The Best Vocal Harmonies

Okay, it’s high time for a new post.

I’m always impressed with bands that have good vocal duos. Listening to some of my old favorites has made me think about how lack-luster this feature is in new music (if indeed you can find two competent singers anymore and stick them in the same room). In fact, it would explain in part why everything sounds the same in rock and alternative music at present. My favorite bands in the world; Pink Floyd, Steely Dan, The Beatles, Supertramp, and Queen. All of these acts have two distinctive features: Advanced composition and vocal harmony. Not only do we get a fresh sound from each track from the unique blending of distinctive voices, but these bands utilize strings and brass, drawing from musical styles around the world. What do The Killers or Kings of Leon offer? The same semi-hystrionic singer’s voice mixed over some over-produced 80’s synth-beat. At least these bands have contributed such lyrical gems as “are we human, or are we dancer?” and “this sex is on fire.” But I’m not here to hate on these bands. I’m here to appreciate something that doesn’t exist anymore; thoughtful music. Here are my selections, formatted in a top ten list for your viewing pleasure…

Bad Sneakers – Steely Dan

I’ve already mentioned this one in my article on Steely Dan. I think it exemplifies the potential of McDonald and Fagan’s vocal interaction.

Question! – System of a Down

It’s surprising how good these guys were. Metal music, I think, is rarely considered thoughtful, but this album broke the mold.  Wacky time-signatures and some unusual instrumentation. The vocal combo actually stands on its own merits, regardless of its context in a period of the musically moribund.

Paperback Writer – The Beatles

The Beatles are kind of undeniable. McCartney is technically leading here, but the chorus is really an astounding collaboration when you break it down.

Rudy – Supertramp

The vocal exchange is so good. You couldn’t overplay this song if you tried. There’s simply too much going on for you to appreciate with a single listening.

Somebody To Love – Queen

Queen has so many examples of vocal dynamicism, but this happens to be my favorite. Everyone in that band could sing….Brian May alone could outsing most of today’s so-called frontmen (see ’39 from “Night At The Opera”). It just happens that Queen had the talent of Freddy, who could vocally eclipse God, were God a singer.

Shine On You Crazy Diamond – Pink Floyd

Waters and Gilmour had clearly had creative differences, but what a beautifully dark soundscape they created together!

Our Song – Yes

Truthfully, it’s kind of a toss-up between this track and “Leave It.” Both tracks are off 90125, which runs on the slightly less windy side of Yes’ catalog. The harmonies are maybe less blatant here, but sometimes I like a lighter touch.

I Stay Away – Alice In Chains

Alice In Chains have a great vocal sound, they walk a pretty fine line between grunge and metal, which really works. I think it’s what metal music lacks: Restraint. This track is obscure; it’s off of there LP “Jar of Flies.”

Stormbringer – Deep Purple

This latter-days DP features Glenn Hughes and David Coverdale harmonies. That is one hell of a combo; two hard rock voices which only Dio could really rival. This album didn’t get the exposure of “Machine Head” for some reason. I think it’s their best, with Burn being a close second.

Tears For Fears – Head Over Heels

Alright, I threw in some eighties stuff. Props to Tear for Fears though, they are deceptively attentive to their orchestration. The vocals have that emotional edge common to the era, but they mesh well, and it doesn’t overshadow their competence as musicians.

Please post any thoughts or comments….Thanks for reading!

-Theo

On The Beatles – An Album That Never Was (p. 5)

Okay. I have run on to the bitter end. We come to the cream of The Beatles catalogue: Abbey Road. It was the last, it was the best, and every track is a stand alone piece of brilliance. UBER RANT WARNING: I have seen more covers of Come Together than I care to shake a stick at. Michael Jackson and Aerosmith, yuck. Yet some good came from obscurity; Jack Avalon (my favorite artist of late, among the twaddle of modern music) does a really biting version with cello and grungy guitar sentiments. The way it is sung sounds rather accusatory for no particular reason. I was surprised when the song broke in the middle for a skin-raising talkbox solo. When the cello in that song punctuates with its downward bow action it is enough to drive me absolutely wild. I like strings. Which-ever way you slice it, it is the best Beatles cover I have heard; I put it on a par with Jeff Beck’s Day In The Life. There is much more I could say of this. Anyway, Something is my favorite song by George, it is as good as Rigby but for different reasons. It is indeed the best love song written by The Beatles. I wouldn’t normally go in for a song like Maxwell’s Silver Hammer, except that I find it amusing and utterly unlike When I’m Sixty Four and other similarly silly things Paul has written. Oh Darling has a great vocal on it, Paul shows a great deal of range, which is always impressive. Even Octopuses Garden was enjoyable, and usually I find the songs that Ringo sings on very banal (not Good Night though). I think, though, that I Want You (She’s So Heavy) is probably the best track on the album. It has a kind of indescribable moodiness about it. John sounds absolutely tortured as the song reaches its ominous crescendo. Here Comes The Sun is a favorite, but I usually like George’s work. I would say that if there are weak links on this album then they are probably Because, You Never Give Me Your Money, and Sun King. I still love these tracks, but they aren’t as driven as the rest of the album, in my mind. It’s simply too shiny-hippy for me. The remainder of the album is phenomenal. Mean Mr. Mustard/Polythene Pam/She Came in Through The Bathroom Window all bleeds together (the Joe Cocker version of the latter is also tolerable). The picture they paint is almost a British slice of life; full of sardonic characters that could easily have come from Charles Dickens. It is amusing, with just a touch of bitterness. The Golden Slumbers suite (which is what it is) is the perfect note to close on for such an inspired record. Paul writes it in three parts, changing the mood from a ballad that soars as high as any of his other work, to a stoic break right up until The End. Abbey Road is my favorite record not only because it is nostalgic, but it is an unmarred work of genius (with the funny little afterthought Her Majesty).

Thus concludes my discussion of The Beatles. Please feel free to discuss any point I may have missed, and share your own thoughts.

Better to burn out than to fade away. Theo.

On The Beatles – An Album That Never Was (p. 4)

I’d just like to thank those of you who take the time to post. Feedback is so essential to this process.

It’s been a little bit since my last post. Having come this far, I think my next topic/discussion will be laid out differently. Nevertheless, we have three albums to go. What can be said of the White Album? Most critics believe that it demonstrates the lack of cohesiveness that the group was experiencing during the recording. I think it led to more interesting work in some cases. It may have even succeeded in producing some hard rock songs, which would have been hard to fathom considering the source. The Beatles may have been many things, but they were never much of a hard rock group. Back in the USSR broke that mold up a bit, Helter Skelter perhaps more so. There are certainly plenty of instances where the music seems to have strayed far afield (Ob-La-Di, Ob-La-Da, Wild Honey Pie, Why Don’t We Do It In The Road?). George, of all the band, seemed to keep his musical sensibilities the most restrained; While My Guitar Gently Weeps, Piggies, Savoy Truffle, and Long, Long, Long are all very enjoyable to listen to. With the exception of Happiness Is A Warm Gun and Blackbird, I largely prefer the music from Birthday on (records three and four). Perhaps my favorite track off of this record is Mother Nature’s Son. For whatever reason, I always associate this song with Fool On The Hill. I think that the entire feel of the song is restful, yet it avoids the frequent companion of restful music: Boredom. It is just pretty. I am also rather fond of Cry Baby Cry for no particular reason. I suppose that I could continue by discussing either Let It Be or Abbey Road. Because I feel that Abbey Road is truly the finest record of those I am discussing, I will leave the best for last. Let It Be has some great tracks, as I have mentioned. Some of the tracks, however, are complete throw-aways. Two Of Us, Dig A Pony, I’ve Got A Feeling, and One After 909 I consider among these. I need hardly include Dig It or Maggie Mae, since both equate to self-indulgent sound bites. There are no sleeper tracks on this record. The best is already accounted; Across The Universe, Let It Be, The Long Winding Road, and Get Back. I try not to criticize I Me Mine and For You Blue too heavily because I have a soft spot for George, but these were definitely not his best. RANT WARNING: I like Across The Universe, but I can recall some terrible Grammys ceremony or something when all the performers of the evening gathered together to perform it. There’s a video of it on Youtube. Apparently it was from 2005. As I write this, I am listening to it, and it is actually even worse than I remember. Bono croons like a strangled goose, poor Stevie Wonder is out of tune, Norah Jones tries to add soul without much success, Scott Weiland starts out like Bowie and then starts channeling Pavarotti, and that stupid muppet that used to be Steven Tyler dances around on the strings that are doubtlessly suspended from the lighting rig. It is a horrible spectacle, like something from the sixth circle of hell. It was perhaps the biggest diss on The Beatles that I am aware of. That being said, I like the original quite a lot. But it takes Lennon (or sometimes Rufus Wainwright (really, his cover of this song is very good)) Otherwise, I confess, my favorite song on Let It Be is The Long and Winding Road.

On The Beatles – An Album That Never Was (p.3)

If you were wondering about the other three tracks from Revolver, I will surmise. Doctor Robert is repetitive, is repetitive, I Want To Tell You is kind of uninspiring, and Tomorrow Never Knows is too much of John’s self-indulgent wackiness. On to Sgt. Pepper. Sgt. Pepper is highly lauded, we all know its reputation. No need to go there. What it did do, at least to the casual ears of this humble listener, was a momentous leap in composition. The brass in the title track. The strings in She’s Leaving Home. The countless little touches in For The Benefit of Mr Kite! (I love Eddie Izzard but god it reminds me what a putrescent little number that was in Across The Universe). I should give pause before even mentioning A Day in The Life. When I listen to the strings building at the end, I feel like Salieri in Amadeus: Hearing the voice of God through that music. MINI TANGENT: And if one was to suspect that no rendition could do credit to such a composition, they would find themselves corrected by Jeff Beck’s obliterating instrumental rendition. There is a really good version of it on Live at Ronnie Scotts, and on Youtube with Tal Wilkenfeld (one day my future wife) at Crossroads guitar festival in 2007. I suggest referencing it more than once: It will boost your cool, I promise. That being said, it should be little challenge to guess which songs I prefer on Pepper (by the way if you want to hear a truly uninspiring rendition of the entire album, see Cheap Trick). I actually think The Beatles records got progressively better with the singular exception of Let It Be, which has some outstanding tracks but as an album is not so very listenable. Magical Mystery Tour. That is easy to listen to. Again, the compositions are more complex and consequentially more interesting. Fool On The Hill is by far my favorite (can you tell I like Paul yet?) Some stupid VH1 special “Least Metal Moments” was slamming woodwinds, specifically flutes, in rock music. To them I say, rubbish (see Jethro Tull). Fool On The Hill summons all sorts of feelings, mostly of simple and passionate life, something that those stoned metalheads on VH1 ought to have some sympathy for. Blue Jay Way is probably the runner-up for my affection. Apparently the song is about George waiting for some friends. He was in a loft or something on a street called Blue Jay Way, and he wrote the piece while his friends tried to find the place. The tune is admittedly spooky; it would probably give Rigby a run for haunting quality if its lyrics were not based on such insubstantial subject material. I really like I Am The Walrus as well (not Bono’s version, see dictionary – overrated and pretentious). Most people do, I think. I don’t feel like the song has much depth, it just sounds really good. And it is unique, one of those rare tunes that can never be duplicated with any real success. For that, I appreciate it. As for the rest of the album, obviously Hello Goodbye, Strawberry Fields Forever, Penny Lane, and All You Need Is Love are all stand up classics. Inexplicably, it seems like All You Need Is Love gets a lot of attention. I mostly don’t understand this because, while it has its merit, it is not one of their best songs. Yet it is always one of the first tracks that comes up in discussions of The Beatles’ work. I suppose people thought the meaning of the song was “really deep,” characteristically confusing depth with accessibility. All You Need Is Love, yes that’s very deep, in a way that requires no further reflection. Ah well.

On The Beatles – An Album That Never Was (p.2)

Okay. We’re in territory I feel more comfortable with. Rubber Soul was a turning point away from that God-awful fifties hangover sound that seemed to perforate the previous records. Revolver is something else. It is an album that is worth listening to in its entirety, even if you have done so umpteen-thousand times already. Taxman is a punchy opener, thank you George, the guitar sounds are hard and tight, and the lyrics are not entirely trivial. Sadly, I used to skip this track because my favorite track of all Beatles songs follows it. Eleanor Rigby. Now that’s something. The strings, courtesy of George Martin, are uncomplicated, but they express more depth and haunting quality than one would have thought possible from the same band that produced She Loves You. There’s a really horrible pseudo-punk cover of Rigby that I heard in the movie Accepted. TANGENT WARNING: To those of you who know what I am talking about, if you were visited by any sensation other than revulsion, I have only this to say: I don’t care how cute Blake Lively is or how funny you find Jonah Hill’s scream, trendier-than-thou covers of truly great songs do not belong in John Hughes film rehashes. David Schommer – you suck.

The point is, Eleanor Rigby is a good song. I dare even the most Beatles-resistant to claim otherwise. I love I’m Only Sleeping, Love You To, and Here, There And Everywhere for different reasons. Yellow Submarine is horrible, I’m sick of hearing it. She Said, She Said is an enduring favorite of mine, yet I actually have found over time that I prefer John’s singing on And Your Bird Can Sing. I think it has much to do with the pace; I used to listen to She Said, She Said quite a lot, and it simply coasts while Your Bird Can Sing drives. Revolver was a better album for Paul; as well as Rigby he managed to sing on Good Day Sunshine, For No One, and Got To Get You Into My Life which are arguably some of his finest. On the subject of covers, Earth Wind and Fire gets an honorable mention for their cover of Got To Get You Into My Life; EW&F reinvented it in such a way as to not offend the original track. Go ahead. Give it a listen.

On The Beatles – An Album That Never Was (p.1)

I feel that any discussion of Rock (with a capital R) must intuitively begin with The Beatles. Whether you can appreciate them or not, the masses have spoken: The Beatles are tops. As we are experiencing a resurgence of their music in the mainstream (which gives me headaches every time I walk into Target or the mall and hear yet another pallid cover of one of their songs) it seems like a timely discussion. Though I have acquired most of the remasters of the original albums, I must confess that the fellows at Apple Records did not succeed in making the pre-Rubber Soul albums any more listenable. Oh sure, I like Love Me Do as much as the next very boring person, but to me the real ingenuity began with Rubber Soul. Thus, I will begin with said album.

My favorite song off this record is Nowhere Man. Hands Down. I’ve heard all the music from this record ad nauseam and still I can listen to this track without succumbing to my music ADHD (the “proper” term for ADD). I think the vocal harmonies on this track are admirable; I can even cope with the ludicrously dated “ahhhlaaalaaalaaa” that Paul and George are bleating in the background. I guess it just shows you that it’s all about how it comes together (and I wish I had actually intended that pun). To shorten this discussion, I will dispense kudos to at least one track sung by Lennon and one by McCartney. So there, that’s John. Nowhere Man. Though I am quite fond of You Won’t See Me, I must confess my prejudice towards tracks not included on the red compilation inclines me towards Drive My Car. The cowbell is overbearing, and what’s more it makes me think of Christopher Walken, however, the piano in the chorus is very cool. This track rocks comparatively hard for a Beatles tune, which owes much to McCartney’s voice. Kudos to Paul.