>
>Okay...a bunch of you have been saying that James's vocals have gone
>downhill...and you all liked him better in Awake and Images and Words...I
>don't know if any of you read interviews or heard him speak, but he has said
>that he can't scream like he used to because it was damaging his vocal cords.
> Personally, I think he's sung beautifully in the past two albums. And how
>many of you have listened to Leonardo, The Absolute Man. That's a good
>album, and his vocals are excellent at Leonardo DaVinci. So what if he can't
>scream anymore...that doesn't make him a bad singer... At least that is my
>opinion...
>
Actually, what I said was that the vocal melodies have gone
downhill. I like his vocal delivery at least as well now, if not better
in some cases, than on the older albums. Anyway, I don't think anyone
actually agreed with me. :)
Since I'm stubborn and since no one seemed to agree with me on
my vocal melody idea I'm throwing out some examples of what I mean to
try to make my point. Keep in mind that I still like the newer songs,
they just seem to often be missing the cool vocal melodies that I love
from the older songs.
I took another listen to samples from the various albums again
and I found that on many of the newer songs the vocal melodies are
simpler and less interesting (to me).
What I mean by "simpler" is that the vocal lines tend to be
shorter (fewer syllables), with longer gaps between each line, and
often consist of a repetitive melody which only varies minutely for
each line. One of the big problems for me is that often each lyrical
line is delivered independently of the next line, with little carry
over between them. Each line may only have 5 - 7 syllables followed by
a relatively long gap to the next line which is delivered in a similar
manner. I feel that the overall feel of this melodic style lacks energy
and fluidity.
On the other hand, the older songs tend to have vocal lines
which are more complex. They're longer, crossing lyrical line boundaries.
The melodies delivered encompass longer lyrical passages and can more
easily have variety within them. Because of their length and variety
they sound less repetitive. In the older songs this style is mixed in
better with the shorter style which provides further variety. I feel
this style is more fluid and provides more energy, which I enjoy more.
For an example of the new style, off SFaM, listen to "Strange
Deja Vu." The beginning verses show the style I'm talking about:
"Every time I close my eyes"
"There's another vivid surprise"
"Another whole life waiting"
"Chapters finished, fading"
"Closer now - Slowly coming into view"
"I've arrived - Blinding sunshine beaming through"
Each of these lines is delivered independently, with gaps between
them. While they do have some variation, the melody is basically the
same for each line. There is little carry-over of energy between each
line.
Just to contradict myself a bit, the vocal melodies in "Strange
Deja Vu" in the Victoria section tend to be more like the older style. :)
For an example of the older style, off I&W, listen to "Pull Me
Under." The beginning verses are fairly short, but they mix up the
melodies between lines, reducing repetition. Plus, they tend to be
more closely tied together.
"Lost in the sky"
"Clouds roll by and I roll with them"
"Arrows fly"
"Seas increase and then fall again"
[Now changes melodies:]
"This world is spinning around me"
"The whole world is spinning without me"
"Every day sends future to past"
"Every day leaves me one less to my last"
[For me, this next section epitomizes that wonderful vocal melodies
that are prevelant throughout the earlier albums:]
"Watch the sparrow falling"
"Gives new meaning to it all"
"Not today nor yet tomorrow"
"Then some other day"
...
----
Notice how in that last section (which continues into the next
verse) the vocal melody is very long with no separation between lines.
It all ties together and has a ton of energy.
For a similar example, take a listen to "Fatal Tragedy" (new style).
These lines are longer but still feel independent from each other. There
are some variations within each line to give it a little more energy
though.
"I shut the door and traveled to another home"
"I met an older man, he seemed to be alone"
"I felt that I could trust him"
"He talked to me that night"
--
"Learning to Live" (old style). Longer melodies and more variation
between verses. The vocals flow smoothly and build on each other.
"There was no time for pain"
"No energy for anger"
"The sightlessness and hatred slips away"
"Walking through winter streets alone"
"He stops and takes a breath"
"With confidence and self-control"
----
Now take a listen to "Blind Faith." (new style) It has similar
issues of lyrical lines being delivered independently of each other and
shorter vocal melodies with less variety. For me they lack energy.
"Sick of all of this"
"The suffering and we just carry on"
"Isn't it time we care and lose the hate"
"Understand our fears"
--
However, on 6DoIT, "Misunderstood" is a good example of the
older vocal style. It starts off with shorter lines and then goes
into more complex and energetic ones and maintains that for most of
the song:
"How can I feel abandoned when the world surrounds me"
"How can I bite the hand that feeds the strangers all around me"
"How can I know so many"
"Never really knowing anyone"
I think that "Glass Prison" and "The Great Debate" also have some
good vocal melodies, but aren't quite as consistent about it as I'd like.
---
Obviously I pulled out examples that I felt illustrated my point.
And the whole thing is really subjective. Perhaps I'm barking up the
wrong tree -- maybe it's the lyrics or even the music which are behind
what I perceive to be a lack of energy in the vocals. But, I tend to
think that the "new style" lyrics listed above could have had melodic
lines attached to them which would improve their energy and flow.
What do you think?
Steve
This archive was generated by hypermail 2b30 : Thu Apr 01 2004 - 19:13:33 EST