leafylemontree
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Post by leafylemontree on Mar 19, 2021 22:37:16 GMT
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Henny Macc
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Post by Henny Macc on Mar 26, 2021 5:06:53 GMT
That's an F♯5, and one that's been posted many times before at that. Though admittedly it's not listed in the OP, and listening back to it I'd say it's not that bad of a note... (:)) Guys wtf is this: www.youtube.com/watch?v=tpznYFcxylQ#t=7m28sFrom 7:28-7:40..... First he hits an A5 scream. I know there was a lot of debate of his harsh overtone stuff before (and question about the octave) but this is a solid black A5. Secondly, WHAT IS THAT B4 HE HITS AFTERWARDS?? It sounds like slightly shaky mixed voice, but the execution is pretty decent. This is an interesting find, however, that I don't think anyone has brought up before. Sounds like that could actually touch on B5 I think? It's a very uncontrolled scream though, so it would almost definitely get listed as a questionable note. Anyway, here's another recent live C♯5 that I just found, along with some quick D♯5s at 2:31: |
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Post by Batfleck on Jul 30, 2021 15:46:05 GMT
B♭2s and C♯3s in this acoustic rendition of "Creeping Death":
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Henny Macc
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Post by Henny Macc on Aug 24, 2021 18:11:32 GMT
Couple of live Soundgarden covers here: Some quite good G♯4s in this one, and maybe a short A♯4 at 0:59?
Not a lot of range in this one, but still a pretty cool performance. Lots of strong F♯4s (though I know you're not counting those as significant notes for him), some short G♯4s, and some C♯3s at 1:51.
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Post by queenfan11 on Aug 26, 2021 6:18:37 GMT
Thanks for those. Added.
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Post by Batfleck on Aug 28, 2021 18:05:23 GMT
B♭2 in this live performance of "Sanitarium"
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Post by queenfan11 on Sept 6, 2021 17:40:56 GMT
I had already added that to the OP.
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Kreuger
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Post by Kreuger on Sept 13, 2021 17:41:25 GMT
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Post by Batfleck on Sept 19, 2021 0:30:42 GMT
B2, C♯3, F♯4 and G♯4 in "Brothers in Arms"
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Kreuger
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Post by Kreuger on Oct 7, 2021 19:22:01 GMT
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Post by clem on Nov 6, 2021 15:58:58 GMT
Some ideas for a vocal summary:
James Alan Hetfield is an American singer-songwriter, best known as the frontman and primary songwriter of the heavy metal's most successful band, Metallica.
Hetfield's voice first came to attention performing on Metallica's 1983 debut, and landmark thrash metal album, "Kill 'em All". An unrefined voice, James' approach on Metallica's first album was an abrasive belt, laden with thick false-cord distortion, and bordering on screaming at times. Whilst this style was entirely fit-for-purpose for the to-the-point thrash they were sporting at the time, Hetfield was an entirely one-dimensional vocalist at this point. Live performances from his formative years were quite hit-and-miss.
On the band's sophomore studio effort, "Ride the Lightning", James first began to refine his singing style, adjusting to Metallica's melodically more-adventurous sound. Hetfield's control had noticeably improved from the year before, belting up to the top of the fourth octave quite comfortably on the title track, and showing a first glimpse at the balladeer side to his voice on "Fade to Black" that he would further hone later in his career.
As a musical force, Metallica went from strength to strength from the mid 80s to early 90s, with 1986's "Master of Puppets", 1988's "...And Justice for All", and their self-titled album in 1991 regularly praised as staples of the metal genre. Hetfield continued to refine his gruff, distorted brand of belting with each release, as well as occasional outings for his slowly-developing clean singing, such as "One" and "Nothing Else Matters". Metallica's live performances also further improved during this time, with James' voice holding up well on tour, and combining well with the voice of bass player, Jason Newsted, who joined following the passing of Cliff Burton. This period would usually be considered the vocal peak of James Hetfield.
James first started to encounter trouble with his voice while recording a cover of the Anti-Nowhere League's "So What!?" - the b-side to 1991's "The Unforgiven". The subsequent tour being an infamously long and demanding one, critics and fans noticed a decline in Hetfield's vocals from 1991-94, sounding less powerful than at his peak. Hetfield invested in some basic vocal coaching in the early 90s, in order to rehabilitate his voice, and better handle the rigours of the band's hectic touring going forward.
The band's next two albums, "Load" and "Reload", released in 1996 and 97 respectively, saw a dramatic shift, both in Metallica's music and James' own singing style. Whilst their self-titled album had already marked the beginning of a step towards a more commercial sound under producer, Bob Rock, with little thrash metal remaining, Load and Reload saw the band leave the world of metal entirely, favouring more of a hard rock sound. James used this opportunity to explore new sides of his singing, with greater dynamic range, and a better look at the lower end of his voice. In general, James embraced his baritone attributes more so on these records, toning down the distortion, and giving greater space to his voice's naturally rich, boomy timbre. Even though this stylistic change was maligned by a contingent of the fanbase, James' own singing performances were impressive, and synergised well with the band's new sound.
The turn of the millennium proved a difficult time for Metallica, with Jason Newsted departing, and working relationships becoming strained. Hetfield entered rehab for alcoholism in 2001, returning to finish recording "St. Anger" after a more-than six-month absence. Hetfield's voice was in rough shape, and along with stylistic choices, seeking to channel a more unhinged sound, the final release was met with very mixed receptions, with James switching between a fatigued yarl and untamed, guttural yells on his vocal takes. Interestingly, for all it's flaws the track "Some Kind of Monster" contained a passage of goliath C2s, the like of which Hetfield has never produced again.
As Metallica continued to tour, James started to improve his singing again, and get back into better vocal shape. Working with new producer, Rick Rubin, Metallica's 2008 return to the studio, "Death Magnetic", was seen as something of a return to form creatively, and a resurgent effort vocally for James Hetfield. An altogether more stable and controlled delivery, sounding impressive across his range, with the different sides of his voice better integrated than on the album before.
In more recent years, while the band have been slow to add to their studio catalogue, James' voice has generally held up well through extensive tours, further utilising his lower register in live performances to good effect, and delivering entirely ample performances on their solitary studio effort of the 2010s, "Hardwired... to Self-Destruct".
Overall, James Hetfield, may not have the overt virtuosity of a Bruce Dickinson or a Rob Halford, but he has consistently provided robust, and suitable vocal performances for heavy metal's heavyweight champion band, with a trail of awards, platinum albums and packed arenas in his wake.
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Henny Macc
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Post by Henny Macc on Nov 6, 2021 18:10:27 GMT
Great stuff! I only have a few notes of additional things to mention: - Maybe elaborate on the hit-or-miss nature of his early live performances during the years prior to and surrounding Kill 'em All. His tone in some of them was definitely...interesting.  - This might be a bit nitpicky, but the title track of Ride the Lightning actually gets into the fifth octave, and there are a couple other songs on that album ("Trapped Under Ice" and "Creeping Death") that get into the upper fourth octave pretty comfortably, so it wasn't really an exclusive thing for him at that point. - I would sort of distinguish Metallica's self-titled album as a different era vocally from Master of Puppets and ...And Justice for All, just because he was leaning much more into the melodic side at that point. Aside from "Nothing Else Matters", there's also quite a bit of softer singing in "The Unforgiven" and more emotive, expressive singing in "My Friend of Misery". I kind of see that album as a turning point where he really began to do more with his voice than just express anger and aggression with the occasional ballad, and became much more of a "singer" overall. - Lastly, I think it's worth mentioning that in the past decade, Hetfield has actually started to tread some new ground vocally by beginning to explore his fifth octave more (which is quite unexpected in his 50s of all times), but this time with a more refined, consistent technique than he had when he previously did them more regularly back in the early '80s. Though he hasn't really made it to the point of incorporating these notes into melody lines much yet, he has developed enough control over them that he has begun frequently throwing in new screams and sustained high notes into performances of older Metallica songs, and has been able to regularly pull them off quite well. |
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Post by clem on Jan 1, 2022 17:41:25 GMT
The Youtube recommended algorithm strikes again. Falsetto up to C#5 from an impromptu rendition of "Suspicious Minds" on Halloween in 2002.
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Post by clem on Feb 14, 2022 13:57:16 GMT
Nice aggressive vocals here. Cool scream at 0:33 and shouted line at 1:19. Good to hear some of those St. Anger song getting some new life breathed into them by James being in better singing shape, and Lars using a proper snare sound |
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Henny Macc
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Post by Henny Macc on Feb 14, 2022 20:25:44 GMT
Nice aggressive vocals here. Cool scream at 0:33 and shouted line at 1:19. 0:33 sounds like an E♭5, and then some kinda strained C5s at 1:19 (kinda reminds of the ones in "Frantic" actually). queenfan11, would you be up for adding these even though the studio version technically gets higher? The E5 in the studio version is just a pretty weak, unimpressive laugh, whereas these notes are quite a bit stronger.
Also I definitely agree that this sounds way better than the studio version. A full album of St. Anger performed like this would actually be listenable. Maybe still not great, but definitely at least listenable.
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kewis
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Post by kewis on Feb 15, 2022 9:51:46 GMT
Nice aggressive vocals here. Cool scream at 0:33 and shouted line at 1:19. Good to hear some of those St. Anger song getting some new life breathed into them by James being in better singing shape, and Lars using a proper snare sound Agreed, they've been playing them live lately and sound a lot better than the studio version (a lot due to the snare). James' aggressive vocals sound good and him even going for a line on gritty C5s is a welcome surprise. |
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Post by Batfleck on Feb 23, 2022 21:45:45 GMT
C♯3 (on "that faith shall permeate OUR scars" at 1:20) and an A2/B♭2 (on "it's you I'm madly fighting FOR" at 2:40) in this acoustic version of "Now That We're Dead"
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