Post by IhateMana on Nov 19, 2020 21:17:53 GMT
Harriet Ella Wheeler (26 June 1963)
Associated Acts: The Sundays (1988 - 1997)
Vocal Range: E3 - G♯5
{Vocal Summary}Look, I've got something to say here and you're not gonna want to hear it. I wish I could say everything's going to be okay, but unfortunately this truth is so hard that I'm not entirely confident that you'll recover from it. Alas, as with any hardship, it doesn't start getting better until you've buckled down and worked on through it, so I guess I'd better just come out and say it. Okay, deep breaths, here it comes:
Harriet Wheeler is better than your favourite singer.
I'm sorry, but she just is. Cope however you want, it's not going to change anything. Yeah, so what if you're favourite singer can belt a Gfart9 or run a melisma in the key of dickbutt minor or whatever, none of the notes they've ever hit or will ever hit in the future contain even a microcosm of the crepuscularity Harriet Wheeler's voice contains. So what if there's only two and a half octaves of it? Those two and a half octaves have more tone in them than your favourite singer's lame ass second octave notes could ever hope for. Three albums all from over 20 years ago, half of the songs of which are middling jangle pop with brass or are otherwise heinously 90s England? Big deal, The Sundays could have released a two-hour double album of burps, cattle slaughter and vibrators and Harriet Wheelers vocals on their absolute classic of a debut would still forgive the sin. Harriet Wheeler's voice is what turns autumn leaves red, it's what holds a sunset in place longer, hell it probably helped put you on the goddamn planet if you're an early 90s baby. The bottom line is, your favourite singer sucks, Harriet Wheeler doesn't, tough fucking shit.
Written by @god.
Harriet Wheeler is better than your favourite singer.
I'm sorry, but she just is. Cope however you want, it's not going to change anything. Yeah, so what if you're favourite singer can belt a Gfart9 or run a melisma in the key of dickbutt minor or whatever, none of the notes they've ever hit or will ever hit in the future contain even a microcosm of the crepuscularity Harriet Wheeler's voice contains. So what if there's only two and a half octaves of it? Those two and a half octaves have more tone in them than your favourite singer's lame ass second octave notes could ever hope for. Three albums all from over 20 years ago, half of the songs of which are middling jangle pop with brass or are otherwise heinously 90s England? Big deal, The Sundays could have released a two-hour double album of burps, cattle slaughter and vibrators and Harriet Wheelers vocals on their absolute classic of a debut would still forgive the sin. Harriet Wheeler's voice is what turns autumn leaves red, it's what holds a sunset in place longer, hell it probably helped put you on the goddamn planet if you're an early 90s baby. The bottom line is, your favourite singer sucks, Harriet Wheeler doesn't, tough fucking shit.
Written by @god.
Significant High Notes
G♯5 ("Goodbye", "Summertime")
G5 ("A Certain Someone", "Nothing Sweet", "Wild Horses")
F♯5 ("Another Flavour", "Monochrome", "When I'm Thinking About You")
F5 ("Nothing Sweet")
E5 ("Blood on My Hands", "God Made Me", "Goodbye", "I Feel", "I Won", "Life & Soul", "My Finest Hour", "She", "Through the Dark")
E♭5 ("Your Eyes")
D5 ("Folk Song", "Gone", "Hideous Towns", "Leave This City", "Life & Soul", "Life Goes On", "Love", "Monochrome", "Noise", "Nothing Sweet", "On Earth", "What Do You Think?")
C♯5 ("Another Flavour", "God Made Me", "Goodbye", "I Can't Wait", "Medicine", "My Finest Hour", "She", "Summertime", "What Do You Think?")
C5 ("Here's Where the Story Ends", "Homeward", "I Won", "Life Goes On", "Love", "Skin & Bones", "Wild Horses", "You're Not the Only One I Know")
B4 ("24 Hours", "A Certain Someone", "Blood on My Hands", "Can't Be Sure", "God Made Me", "Gone", "Goodbye", "Here's Where the Story Ends", "Hideous Towns", "I Feel", "I Won", "Monochrome", "My Finest Hour", "Noise", "She", "Summertime", "Through the Dark", "What Do You Think?", "When I'm Thinking About You", "Wild Horses", "You're Not the Only One I Know")
Significant Low Notes
B3 ("24 Hours", "Goodbye", "I Kicked a Boy", "I Won", "Life Goes On", "Love", "My Finest Hour", "Through the Dark", "Wild Horses")
B♭3 ("Another Flavour", "Homeward", "Life & Soul", "Skin & Bones")
A3 ("Blood on My Hands", "God Made Me", "Hideous Towns", "Joy", "Medicine", "More", "Nothing Sweet", "She", "What Do You Think?", "You're Not the Only One I Know")
G♯3 ("A Certain Someone", "Goodbye", "I Feel", "I Won", "My Finest Hour", "Summertime", "When I'm Thinking About You")
G3 ("Blood on My Hands", "Cry", "Folk Song", "Gone", "Here's Where the Story Ends", "Homeward", "I Kicked a Boy", "Life Goes On", "Love", "More", "Nothing Sweet", "On Earth")
F♯3 ("Can't Be Sure", "I Feel", "Monochrome", "Noise")
F3 ("Homeward", "Leave This City")
E3 ("I Can't Wait", "Wild Horses")
.......................................................
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.
{Discography}
The Sundays
(1990) Reading, Writing and Arithmetic: F♯3 - C♯5 - G5
(1992) Blind: F♯3 - C♯5 - G♯5
(1997) Static & Silence: E3 - C♯5 - D5 - G♯5
The Sundays
(1990) Reading, Writing and Arithmetic: F♯3 - C♯5 - G5
(1992) Blind: F♯3 - C♯5 - G♯5
(1997) Static & Silence: E3 - C♯5 - D5 - G♯5