Post by BassSquared on Apr 29, 2020 23:45:09 GMT
David King (11 Dec 1961)
Years Active: 1983 - present
Associated Acts: Fastway (1983-1987), Katmandu (1990 - 1992), Flogging Molly (1997 - present)
Vocal Range: G2 - A5
{Vocal Summary}Though currently best known as the thickly accented frontman for Celtic punk mainstays Flogging Molly, Irish singer-songwriter Dave King initially made a name for himself in the realm of '80s metal. Starting off as the young and unknown vocalist of former Motörhead guitarist "Fast" Eddie Clarke's band Fastway, his early technique adopted a high, wailing vocal style that cribbed heavily from Robert Plant. Though he was capable of strong head voice notes throughout the fifth octave, his lower range was essentially nonexistent, sounding weak and low-larynx as soon as he got too far below middle C. However, after his exit from Fastway and his time in the short-lived hard rock project Katmandu, King spent much of the '90s dealing with a variety of personal issues and largely staying away from music.
When he returned with Flogging Molly, he had gone through a significant change in both vocal style and placement. Not only did his voice re-adopt more of its grit and natural Dublin brogue, but he was far less reliant upon wailing high notes, although the band's earliest material still had a few traces of this technique. While still a natural tenor most comfortable around C4, his voice had been deepened with age and continued to do so throughout Flogging Molly's career, resulting in some actual exploration of his lower register. A consummate live performer, he is still able to pull off some fairly high notes in concert; however they are more and more often reserved for climactic, raw-throated moments rather than their casual prevalence in his earlier work. Despite his sound being a bit of an acquired taste for some, King is a distinctive vocalist who has successfully reinvented himself and largely aged quite gracefully over his many decades in the game.
Written by BassSquared .
When he returned with Flogging Molly, he had gone through a significant change in both vocal style and placement. Not only did his voice re-adopt more of its grit and natural Dublin brogue, but he was far less reliant upon wailing high notes, although the band's earliest material still had a few traces of this technique. While still a natural tenor most comfortable around C4, his voice had been deepened with age and continued to do so throughout Flogging Molly's career, resulting in some actual exploration of his lower register. A consummate live performer, he is still able to pull off some fairly high notes in concert; however they are more and more often reserved for climactic, raw-throated moments rather than their casual prevalence in his earlier work. Despite his sound being a bit of an acquired taste for some, King is a distinctive vocalist who has successfully reinvented himself and largely aged quite gracefully over his many decades in the game.
Written by BassSquared .
{Album Ranges}Fastway (1983): G3 - G5
All Fired Up (1984): G3 - A5
Waiting for the Roar (1986): E3 - G5
Trick or Treat (1987): A3 - G5
Katmandu (1991): D3 - G♯5
Swagger (2000): D3 - E5
Drunken Lullabies (2002): B2 - C5
Within a Mile of Home (2004): G2 - B4
Float (2008): A2 - C5
Speed of Darkness (2011): A2 - B♭4
Life is Good (2017): A2 - C♯5
Anthem (2022): G2 - A4
All Fired Up (1984): G3 - A5
Waiting for the Roar (1986): E3 - G5
Trick or Treat (1987): A3 - G5
Katmandu (1991): D3 - G♯5
Swagger (2000): D3 - E5
Drunken Lullabies (2002): B2 - C5
Within a Mile of Home (2004): G2 - B4
Float (2008): A2 - C5
Speed of Darkness (2011): A2 - B♭4
Life is Good (2017): A2 - C♯5
Anthem (2022): G2 - A4
Significant High Notes:
A5 ("Hurtin' Me")
G♯5 ("Ready for the Common Man")
G5 ("Heft!", "Hurtin' Me", "Little by Little", "Non Stop Love", "Pull Together", "Waiting for the Roar", "The Way You Make Me Feel", "When the Rain Comes")
F♯5 ("Back Door Man", "Move Over", "The Way You Make Me Feel")
F5 ("Let the Heartache Begin")
E5 ("After Midnight", "Back Door Man", "Black Friday Rule", "Doin' Just Fine", "Get Tough", "Girl", "Heft!", "Hurtin' Me", "Kill Me With Your Heart", "Let the Heartache Begin", "Life in a Tenement Square", "Love Hurts", "Medicine Man", "Misunderstood", "Move Over", "Non Stop Love", "Only the Good Die Young", "Pull Together", "Rock On", "Say What You Will", "Sometime Again", "Stand Up", "Steal the Show", "The Stranger", "Telephone", "Waiting for the Roar", "The Way You Make Me Feel", "You Got Me Runnin")
E♭5 ("Little by Little", "Ready for the Common Man", "When the Rain Comes")
D5 ("All Fired Up", "Black Friday Rule", "Far Far From Home", "Get Tough", "Hung Up on Love", "Kill Me With Your Heart", "The Likes of You Again", "Love Hurts", "Move Over", "Stand Up", "Tell Me", "Waiting for the Roar", "Warzone", "When the Rain Comes", "The World Waits for You")
C♯5 ("After Midnight", "Devil's Dance Floor", "Easy Livin", "Girl", "Give It All You Got", "God Part II", "The Guns of Jericho", "Love Hurts", "Only the Good Die Young", "Ready for the Common Man", "Sometime Again", "Station", "Steal the Show", "The Stranger", "Tired of Your Love")
C5 ("All Fired Up", "Another Day", "Back Door Man", "Change", "Death Valley Queen", "Don't Stop the Fight", "Doin' Just Fine", "Easy Livin", "Every Dog Has Its Day", "Feel Me, Touch Me (Do Anything You Want)", "Float", "Give It Some Action", "God Part II", "Heart & Soul", "Hold On to the Night", "Let the Heartache Begin", "Little by Little", "Medicine Man", "Say What You Will", "Selfish Man", "Sentimental Johnny", "Seven Deadly Sins", "Stand Up", "Tear Down the Walls", "Telephone", "Tell Me", "Trick or Treat", "We Become One", "Welcome to Adamstown", "You Got Me Runnin")
B4 ("All I Need Is Your Love", "Drunken Lullabies", "Don't Stop the Fight", "Far Far From Home", "Feel Me, Touch Me (Do Anything You Want)", "Give It All You Got", "Heft!", "Hold On to the Night", "Hung Up on Love", "If You Could See", "Laura", "The Likes of You Again", "Misunderstood", "Pull Together", "Punch Drunk Grinning Soul", "Reptiles (We Woke Up)", "Rock On", "Salty Dog", "Sometime Again", "Station", "Tear Down the Walls", "Tired of Your Love", "Wanderlust", "Warzone", "We Become One")
B♭4 ("The Power's Out", "Tell Me")
A4 ("Between a Man and a Woman", "Black Friday Rule", "Change", "The Cradle of Humankind", "Crushed (Hostile Nations)", "Devil's Dance Floor", "Easy Livin", "Float", "Give It Some Action", "Heart & Soul", "If I Ever Leave This World Alive", "Laura", "Life in a Tenement Square", "Life Begins and Ends (But Never Fails)", "Light of a Fading Star", "Rebels of the Sacred Heart", "Reptiles (We Woke Up)", "Saints & Sinners", "Salty Dog", "Screaming at the Wailing Wall", "These Times Have Got Me Drinking/ Tripping Up the Stairs", "Tomorrow Comes a Day Too Soon", "Welcome to Adamstown", "Whistles the Wind", "Within a Mile of Home", "The World Waits for You")
G♯4 ("Reptiles (We Woke Up)", "Sentimental Johnny")
G4 ("The Cradle of Humankind", "Drunken Lullabies", "Every Dog Has Its Day", "The Heart of the Sea", "If I Ever Leave This World Alive", "The Kilburn High Road", "Laura", "Life Is Good", "Life in a Tenement Square", "Life Begins and Ends (But Never Fails)", "The Lightning Storm", "The Likes of You Again", "Man With No Country", "The Ol' Beggars Bush", "The Power's Out", "Punch Drunk Grinning Soul", "Requiem for a Dying Song", "Revolution", "Saints & Sinners", "Selfish Man", "Tobacco Island", "Us of Lesser Gods", "What's Left of the Flag", "Whistles the Wind", "You Won't Make a Fool Out of Me")
Significant Low Notes:
E3 ("Change", "The Croppy Boy '98", "Devil's Dance Floor", "These Exiled Years", "Far Away Boys", "Float", "From the Back of a Broken Dream", "The Heart of the Sea", "The Kilburn High Road", "Life Is Good", "The Likes of You Again", "Medicine Man", "Punch Drunk Grinning Soul", "Rebels of the Sacred Heart", "Reptiles (We Woke Up)", "Rise Up", "Saints & Sinners", "Speed of Darkness", "The Story So Far", "There's Nothing Left Pt. 1", "Tomorrow Comes a Day Too Soon", "Wanderlust", "What's Left of the Flag", "With a Wonder and a Wild Desire", "The Worst Day Since Yesterday", "You Won't Make a Fool Out of Me")
E♭3 ("Ready for the Common Man")
D3 ("Another Bag of Bricks", "Between a Man and a Woman", "The Cradle of Humankind", "The Croppy Boy '98", "Crushed (Hostile Nations)", "Death Valley Queen", "Factory Girls", "The Hand of John L. Sullivan", "The Heart of the Sea", "Hope", "The Last Serenade (Sailors and Fishermen)", "Life Begins and Ends (But Never Fails)", "May the Living Be Dead (In Our Wake)", "(No More) Paddy's Lament", "Now Is the Time", "Oliver Boy (All of Our Boys)","This Present State of Grace", "The Rare Ould Times", "Ready for the Common Man", "Rebels of the Sacred Heart", "Revolution", "Rise Up", "This Road of Mine", "Seven Deadly Sins", "A Song of Liberty", "The Son Never Shines (On Closed Doors)", "Speed of Darkness", "There's Nothing Left Pt. 1", "These Times Have Got Me Drinking / Tripping Up the Stairs", "To Youth (My Sweet Roisin Dubh)", "Until We Meet Again", "Wanderlust", "What's Left of the Flag", "With a Wonder and a Wild Desire", "The Worst Day Since Yesterday")
C♯3 ("Don't Let Me Die Still Wondering", "The Guns of Jericho", "No Last Goodbyes", "Now Is the Time", "Seven Deadly Sins", "Until We Meet Again")
C3 ("Float", "From the Back of a Broken Dream", "Lead the Way", "Life Is Good", "Oliver Boy (All of Our Boys)", "The Parting Wave", "A Prayer For Me in Silence", "The Son Never Shines (On Closed Doors)", "These Are the Days", "Welcome to Adamstown", "The Wrong Company")
B2 ("Crushed (Hostile Nations)", "Don't Let Me Die Still Wondering", "Factory Girls", "The Guns of Jericho", "The Last Serenade (Sailors and Fishermen)", "May the Living Be Dead (In Our Wake)", "No Last Goodbyes", "(No More) Paddy's Lament", "Reptiles (We Woke Up)", "The Spoken Wheel")
A2 ("The Hand of John L. Sullivan", "(No More) Paddy's Lament", "Oliver Boy (All of Our Boys)", "The Parting Wave", "The Spoken Wheel", "(Try) Keep the Man Down")
G2 ("A Song of Liberty", "Tobacco Island")
{Questionable Notes}
G5 "Salty Dog" [1], "Seven Deadly Sins" [3], Tobacco Island" [2], "Swagger" [2]
F♯5 "Devil's Dance Floor" [3], "Give It All You Got" [1], "Say What You Will" [1]
E5 "(Try) Keep the Man Down" [1]
D5 "The Hand of John L. Sullivan"" [5]
D3 "Little by Little" [1]
B2 "Don't Shut 'Em Down [3]
A2 "Float" [1], "When the Rain Comes" [2], "Life Is Good" [1], "Telephone" [3]
G♯2 "God Part II [3] [4]
G2 "The Way You Make Me Feel" [3], "The Wrong Company" [1]
E2 "This Present State of Grace" [2]
.......................................................
[1] marks yelps and short trills in high range or anacrusis and short dips in low range.
[2] marks notes of questionable identity that cannot be confirmed to be the singer in question.
[3] marks non-melodic notes that don't have a significant enough pitch to warrant inclusion.
[4] marks notes that possess uncertain pitch or have been pitch-shifted.
[5] marks notes that do not fit the previous criteria but are not of a substantial enough quality to warrant counting towards the singer's range.
G5 "Salty Dog" [1], "Seven Deadly Sins" [3], Tobacco Island" [2], "Swagger" [2]
F♯5 "Devil's Dance Floor" [3], "Give It All You Got" [1], "Say What You Will" [1]
E5 "(Try) Keep the Man Down" [1]
D5 "The Hand of John L. Sullivan"" [5]
D3 "Little by Little" [1]
B2 "Don't Shut 'Em Down [3]
A2 "Float" [1], "When the Rain Comes" [2], "Life Is Good" [1], "Telephone" [3]
G♯2 "God Part II [3] [4]
G2 "The Way You Make Me Feel" [3], "The Wrong Company" [1]
E2 "This Present State of Grace" [2]
.......................................................
[1] marks yelps and short trills in high range or anacrusis and short dips in low range.
[2] marks notes of questionable identity that cannot be confirmed to be the singer in question.
[3] marks non-melodic notes that don't have a significant enough pitch to warrant inclusion.
[4] marks notes that possess uncertain pitch or have been pitch-shifted.
[5] marks notes that do not fit the previous criteria but are not of a substantial enough quality to warrant counting towards the singer's range.
.......................................................
Blue marks falsetto or whistle notes.
Underlines mark notes that are obscured in the song mix.
Italics mark non-melodic notes.
Boldface marks notes that are considered to be particularly notable examples of this person's vocal capabilities.
