Post by Steve on Jul 20, 2020 12:32:09 GMT
Birth Name: Robert Cummings
Voice Type: The Great Baritone Nightmare
Recorded Vocal Range: G♯1-G♯5
Higher Notes:
G♯5 ("Thunder Kiss '65")
G5 ("Black Sunshine", "Electric Head Pt. 2 (The Ecstasy)")
F♯5 ("Shack of Hate")
F5 ("Scumkill", "The One")
E5 ("Disaster Blaster", "Shack of Hate", "Thunder Kiss '65", "We're an American Band")
E♭5 ("Blast Off to Nowhere", "El Phantasmo and the Chicken-Run Blast-O-Rama", "Electric Head Pt. 2 (The Ecstasy)", "Feed the Gods", "Feel So Numb" live in Albuquerque NM 2001, "I Am Hell", "Let It All Bleed Out")
D5 ("God of Thunder")
C♯5 ("Crow III", "Feed the Gods", "The Man Without Fear", "We're an American Band")
C5 ("Dead City Radio and the New Gods of Supertown", "Werewolf, Baby!", "What?")
B4 ("Black Friday", "Dead City Radio and the New Gods of Supertown", "Dead Girl Superstar", "Disaster Blaster", "Feed the Gods", "Gentleman Junkie", "Grease Paint and Monkey Brains", "Reload", "Shack of Hate", "Trade in Your Guns for a Coffin", "War Zone", "Well, Everybody's Fucking in a U.F.O.", "We're an American Band")
B♭4 ("Behold, the Pretty Filthy Creatures", "Brick House 2003", "Feed the Gods", "Get Your Boots On! That's the End of Rock and Roll", "Let It All Bleed Out", "Lucifer Rising", "Never Gonna Stop (The Red, Red Kroovy)", "Ratmouth", "The Ballad of Resurrection Joe and Rosa Whore", "Two-Lane Blacktop", "What Lurks on Channel X?", "White Trash Freaks")
A4 ("Black Sunshine", "Children of the Grave", "Dead City Radio and the New Gods of Supertown", "Dead Girl Superstar", "Demonspeed", "Drowning the Colossus", "Electric Head Pt. 2 (The Ecstasy)", "Ging Gang Gong De Do Gong De Laga Raga", "Godslayer", "Gun Crazy", "King of Souls", "Michael", "Reload", "Satanic Cyanide! The Killer Rocks On!", "The Ballad of Resurrection Joe and Rosa Whore", "The Hideous Exhibitions of a Dedicated Gore Whore", "The Man Without Fear", "Trade in Your Guns for a Coffin", "We're an American Band", "Werewolf, Baby!", "Wurdalak")
G♯4 ("17 Year Locust", "Acid Flesh", "Black Friday", "Blast Off to Nowhere", "Children of the Grave", "Creature of the Wheel", "Crow III", "Demon Speeding", "Disaster Blaster", "Drowning the Colossus", "Eighty-Eight", "Electric Head Pt. 1 (The Agony)", "Feed the Gods", "Future-Shock", "I Am Hell", "Kick", "Lucifer Rising", "Magdalene", "Michael", "Murderworld", "Power Hungry", "Ratmouth", "Revenge", "Scum of the Earth", "Skin", "Super-Charger Heaven", "Two-Lane Blacktop", "War Zone", "We're an American Band", "What?")
G4 ("17 Year Locust", "Acid Flesh", "Black Sunshine", "Brick House 2003", "Cat's Eye Resurrection", "Demonspeed", "Devil's Hole Girls and the Big Revolution", "Disaster Blaster", "Dragula", "El Phantasmo and the Chicken-Run Blast-O-Rama", "Electric Head Pt. 2 (The Ecstasy)", "Everything is Boring", "Feel So Numb", "God of Thunder", "I Am Legend", "It's All About the Benjamins" rock remix, "King of Souls", "Let It All Bleed Out", "Mars Needs Women", "Meet the Creeper", "Memphis", "Murderworld", "Pig Heaven", "Power Hungry", "Return of the Phantom Stranger", "Revenge", "Run, Rabbit, Run", "Satanic Cyanide! The Killer Rocks On!", "Sick Bubblegum", "Superbeast", "Tales From the Scarecrowman", "The Great American Nightmare", "The Hideous Exhibitions of a Dedicated Gore Whore", "The Life and Times of a Teenage Rock God", "The Lords of Salem", "The Man Who Laughs", "True Crime", "Unholy Three", "White Trash Freaks")
Lower Notes:
C3 ("Bring Her Down (to Crippletown)", "Dragula", "Everything is Boring", "Little Piggy", "Lucifer Rising", "Ride", "War Zone")
B2 ("Living Dead Girl", "The Devil's Rejects")
B♭2 ("Bring Her Down (to Crippletown)", "Feed the Gods", "Feel So Numb", "Little Piggy", "Return of the Phantom Stranger")
A2 ("(Go to) California", "I Am Legend", "Living Dead Girl", "Real Solution #9", "Ride", "Well, Everybody's Fucking in a U.F.O.")
G♯2 ("Hands of Death (Burn Baby Burn)", "The One")
G2 ("Cosmic Monsters Inc.", "(Go to) California", "Michael", "Revelation Revolution")
F♯2 ("Burn", "Hands of Death (Burn Baby Burn)", "I Am Legend", "Living Dead Girl", "Real Solution #9", "Spiderbaby (Yeah-Yeah-Yeah)", "Starface", "The Ballad of Resurrection Joe and Rosa Whore", "The Devil's Rejects", "The Man Without Fear")
F2 ("House of 1000 Corpses", "Pussy Liquor", "Return of the Phantom Stranger", "The Ballad of Resurrection Joe and Rosa Whore")
E2 ("Cosmic Monsters Inc.", "Real Solution #9", "Spookshow Baby", "The Life and Times of a Teenage Rock God")
E♭2 ("Pussy Liquor", "Ratfinks, Suicide Tanks and Cannibal Girls", "White Trash Freaks")
D2 ("Ging Gang Gong De Do Gong De Laga Raga", "Michael", "Soul-Crusher", "Spookshow Baby")
C♯2 ("Blood, Milk and Sky", "Feed the Gods", "Grease Paint and Monkey Brains", "I'm Your Boogieman", "Ratfinks, Suicide Tanks and Cannibal Girls", "The One")
C2 ("Rock and Roll (In a Black Hole)", "The Ballad of Resurrection Joe and Rosa Whore", "White Trash Freaks")
B1 ("Ratfinks, Suicide Tanks and Cannibal Girls", "The Man Without Fear")
B♭1 ("Blood, Milk and Sky", "Rock and Roll (In a Black Hole)")
G♯1 ("Behold, the Pretty Filthy Creatures", "Let It All Bleed Out")
.......................................................
*Underlines mark notes in backing vocals or otherwise muffled/obscured in the mix.
*Green marks highly distorted screams.
*Italics mark notes in spoken notes.
The famed industrial metal solo artist and former lead singer for White Zombie (whose album "Astro-Creep 2000" is a personal favourite of mine) as well as horror movie director. Rob has gone through a considerable vocal evolution, starting in the 80s alternating between bizarre nasal snarls and demented screams (akin to an escaped mental patient), before developing his much more digestible gruff distorted style he became famous for in the 90s and after, however recently he has developed a more Alice Cooper-esque rasp in addition. The most formidable part of his range is his lower end, tone wise going from an eerie nasal rasp (as heard in "Grease Paint and Monkey Brains") to a very strong bassy sound ("Michael"), he uses this side of his voice to fairly good use, usually for a creepier or more intimidating effect. His high range, in contrast, seems to fairly consistent melodically up to C5, however anything above is typically false cord screams these days. Overall, a very distinct voice that is usually undermined his by theatrical persona, but definitely one that can be full of surprises.
Voice Type: The Great Baritone Nightmare
Recorded Vocal Range: G♯1-G♯5
{Questionable Notes:}G♯5 ("Diamond Ass", "Truck on Fire")
G5 ("Future-Shock", "Ratmouth", "Scumkill")
F♯5 ("Crow III")
E5 ("Crow III", "Die, Zombie, Die")
*These (among some of his other various notes in this area from around this era) are fairly uncontrolled screams from White Zombie's noisy 80s output that do not reflect his abilites, the ones counted within the main thread are the few notes from this era that were pulled off with a decent amount of support
B4 ("Behold, the Pretty Filthy Creatures", "The Life and Times of a Teenage Rock God")
*Former note is the same as the "Medication for the Melancholy" B♭4, the latter is mock stage banter which is underwhelming compared to his notes around the same pitch
B♭4 ("Medication for the Melancholy", "Sick Bubblegum")
*Former note is a shouted count-in, latter note is an erratic sounding (and likely cracked) note that sticks out in the melody
*Everything above F4 in "Iron Head" is likely a pitchshifting/scratching effect by DJ Lethal
G5 ("Future-Shock", "Ratmouth", "Scumkill")
F♯5 ("Crow III")
E5 ("Crow III", "Die, Zombie, Die")
*These (among some of his other various notes in this area from around this era) are fairly uncontrolled screams from White Zombie's noisy 80s output that do not reflect his abilites, the ones counted within the main thread are the few notes from this era that were pulled off with a decent amount of support
B4 ("Behold, the Pretty Filthy Creatures", "The Life and Times of a Teenage Rock God")
*Former note is the same as the "Medication for the Melancholy" B♭4, the latter is mock stage banter which is underwhelming compared to his notes around the same pitch
B♭4 ("Medication for the Melancholy", "Sick Bubblegum")
*Former note is a shouted count-in, latter note is an erratic sounding (and likely cracked) note that sticks out in the melody
*Everything above F4 in "Iron Head" is likely a pitchshifting/scratching effect by DJ Lethal
Higher Notes:
G♯5 ("Thunder Kiss '65")
G5 ("Black Sunshine", "Electric Head Pt. 2 (The Ecstasy)")
F♯5 ("Shack of Hate")
F5 ("Scumkill", "The One")
E5 ("Disaster Blaster", "Shack of Hate", "Thunder Kiss '65", "We're an American Band")
E♭5 ("Blast Off to Nowhere", "El Phantasmo and the Chicken-Run Blast-O-Rama", "Electric Head Pt. 2 (The Ecstasy)", "Feed the Gods", "Feel So Numb" live in Albuquerque NM 2001, "I Am Hell", "Let It All Bleed Out")
D5 ("God of Thunder")
C♯5 ("Crow III", "Feed the Gods", "The Man Without Fear", "We're an American Band")
C5 ("Dead City Radio and the New Gods of Supertown", "Werewolf, Baby!", "What?")
B4 ("Black Friday", "Dead City Radio and the New Gods of Supertown", "Dead Girl Superstar", "Disaster Blaster", "Feed the Gods", "Gentleman Junkie", "Grease Paint and Monkey Brains", "Reload", "Shack of Hate", "Trade in Your Guns for a Coffin", "War Zone", "Well, Everybody's Fucking in a U.F.O.", "We're an American Band")
B♭4 ("Behold, the Pretty Filthy Creatures", "Brick House 2003", "Feed the Gods", "Get Your Boots On! That's the End of Rock and Roll", "Let It All Bleed Out", "Lucifer Rising", "Never Gonna Stop (The Red, Red Kroovy)", "Ratmouth", "The Ballad of Resurrection Joe and Rosa Whore", "Two-Lane Blacktop", "What Lurks on Channel X?", "White Trash Freaks")
A4 ("Black Sunshine", "Children of the Grave", "Dead City Radio and the New Gods of Supertown", "Dead Girl Superstar", "Demonspeed", "Drowning the Colossus", "Electric Head Pt. 2 (The Ecstasy)", "Ging Gang Gong De Do Gong De Laga Raga", "Godslayer", "Gun Crazy", "King of Souls", "Michael", "Reload", "Satanic Cyanide! The Killer Rocks On!", "The Ballad of Resurrection Joe and Rosa Whore", "The Hideous Exhibitions of a Dedicated Gore Whore", "The Man Without Fear", "Trade in Your Guns for a Coffin", "We're an American Band", "Werewolf, Baby!", "Wurdalak")
G♯4 ("17 Year Locust", "Acid Flesh", "Black Friday", "Blast Off to Nowhere", "Children of the Grave", "Creature of the Wheel", "Crow III", "Demon Speeding", "Disaster Blaster", "Drowning the Colossus", "Eighty-Eight", "Electric Head Pt. 1 (The Agony)", "Feed the Gods", "Future-Shock", "I Am Hell", "Kick", "Lucifer Rising", "Magdalene", "Michael", "Murderworld", "Power Hungry", "Ratmouth", "Revenge", "Scum of the Earth", "Skin", "Super-Charger Heaven", "Two-Lane Blacktop", "War Zone", "We're an American Band", "What?")
G4 ("17 Year Locust", "Acid Flesh", "Black Sunshine", "Brick House 2003", "Cat's Eye Resurrection", "Demonspeed", "Devil's Hole Girls and the Big Revolution", "Disaster Blaster", "Dragula", "El Phantasmo and the Chicken-Run Blast-O-Rama", "Electric Head Pt. 2 (The Ecstasy)", "Everything is Boring", "Feel So Numb", "God of Thunder", "I Am Legend", "It's All About the Benjamins" rock remix, "King of Souls", "Let It All Bleed Out", "Mars Needs Women", "Meet the Creeper", "Memphis", "Murderworld", "Pig Heaven", "Power Hungry", "Return of the Phantom Stranger", "Revenge", "Run, Rabbit, Run", "Satanic Cyanide! The Killer Rocks On!", "Sick Bubblegum", "Superbeast", "Tales From the Scarecrowman", "The Great American Nightmare", "The Hideous Exhibitions of a Dedicated Gore Whore", "The Life and Times of a Teenage Rock God", "The Lords of Salem", "The Man Who Laughs", "True Crime", "Unholy Three", "White Trash Freaks")
Lower Notes:
C3 ("Bring Her Down (to Crippletown)", "Dragula", "Everything is Boring", "Little Piggy", "Lucifer Rising", "Ride", "War Zone")
B2 ("Living Dead Girl", "The Devil's Rejects")
B♭2 ("Bring Her Down (to Crippletown)", "Feed the Gods", "Feel So Numb", "Little Piggy", "Return of the Phantom Stranger")
A2 ("(Go to) California", "I Am Legend", "Living Dead Girl", "Real Solution #9", "Ride", "Well, Everybody's Fucking in a U.F.O.")
G♯2 ("Hands of Death (Burn Baby Burn)", "The One")
G2 ("Cosmic Monsters Inc.", "(Go to) California", "Michael", "Revelation Revolution")
F♯2 ("Burn", "Hands of Death (Burn Baby Burn)", "I Am Legend", "Living Dead Girl", "Real Solution #9", "Spiderbaby (Yeah-Yeah-Yeah)", "Starface", "The Ballad of Resurrection Joe and Rosa Whore", "The Devil's Rejects", "The Man Without Fear")
F2 ("House of 1000 Corpses", "Pussy Liquor", "Return of the Phantom Stranger", "The Ballad of Resurrection Joe and Rosa Whore")
E2 ("Cosmic Monsters Inc.", "Real Solution #9", "Spookshow Baby", "The Life and Times of a Teenage Rock God")
E♭2 ("Pussy Liquor", "Ratfinks, Suicide Tanks and Cannibal Girls", "White Trash Freaks")
D2 ("Ging Gang Gong De Do Gong De Laga Raga", "Michael", "Soul-Crusher", "Spookshow Baby")
C♯2 ("Blood, Milk and Sky", "Feed the Gods", "Grease Paint and Monkey Brains", "I'm Your Boogieman", "Ratfinks, Suicide Tanks and Cannibal Girls", "The One")
C2 ("Rock and Roll (In a Black Hole)", "The Ballad of Resurrection Joe and Rosa Whore", "White Trash Freaks")
B1 ("Ratfinks, Suicide Tanks and Cannibal Girls", "The Man Without Fear")
B♭1 ("Blood, Milk and Sky", "Rock and Roll (In a Black Hole)")
G♯1 ("Behold, the Pretty Filthy Creatures", "Let It All Bleed Out")
.......................................................
*Underlines mark notes in backing vocals or otherwise muffled/obscured in the mix.
*Green marks highly distorted screams.
*Italics mark notes in spoken notes.
The famed industrial metal solo artist and former lead singer for White Zombie (whose album "Astro-Creep 2000" is a personal favourite of mine) as well as horror movie director. Rob has gone through a considerable vocal evolution, starting in the 80s alternating between bizarre nasal snarls and demented screams (akin to an escaped mental patient), before developing his much more digestible gruff distorted style he became famous for in the 90s and after, however recently he has developed a more Alice Cooper-esque rasp in addition. The most formidable part of his range is his lower end, tone wise going from an eerie nasal rasp (as heard in "Grease Paint and Monkey Brains") to a very strong bassy sound ("Michael"), he uses this side of his voice to fairly good use, usually for a creepier or more intimidating effect. His high range, in contrast, seems to fairly consistent melodically up to C5, however anything above is typically false cord screams these days. Overall, a very distinct voice that is usually undermined his by theatrical persona, but definitely one that can be full of surprises.
Thread originally by Sandblasted. See this thread for more information.
