Picks out of 10