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Post by Fields at Midnight on Feb 19, 2008 13:12:42 GMT -5
Feild Songs is awesome.
About being a "voice for hire", Lanegan said that he loves doing it. He loves getting on stage shedding a "little darkness" on people and going home.
As far as being "used and abused" - if Mark didn't want to make those records, he wouldn't have.
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Post by on Feb 19, 2008 13:22:56 GMT -5
so..mark is a "sellout" in some of his collaborations,for you... not at all. i just think he goes into collaborations happy to be that guy who is there to do exactly what he does for these people. he knows what he's there for, he's happy to do it. in some cases i dont like it.. in the same way that Slash is happy to go and stick a Slash solo on a Blackstreet song, a Michael Jackson song. examples - Isobel Campbell - we all know she was sending demos to Tom Waits, she wanted him on the album. he never replied. someone told her to listen to Lanegan cos he apparently (to some people), sounds a bit like him. that's a bad start to any collaboration. Deus Est Ibi disgusts me. i think it sounds horrific. there are other examples. it's fine if people like it. i think it sounds forced. QOTSA - the track Song For The Deaf.. forward it to 4:37. listen to the 'for the deaf' bit. it's a horrible vocal take, i cant imagine it being used on any ML/MLB album. i can almost picture Josh saying, yeah, can we try that again, and try to make it sound more Lanegan-ish, until it became the caracature of a Lanegan vocal that it is. Lanegan is happy to make that sound because he respects Josh and QOTSA. but i, personally, dont like it. again, to me it sounds forced. on the other hand, it's all worth it for In The Fade and Hangin' Tree. Twilight Singers - Hyperballad gains nothing from Lanegan doing that vocal an octave lower in the chorus. it superfluous. again, to me, it's just 'sing as low as you can because you're Mark Lanegan and you sing low'. he never sings like this on any of his solo stuff, and it's not a particularly nice sound - the one exception being Number Nine which is a work of genius. i swear some people/collaborators just mistake the richness and emotional depth of his voice with actual deepness as in 'lower notes'. i think Mark clearly enjoys these projects, but there are elements of them that i don't like.
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Post by on Feb 19, 2008 13:24:07 GMT -5
Feild Songs is awesome. About being a "voice for hire", Lanegan said that he loves doing it. He loves getting on stage shedding a "little darkness" on people and going home. As far as being "used and abused" - if Mark didn't want to make those records, he wouldn't have. again, im too slow responding... read the other message above, which basically addresses this.
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Post by e on Feb 19, 2008 13:28:29 GMT -5
so..mark is a "sellout" in some of his collaborations,for you... not at all. i just think he goes into collaborations happy to be that guy who is there to do exactly what he does for these people. But "bubblegum" was his solo record....
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Post by on Feb 19, 2008 13:32:32 GMT -5
not at all. i just think he goes into collaborations happy to be that guy who is there to do exactly what he does for these people. But "bubblegum" was his solo record.... but.. i didnt mention bubblegum.. apart from saying that i really like it. i dont get what you're saying.
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Post by e on Feb 19, 2008 13:33:50 GMT -5
on bubblegum he sings with that "voice for hire".....
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Post by LostCause on Feb 19, 2008 13:38:00 GMT -5
I hear some of Mark's Bubblegum style in the middle of the CD. I like Bubblegum but never loved it. These songs are more to my liking. I have not had enough time to listen without being stopped so my thoughts on the actual songs and the parts that I am talking about are not clear, but it is a feeling I get when I hear the songs. I will try to elaborate when I get s little more feel for the entire CD.
For the most part I am of the opinion that more Mark is better. I will take a BOTBS if it gets us to the Gutter Twins. I hope at some point it gets us to more Mark solo, but if Gutter Twins becomes the future of Mark I would be happy with that.
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Post by on Feb 19, 2008 13:45:05 GMT -5
on bubblegum he sings with that "voice for hire"..... not at all. i think you're getting the wrong idea about what im saying. it's not so much a sound, just a perceived lack of passion and too much empty depth.. tell me where on Bubblegum you think he sings in the style of that 'fooooooooor the deaf' bit of SFTD, or with the chorus vocal of Hyperballad, or like Deus Est Ibi... those are the things i dislike. id be interested to know if anyone else agrees with me on this..
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Post by e on Feb 19, 2008 13:59:47 GMT -5
on bubblegum he sings with that "voice for hire"..... tell me where on Bubblegum you think he sings in the style of that 'fooooooooor the deaf' bit of SFTD no,i was talkin about the "'whiskey soaked', 'million cigarettes a day' 'deep and dark', 'old blues' voice".....
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Post by on Feb 19, 2008 14:11:14 GMT -5
tell me where on Bubblegum you think he sings in the style of that 'fooooooooor the deaf' bit of SFTD no,i was talkin about the "'whiskey soaked', 'million cigarettes a day' 'deep and dark', 'old blues' voice"..... it's more that i hate those cliched journalistic terms. listen, ive been a Lanegan fan for a loooooooooooong time, and obviously i love what he does. i dont see what you're getting at.. you just seem to keep going, relentlessly, labouring irrelevant points ad nauseum. Bubblegum.. Wedding Dress, Strange Religion, Out Of Nowhere, etc = pure soul and beauty in vocal terms.. i love that. One Hundred Days is like the best of the Gutter Twins stuff. When Your Number... is vocally somewhere close to All Misery, which i also like. basically, im not gonna sit here all night arguing the finer points of comments i make when i am talking to someone who, with all due respect, doesn't even speak the same first language as me. it's a pointless discussion, and ive clarified my point repeatedly for you. to the point where it's boring me and i want to get a cheeseburger from McDonalds. read them again until they make sense if you want. back to the subject.. Saturnalia contains the best Lanegan vocal performances in years, coupled with some of his best lyrics. ive not REALLY got into the Dulli stuff yet, which surprises me, as im a big Whigs and TS fan. i think it'll all make sense when i have a proper CD copy of the album and am not just flicking through the tracks.
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Post by e on Feb 19, 2008 14:16:24 GMT -5
www.youtube.com/watch?v=PG7kpGLapqkthese are the vocals that i like the most from him,but like i've said before even most of the ones on the soulsavers album. and now if you are bored go do something else,because this board is for EVERYBODY,not only for who speak english as first language.
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Post by on Feb 19, 2008 15:59:27 GMT -5
Bete Noir sounds like mix of some Beatles and Tom Petty's "Running Down A Dream" so much to the point that it's kind of awkward or something. make sense?
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Post by LostCause on Feb 19, 2008 17:47:56 GMT -5
Bete Noir sounds like mix of some Beatles and Tom Petty's "Running Down A Dream" so much to the point that it's kind of awkward or something. make sense? I hear total Dust Era Trees when I hear this song. It almost sounds like it would fit in with the unreleased stuff. It is probably the keyboards that does that for me.
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Post by LostCause on Feb 19, 2008 17:53:45 GMT -5
Bubblegum.. Wedding Dress, Strange Religion, Out Of Nowhere, etc = pure soul and beauty in vocal terms.. i love that. One Hundred Days is like the best of the Gutter Twins stuff. When Your Number... is vocally somewhere close to All Misery, which i also like. You hit the high points I think that I was kind of hearing. Who will Lead Us kind of has a similar quality to the sound of the bluesy Bubblegum stuff. I will need to put on Bubblegum on the way home to hear exact ally what I am talking about in particular.
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Post by Stephanie on Feb 19, 2008 18:24:49 GMT -5
it's more that i hate those cliched journalistic terms. I agree. The first time I read a description of his voice as "whiskey soaked," I thought, "Hmm, that's about right." But after reading it four hundred thousand more times after that, I'm just left thinking, "C'mon, music journalism isn't that difficult, think of some new things to say." As for the rest of the discussion... I love Mark's voice in all of its permutations and I for one love that he's done songs as diverse as "Song For the Deaf" and "Eyes of a Child." Some of the descriptions in this thread are so lovely--I agree that his voice has many overlooked qualities, namely its tender, wounded soulfulness. I think even on something like "Song for the Deaf," Mark's voice doesn't evoke machismo. When I think of a "macho" voice, I think of something more along the lines of Robert Plant belting it out. When I listen to Mark, no matter what style of song he's singing on, the quality that comes across to me is that his voice sounds old. And I mean that in the best way possible. I think that may be part of what people are trying to say when they say it sounds "whiskey-soaked," or whatever. That it's like a fine aged wine, or whiskey, that has grown in character, depth, and subtlety with age. It's got a haunting quality. It lends gravitas to whatever he does, not because it's literally "deep" (I read some review that talked about Mark having a "bass" voice--that reviewer needs to go listen to a true bass voice part, such as the lead in Falstaff, and ask him or herself if Mark could do that part; the answer would be no.), but because of both its rough texture and something more subtle, which is the depth of experience it seems to convey. At least that's my dolla worth
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Post by ispi on Feb 20, 2008 8:11:15 GMT -5
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Post by LostCause on Feb 20, 2008 8:49:07 GMT -5
Mark has a very nice range. He is primarily a baritone who can or at least was able to sing with good power much higher than many baritones that I know and can sing low as well (not sure what specific notes his range is, maybe not Roy Orbison like but pretty wide I would guess). My vocal range is tenor but can sing baritone in a pinch but do not quite have the lower range for some stuff and when you are not amplified it is hard to get any umf behind it. That is one reason that in a studio setting the "bass" range Mark sings can be brought up in the mix. Sound is required to amplify it. I am listening to Seven Stories Underground and his voice is light and kind of lilting. Certainly not powerful but shows that his voice is very versitle. It must be tough because I am sure that many want the "Rock" voice, but he want to do more than be that guy. That may be why doing the BOTBS was attractive to him. It allowed him to flex that muscle without needing to be the rock guy. Since he has not done any solos stuff in a while he probably needed an outlet for it. This group certainly seems like it is well rounded enough to offer all of Marks vocal styles.
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Post by e on Feb 20, 2008 11:14:23 GMT -5
Musically,for me the best songs on this record are: The Stations, God's Children and Idle Hands. All the others sounds like a mess compared to these ones,i really like this album but i wonder why the production is not on the same level.
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Post by on Feb 20, 2008 11:46:13 GMT -5
Musically,for me the best songs on this record are: The Stations, God's Children and Idle Hands. All the others sounds like a mess compared to these ones,i really like this album but i wonder why the production is not on the same level. oh, how to reply.. i'm tempted to leave it in the words of 'e' earlier today... STOP BITCHIN,you are boring... blah blah blah,boring as hell. get a life but, in all seriousness, can i just clarify that you just said Seven Stories, All Misery, Who Will Lead Us, Front Street etc 'sound a mess'? you say you dont like the production on these tracks, but you slated me for my comments (which i clearly explained) regarding She Loves You, and you are a big fan of Bubblegum. i think All Misery and some of the others wouldnt sound at all out of place on Bubblegum.. interesting.
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Post by e on Feb 20, 2008 12:03:52 GMT -5
you are spamming the board
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Post by Stephanie on Feb 20, 2008 21:23:07 GMT -5
Mark has a very nice range. He is primarily a baritone who can or at least was able to sing with good power much higher than many baritones that I know and can sing low as well (not sure what specific notes his range is, maybe not Roy Orbison like but pretty wide I would guess). My vocal range is tenor but can sing baritone in a pinch but do not quite have the lower range for some stuff and when you are not amplified it is hard to get any umf behind it. That is one reason that in a studio setting the "bass" range Mark sings can be brought up in the mix. Sound is required to amplify it. I am listening to Seven Stories Underground and his voice is light and kind of lilting. Certainly not powerful but shows that his voice is very versitle. It must be tough because I am sure that many want the "Rock" voice, but he want to do more than be that guy. That may be why doing the BOTBS was attractive to him. It allowed him to flex that muscle without needing to be the rock guy. Since he has not done any solos stuff in a while he probably needed an outlet for it. This group certainly seems like it is well rounded enough to offer all of Marks vocal styles. Very nice analysis. I think I could wax poetic about Mark's voice all night long.
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Post by LostCause on Feb 20, 2008 22:28:17 GMT -5
I could bore you all night long with this kind of stuff. Singing is kind of my thing. I enjoy doing it and I enjoy listening to Mark and friends do it.
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Post by Stephanie on Feb 20, 2008 23:42:37 GMT -5
I could bore you all night long with this kind of stuff. Singing is kind of my thing. I enjoy doing it and I enjoy listening to Mark and friends do it. Here, then, an idle thought from someone with minimal technical knowledge of singing (have actually taken voice lessons before, but it's been ages)... Listening to most of Mark's songs, it sounds to me like technically, if he were to sing 'classically,' his voice would actually be closer to a tenor range! Not that he can't hit low notes too, he obviously can and does, I'm just talking about what would be his normal range. It seems to me a lot of the times that low, rumbly sound that comes across in his voice is actually a sonic effect arising from the complexity of his (to use another one of those unforgivable writing-about-Lanegan's-voice cliches) weathered voice. I think Mark sounds like he has one of those voices that actually has harmonics to it, in other words (my technical knowledge at this point is nil, I'm just trying to convey an impression), there's actually multiple pitches going on at the same time. Like I can hear a 'main note' but then that growly harmonic 'over' or 'under' it. Does that make any sense? Do you hear that too? Or am I just crazy?
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Post by on Feb 21, 2008 0:18:17 GMT -5
I think I get what you meant to say and I feel the same way about his voice. You're not crazy
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Post by LostCause on Feb 21, 2008 6:27:08 GMT -5
I could not say from that statement that you are necessarily crazy ;D (I am). I have personally never heard a voice where I have perceived harmonics (that was not part of the mix anyway), but I do remember reading quotes from Jimi Hendrix before Monterey Pop (maybe), we was partying and jamming with Janis Joplin and he said that she had a harmonic quality to her singing voice. I could never imagine my voice doing that or being able to make my voice do that.
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