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Post by clem on Nov 16, 2021 14:24:47 GMT
CeeLo Green has been a very up and down live singer. Those Daryl's House sessions were comfortable A Tier stuff. But even in his prime, he had quite a few D tier shows where he was basically shouting his highs. In ways he has become a lot more consistent since he started transposing/rearranging songs like "Crazy". He's better at live lounge stuff than belting out arena anthems these days, which is still enjoyable, but less exciting vocally. B tier on balance seems fair for his better years, and C tier for his weaker ones.
Warrel Dane was also basically every category on the list at some point in his career.
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Post by jaredletoisbackagain on Nov 24, 2021 17:39:37 GMT
I'd consider the woman in my avatar to be at least A tier, with many of her performances showing a strength and control that's comparable to her studio recordings. I've yet to see a performance by her that I would describe as disappointing in any way. Some others: Syd (The Internet) - D tier Pitbull - E tier Solange - A tier (unsure about this) James Brown - S tier Thom Yorke - A or S tier Jeff Buckley - S tier Unsure about Bob Dylan. Is the Thom Yorke mention serious? He's always been a rather inconsistent singer, even though he was better in his younger years. And even when he's been able to hit the notes, he's been inconsistent in tone and technique. Could also say some things about Jeff Buckley but let's leave that for another day. |
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Post by innuendo on Jan 9, 2022 11:48:55 GMT
Freddie Mercury divided by tours:
- Queen I Tour: Queen first live recordings came from 1973. Freddie's voice is very clear and he can hit easily high notes in full voice and in falsetto, as seen in See What A Fool I've Been from London 13/9, where he hit a Bb5. Every song is performed like studio version with a lot of passion (A tier)
- Queen II Tour: This tour starts in March of 1974 and the story is the same. Freddie is able to hit high notes easily in full voice, although he limited falsetto use due to fit better with rocks songs. Every song is performed like studio version, but with a more hard-edge tone (A tier)
- Sheer Heart Attack Tour: Starting at end of October of 1974, this tour features Freddie limiting his falsetto more, with going for high notes almost only with full voice. In February of 1975 Freddie is diagnosed with nodules and now he completely stop using falsetto and he goes for high note if he is in good shape. (B tier)
- Opera Tour: Starts of Opera Tour is quite rough for Freddie, because nodules hold him back, but with the start of 1976 his voice get better, hitting high notes in full voice. But for the Japanese tour is his in bad shape, and he can't hit high notes. He recovers for the September gigs, where he is in excellent shape, as seen in many songs like You Take My Breath Away from Edinburgh, where he completely nails the song. (C tier)
- Races Tour: The Races Tour features Freddie adopting a more operatic tone and his voice is improved from 1976 gigs. Although being quite rough in the frist month, he gets better in the next concerts where he goes for a lot of high notes, and he would stay in this shape until the end of the tour. (B tier)
- NOTW Tour: Queen starts this tour on October of 1977 with a small gig, where Freddie's voice is in great shape, hitting every high note and giving one of his best performance ever (See What A Fool I've Been). The tour continues in November and his voice stays in excellent shape until the last show of the year. In 1978 Freddie becomes even better and he would embellish lines everywhere, giving great performances until the end of the tour (White Man from London 13/5 and Somebody To Love from Stockholm 12/4). (A tier)
- Jazz Tour: After the long NOTW Tour, Queen return on stage in october of 1978, Freddie is not in the same shape as he was in the previous month, but he isn't bad. In 1979 his voice starts to decline until the Japanese leg. The first show has Freddie in surprisingly good shape (for the standards of Jazz Tour), but after this night Freddie's voice will decline until the end of the month, where he is in atrocious shape, and Tokyo 23/4, Kobe 27/4 and Fukuoka 30/4 are considered his worst shows ever. He would recover a little for the last two shows in Sapporo. (D/E tier)
- Saarbrucken and Crazy Tour: After a three months long pause, Queen perform in Saarbrucken. Freddie is completely a different singer from the one who sung in Japan. He hits every notes easily and he embellish lines. The Crazy Tour starts in November and this tour is considered to be Freddie in his live peak. In every show he hits every high note just like in studio and he hits 5th octave notes with ease, embellishing a lot of lines. Some of the songs performed in this tour outshine the ones in studio, as seen for Spread Your Wings from 4/12, Now I'm Here from 6/12 and Somebody To Love from 3/12 and 26/12. (S tier)
- Game Tour: Queen starts this tour in June of 1980, and Freddie's voice is again in incredibly shape, infact the early shows are considered to be almost on the same level as Crazy Tour ones. His voice will take a macho tone road from August 1980, but his voice would stay in great shape until December. 1981 starts with some rough shows for Freddie, but he would recover fast for the South American Leg, where Freddie's voice is in excellent shape. In October they continue the tour in Mexico and Freddie is again in superb shape, as demonstrated by a lot of C5s in We Are The Champions. After these shows they would play in Montréal, whose shows performs a lot of great performances by Freddie. (A/A+ Tier)
- Hot Space Tour: The starts of the tour features Freddie in unstable shape. Infact he would sustain a lot of high notes but he would randomly cracks. After Leiden 24/4 Freddie's become much more stronger and he would deliver superb performance every shows of May. In June they performs three shows where Freddie's voice is even better. At this point the tier would be A/A+. But after Milton Keynes (last Freddie's prime show) his voice starts to decline, infact his vocals become much more pushed and his voice would be more tired. For the last show they ever play in US Freddie's voice is very bad and his performance of Under Pressure is dreadful. He would recover for Japan, although his voice would be very unstable. (B/B- tier)
- Works Tour and Live Aid: This tour features Freddie at his most inconsistent. Infact you can have shows like Brussels 24/8 (which is One of the best post-prime shows) and London 7/9 where he is in bad shape. And he would remains this inconsistent until the end of 1984. In 1985 his voice would be a little more consistent and he would delibera very good performances, especially the ones in Rio and Tokyo. One positive thing about this tour is that Freddie return to use his falsetto and he would reach all the way up to D6. (B-/C Tier)
Queen would play in Live Aid on the 13/7 and he delivers one of his best performance ever, and every of these are on studio level. (A+/S Tier)
- Magic Tour: Freddie's stamina would improve for this tour, infact the first shows of the tour featur an excellent Freddie. He would decline a little for the mid-tour and the last shows, but he would give some great performance through the tour (1st Wembley and Frejus are some examples). The last show Freddie would ever play with Queen features Freddie in very inconsistent voice: the 1st half is great, but the 2nd half has Freddie in rough shape (this is likely due to HIV catching up with him). (B tier)
- Dominion Theatre: This is the last shows Freddie would ever play. After a two years stop his voice completely recovered and he can hit high notes effortlessly, just like the Crazy Tour. This show is an example of what Freddie could be in a hypotetic Miracle/Innuendo Tour. (A+/S tier)
Total tier for Freddie would be B Tier. His best shows were incredibly good, but his worst shows were meh. Probably with a less grinding schedule and a little better technique Freddie could have been an higher rank.
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Post by innuendo on Jan 9, 2022 17:47:17 GMT
Robert Plant divided by eras:
- 1968: Led Zeppelin first concerts are from this year. Robert shows a great control over his voice and a great full voice range. He has many good shows, although sometimes after some of them where he pushes his voice a lot on the next concert he sounds lower and less powerful. Neverthless, some of the gigs of this years are among Robert's best concerts, as seen for Spokane 30/12, whose performance of How Many More Times is considered to be one of the best of any song by Plant. (A+ tier)
- 1969: The story is much the same, infact Robert continues his pattern of ups and downs, and sometimes he is careful not to push his voice too much. But when he is on good shape his vocals are equals to the one of studio. (A+ tier)
- 1970: The 1970 starts very well for Robert, infact for most of the first month of this year his voice is stable and more controlled than it was before, although he slightly cracks sometimes. During the first half of the year he is very consistent, but for the US leg of March-April Led Zeppelin have to stop the concerts because of Robert's voice being quite strained and tired. At this point he would be A tier. But in June the band return on stage and Robert returns in full power, as seen in Bath Festival on 28/6. After this festival Led Zeppelin starts the US tour in August and Robert is even more powerful, hitting every high note and outshining some of the studio version, and he would stay in this shape until the end of the year. For this half, Robert is arguably S tier.
- 1971: The first concert of the year is the one in Belfast, which is considered one of his greatest gigs. He hits easily every high note and he eclipses the studio version of Immigrant Song (nailing the C♯5s and going for a F♯5) and Black Dog (nailing every E5s). The next concerts features Robert again in great shape, but this time he cracks on some high notes and he has to sing some of Black Dog's lines in a lower key. After some trouble due to laryngitis, Robert do a great recover in May, as seen in concerts like the ones in Copenaghen, where he nails Four Sticks and Gallows Pole. For the August/September he has again some trouble and the concert in Los Angeles is often considered to be the start of his decline. From this point until the end of the Leg Robert will alterne consistent nights and shows were he cracks in the beginning and he warms up as the show goes on. After the American Tour Led Zeppelin start a Japanese tour which features Robert in good shape although some crack issues, as seen in the last concert in Osaka. For the UK tour the band start in Autumn, Robert is in pretty good shape for the whole Leg, but you can hear he is holding back. (B tier)
- 1972: Robert starts 1972 in pretty good shape, but the band really starts to alter the melodies of the songs for the Australian and Asian tour. US Summer tour features Robert with a girlish tone, and now he cracks not only on the high notes, but on the low notes as well. In October they start the Japan tour and Plant's voice is really starting to decline more, although he will be able to make a little recover for the last shows of the year. (B- tier)
- 1973: The year starts with Robert arguably worst show ever, Sheffield 2/1, where his voice cracks and breaks all over the place, and he has to talk sing through the song. This is a turning point, infact Robert's voice will just decline more. As the month goes on he recover a little, although he sings almost molto alterated melodies in songs like Over The Hills And Far Away. For the UK March tour His voice is rather weak, and he is forced to sing in his midrange in songs like Since I've Been Loving You, and he will crack a bit. For the Summer Tour his voice will be at its most inconsistent, as shown by gigs like Baltimore 23/7 and Los Angeles 3/6. After this tour the band Will take a long break. (D Tier)
1975: The year starts with Robert being quite weak for the whole month of January. In February his voice is very rough and sometimes he can barely croak out songs. Robert can recover a little for the March shows, as seen for Seattle which is the best show of 1975. After the Earls Court shows, after Robert's car accidenti the band is forced to interrupt the tour. (D Tier)
Total tier for Robert, although I stopped in 1975, would be B tier. Robert surely should pushed his voice less to avoid throat problem and the rapid decline that starts in 1971.
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Post by innuendo on Feb 16, 2022 19:38:29 GMT
Brian May has been a very consistent Singer, he often gave very nice performances of "Resurrection", or others difficult songs such as "The Show Must Go On" and "Hammer To Fall". I'd say he is in B+ Tier, with some solid A stuff in his prime
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Post by innuendo on Mar 22, 2022 20:43:58 GMT
I think Ralf Scheepers could fit A- tier or A tier. He is a very consistent live singer, and he gives incredible performances of songs, often matching his studio Version, although he sounds "a little bit less stronger".
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Post by BassSquared on Jun 21, 2022 9:00:37 GMT
A quick sampling of some of my threads, from highest to lowest:
Eva Noblezada is S-tier for goddamn sure, which kinda makes sense given she sings Broadway and all, but it genuinely feels like her studio recordings are somehow neutered compared to the raw power of her live vocals. Pretty much never fucks up even when the material is demanding as hell.
Will Wood is generally S-tier as well, I would say. So many of his songs have this raw, manic energy that comes across best in live performance, plus playing piano at that level while singing is absurdly impressive. Can't quite say the same about the weird ukulele phase he's been in recently, but at least the vocals still slap.
Noa Gruman is high A to low S. Sure, she's an absolute vocal beast who can nail some pretty cartoonishly demanding stuff live, but there's room for debate over whether her fidelity to the studio versions as opposed to elevating them in performance prevents her from ascending to true S-rank.
Asami is the definition of A tier for me. Hits demanding power metal belts with pitch-perfect accuracy, but it's pretty much exactly the same as the studio version, with only a *very* occasional waver to remind you she's not lip-syncing.
Claudio Sanchez has really improved, going from C-tier in the band's earlier career to a solid A now. While Coheed's live shows have always kicked ass instrumentally, sometimes his vocals, while not terrible, weren't quite up to the same level- an issue that has thankfully mostly resolved itself.
Josh Ramsay is B-tier. True, most of his stuff is nigh-impossible to pull off live due to how absurdly hard he goes in the studio, and he still gets the money notes and important bits right, but he has too many dodged lines and slightly weak phrases to make it up to A imo.
Steven Page is wildly inconsistent and has veered from S-tier to D-tier depending on the night. Sometimes he absolutely puts the studio version to shame (see: most of Rock Spectacle), and sometimes he seems to be visibly struggling and past his prime. Probably settled somewhere around upper C tier nowadays.
Minami is... hard to rank. Purely gauging on technical accuracy, she's generally a C, with a couple of rougher performances reaching down to D, but despite the technical difficulty of her material, it's not really about vocal technique so much as raw emotion- and in that sense she definitely ranks a lot higher.
Colin Meloy is a C. Most Decemberists material isn't crazy hard to sing, and he's not the most virtuosic singer on the planet, but he sings it well enough.
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Post by clem on Jun 24, 2022 18:43:21 GMT
I'm thinking Dave Mustaine would be solid C tier in the 1980s, sneaking maybe into low B tier for much of the 90s and 00s. Then late-00s saw him slide back down clearly into C, then into more like D/E in the early 2010s. Tuning down a tone since the mid-2010s has probably brought him back up to C tier on his better days.
Kanye West would be mostly D Tier in terms of live singing, even though his stage shows look like a lot of fun. Difficult to judge someone who often uses autotune as an intentional part of their soundscape, but around the time of the Yeezus Tour (2013-14), he was sounding more like a C tier vocally.
He's slipped a bit since then in terms of consistency, although he did do a surprisingly decent performance of "Come to Life" (which is, in my opinion, his most difficult song to sing) at the Larry Hoover Benefit Concert in 2021, without autotune, and sang pretty well for the most part, even though there was audibly a guide vocal track on playback mixed in to thicken up the sound.
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Post by Goober on Oct 23, 2023 16:51:10 GMT
Arnel Pineda:
1980s - 1990s: A Tier: Would be S tier if there were more documented live performances from this time period.
2000 - 2005: A Tier: Basically the same thing here.
2006 - 2010: S Tier: King.
2011 - 2017: C Tier: it's about 50/50, There are a pretty good chunk of shitty performances and great performances. (Also Apparently the Journey sound guy kinda screwed his vocals over during this time period so idk)
2018 - Present: B Tier: Outside of a couple of terrible performances, he is very consistent with his vocals in this time period, especially on his solo tours.
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Døc
Vocal Novice
Offline
Posts: 60
Likes: 55
Join Date: April 2020
Favourite singer: Kyo, David Bowie, Atsushi Sakurai, Courtney Swain
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Post by Døc on Oct 27, 2023 1:37:51 GMT
Atsushi Sakurai: S Tier
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Post by Homelander on Oct 27, 2023 20:25:08 GMT
I would say the Bee Gees are a solid B-tier. Robin Gibb in his later years (2003 - 2012) would occasionally get down to C-tier for certain songs (such as "Woman In Love" or "Juliet"), but I would generally also place him in low B-tier for most of his post-Bee Gees live performances. Honestly though, I don't blame him for being that low. He was 60 years old, depressed, and dying of cancer by that time, and the Bee Gees (Robin especially) were very much "in the studio" artists. I'd be impressed if he could do any better.
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