30 replies to this topic

[wagtail]

2headedcow, on 08 March 2011 - 02:39 AM, said:

Michael's vocal on Walk it back are amazing.

Even though I'm not all that fond* of that song at this stage, I do agree his voice sounds great on it.

*I'm starting to think wtf is wrong with me?  with everyone loving this song, and I just can't get into it.  I like that it doesn't have a rhyming chorus, that's about it.  

It really is interesting to read other perceptions though..like people not liking how Stipe repeats things over and over in some songs, like all the hey-yeahs and i knows on "everyday.."....whereas I love that stuff, just love the way his voice sounds with it and the repetition never bores me.

[Sweet Fanny Addams]

I really like the injection of sass on AAAA from Peaches. For one horrible moment before I heard the song I wondered if it could be Peaches Geldof (yech) but thankfully it's a different Peaches. Not familiar with her work but she fits  really well on the track.
Eddie Vedder-- if nobody had told me he was on  "It Happened Today" I wouldn't have a clue. He gets lost in the mix. But Patti sounds great. Am I right that this album has more guest artists than any previous one? I've heard purists say they don't like having outside artists on REM songs but in this case I think mixing it up a little is fun. Mike and Michael don't need help, but I love the way it all sounds.

[Fatherjohn]

I think Michael's voice peaked between '87 and '92, a kind of keening, semi yodelling baritone. I also think Scott Litt had an intuitive understanding of how to handle it as an instrumen, which contributed to this peak. But in recent years the inevitable whispery hoarse aspects have been the main detractive element for me, as have the sometimes inexplicable processing/ EQ-ing decisions subsequent producers have made.

But having said that I think CIN finds him in better voice than pretty much any other post Litt/ Berry LP.

[Southern Gothic NC]

e-botti, on 08 March 2011 - 07:46 AM, said:

just beautiful, on songs as Uberlin, Walk It Back, Everyday Is Yours...just beautiful...

I agree...

From what I'm hearing now, Michael sounds fine on CIN. However, I do miss his southern accent and also all of the humming he used to softly and sweetly do to express himself and replace a few words or a lyric. Man, do I miss that. But I do think his vocals are cool on CIN.

[zapiekanki]

Hope somebody can clarify this:

Why is it that in 'Blue' and 'Everyday is Yours to Win' Michael seems to sing through something (a speaker maybe) or is this a computer effect?

One of the reasons I'm not enjoying this record (compared to other R.E.M. records) is precisely because of these voice effects, the voice sounding quite artificial. Is everyone comfortable with this?

[rocket21]

zapiekanki, on 22 March 2011 - 05:21 PM, said:

Why is it that in 'Blue' and 'Everyday is Yours to Win' Michael seems to sing through something (a speaker maybe) or is this a computer effect?

I find the Everyday is Yours to Win vocals to be distracting due to some of the popping sounds.


Treating the vocals is nothing new to REM...Orange Crush, Crush With Eyeliner, Circus Envy, etc.

[vplus]

rocket21, on 23 March 2011 - 03:48 AM, said:

I find the Everyday is Yours to Win vocals to be distracting due to some of the popping sounds.


Treating the vocals is nothing new to REM...Orange Crush, Crush With Eyeliner, Circus Envy, etc.

Correct me if I'm wrong (I have no dobut someone will if so!), but I think I read in the liner notes that Michael sang through an old, old microphone for Every Day is Yours to Win, providing an antique, faraway sound.

[Fatherjohn]

zapiekanki, on 22 March 2011 - 05:21 PM, said:

Hope somebody can clarify this:

Why is it that in 'Blue' and 'Everyday is Yours to Win' Michael seems to sing through something (a speaker maybe) or is this a computer effect?

One of the reasons I'm not enjoying this record (compared to other R.E.M. records) is precisely because of these voice effects, the voice sounding quite artificial. Is everyone comfortable with this?

It's probably as simple as the high pass filter setting being particularly high. It sounds like they've simply rolled off below 300-400Hz on the lead vocal. It's a strange decision to make for that song, given the other frequency content going on. Like, I get it for Orange Crush or Monster songs or anything with fat heavy guitars or other instruments hogging and occupying that frequency space, but that track is already sparse. It needed the baritone freq's for gravity. It's all personal taste I guess.

[Milsean Cady]

Fatherjohn, on 09 March 2011 - 01:50 AM, said:

I think Michael's voice peaked between '87 and '92, a kind of keening, semi yodelling baritone. I also think Scott Litt had an intuitive understanding of how to handle it as an instrumen, which contributed to this peak. But in recent years the inevitable whispery hoarse aspects have been the main detractive element for me, as have the sometimes inexplicable processing/ EQ-ing decisions subsequent producers have made.

But having said that I think CIN finds him in better voice than pretty much any other post Litt/ Berry LP.

I'm in agreement. I've used the phrase "keening wail" to describe Michael's vocals many a time, but haven't really felt that lately, though he comes close and does a great vocal job on CIN, in songs like "Oh My Heart" (Chorus), MMBMBAI, ("Send me off to sleep") and parts of Walk it Back, though I think he comes dangerously close to a cheesy croon.

[Southern Gothic NC]

Milsean Cady, on 23 March 2011 - 08:11 AM, said:

....though he comes close and does a great vocal job on CIN, in songs like "Oh My Heart" (Chorus), MMBMBAI, ("Send me off to sleep") and parts of Walk it Back, though I think he comes dangerously close to a cheesy croon.

Yeah, I think he sounds good and sings with soul on these songs and also on Uberlin and It Happened Today. He's always had such a majestic voice and I'm enjoying it on CIN.

Hmmmmm....Walk it back

[wagtail]

Fatherjohn, on 23 March 2011 - 05:39 AM, said:

It's probably as simple as the high pass filter setting being particularly high. It sounds like they've simply rolled off below 300-400Hz on the lead vocal. It's a strange decision to make for that song, given the other frequency content going on. Like, I get it for Orange Crush or Monster songs or anything with fat heavy guitars or other instruments hogging and occupying that frequency space, but that track is already sparse. It needed the baritone freq's for gravity. It's all personal taste I guess.

Milsean Cady, on 23 March 2011 - 08:11 AM, said:

I'm in agreement. I've used the phrase "keening wail" to describe Michael's vocals many a time, but haven't really felt that lately, though he comes close and does a great vocal job on CIN, in songs like "Oh My Heart" (Chorus), MMBMBAI, ("Send me off to sleep") and parts of Walk it Back, though I think he comes dangerously close to a cheesy croon.

I disagree,  I don't think he was going for gravity,  I think that would have made for a really one-dimensional interpretation of the song.

The phone voice, the echo and the repetition [lyrically and musically] are what give this song an edge and take it some place interesting. I think I've become slightly obsessed with "Everyday..." and how it fits into the themes on Collapse Into Now.