Post by Seb on Feb 9, 2021 7:53:45 GMT
Michael Hutchence (22 January 1960 - 22 November 1997)
Vocal Range: B1 - F♯5
Associated Acts: INXS (1977 - 1997), Max Q (1989 - 1990)
{Discography}
INXS
INXS (B2 - A4)
Underneath The Colours (A2 - B4)
Shabooh Shoobah (E2 - G4 - A4)
The Swing (E2 - E5)
Listen Like Thieves (A2 - B4)
Kick (G2 - C♯5)
X (D2 - E5)
Welcome To Wherever You Are (C♯2 - B4)
Full Moon, Dirty Hearts (D2 - C5)
Elegantly Wasted (E2 - C5)
Max Q
Max Q (B1 - F♯5)
Michael Hutchence
Michael Hutchence (E2 - E5)
INXS
INXS (B2 - A4)
Underneath The Colours (A2 - B4)
Shabooh Shoobah (E2 - G4 - A4)
The Swing (E2 - E5)
Listen Like Thieves (A2 - B4)
Kick (G2 - C♯5)
X (D2 - E5)
Welcome To Wherever You Are (C♯2 - B4)
Full Moon, Dirty Hearts (D2 - C5)
Elegantly Wasted (E2 - C5)
Max Q
Max Q (B1 - F♯5)
Michael Hutchence
Michael Hutchence (E2 - E5)
Significant High Notes:
F♯5 ("Zero-2-0")
F5 ("Concrete")
E5 ("Let Me Show You", "Original Sin", "Suicide Blonde")
D5 ("Buckethead", "Keep The Peace", "Original Sin" (live), "Ot-Ven-Rot", "The Loved One" 1981 version)
C♯5 ("All The Voices", "Kick")
C5 ("A Straight Line", "Buckethead", "Building Bridges", "Devil Inside" Live at Wembley Stadium 1991, "Different World", "Everything" Max Q song, "Move On", "Need You Tonight/Meditate" live in Search Of Excellence 1988, "Nothing's Free", "On My Way", "Reverend Black Grape" live at Brixton Academy 1996, "Take You Higher", "Time")
B4 ("Baby Don't Cry", "Bitter Tears", "Black and White", "Deliver Me", "Face The Change", "Follow", "Girl On Fire", "Hangin' On" demo, "Hear The Sound", "I'm Coming (Home)", "Jesus Was A Man", "Kick", "Kiss The Dirt (Falling Down The Mountain)", "Let Me Show You", "Listen Like Thieves", "Move On", "New Sensation", "Not Enough Time", "One X One", "Ot-Ven-Rot", "Red Red Sun", "Shine", "Sometimes", "Spill The Wine", "Suicide Blonde", "Taste It", "The Loved One" 1987 version)
B♭4 ("A Straight Line", "Building Bridges", "Deepest Red", "Do Wot You Do", "Don't Lose Your Head", "Elegantly Wasted', "Fear", "Get On The Inside", "Hear The Sound", "Jesus Was A Man", "Kiss The Dirt (Falling Down The Mountain)", "Know The Difference", "Lately", "Move On", "Mystify" Chicago demo, "On My Way", "What You Need", "Wild Life")
A4 ("All The Voices", "Baby Don't Cry", "Big Go Go", "Body Language", "Born To Be Wild", "Buckethead", "By My Side", "Dancing On The Jetty", "Days Of Rust", "Don't Save Me From Myself", "Different World", "Disappear", "Don't Lose Your Head", "Everything" INXS song, "Everything" Max Q song, "Faith In Each Other", "Full Moon, Dirty Hearts", "Horizons", "I Send You A Message", "I'm Coming (Home)", "I'm Just A Man", "Jan's Song", "Jumping", "Keep The Peace", "Kick", "Let Me Show You", "Make Your Peace", "Never Tear Us Apart", "Night Of Rebellion", "Not Enough Time", "Please (You Got That...)", "Putting The Pieces Back Together", "Red Red Sun", "Rooms For The Memory", "Searching", "Shake The Tree", "She Is Rising", "Shine", "Sometimes", "Soul Engine", "Stars", "Taste It", "The Gift", "The Stairs", "The Swing", "Tight", "Time", "Tiny Daggers", "Way Of The World", "What You Need", "We Are Thrown Together", "Who Pays The Price")
G♯4 ("Biting Bullets", "Breathe", "Disappear", "Fair Weather Ahead", "Fear", "Follow", "Girl On Fire", "In Vain", "Jumping", "Know The Difference", "Learn To Smile", "Love Is", "New Sensation", "Not Enough Time", "On A Bus", "One X One", "Red Hill", "Same Direction", "Show Me (Cherry Baby)", "Spill The Wine", "Suicide Blonde", "The King Is Gone", "The Messenger", "The Strangest Part (These Are The Times)", "The Trap", "Wishy Washy")
G4 ("A Straight Line", "Baby Let's Play House", "Back On Line", "Barbarian", "Bitter Tears", "Body Language", "Born To Be Wild", "Buckethead", "Building Bridges", "Concrete", "Dancing On The Jetty", "Days Of Rust", "Deepest Red", "Devil Inside", "Dogs In Space", "Don't Lose Your Head", "Don't Save Me From Myself", "Elegantly Wasted", "Everything" Max Q song, "Faith In Each Other", "Fear", "Flesh In Blood", "Freedom Deep", "Full Moon, Dirty Hearts", "Get On The Inside", "Hear The Sound", "Heaven Sent", "Jesus Was A Man", "Lately", "Learn To Smile", "Let It Ride", "Let Me Show You", "Melting In The Sun", "Monday Night by Satellite", "Move On", "Mystify", "Need You Tonight", "Never Tear Us Apart", "Newsreel Babies", "Not Enough Tiime", "On My Way", "Ot-Ven-Rot", "Rooms For The Memory", "Searching", "Soul Engine", "Speed Kills", "Spy Of Love", "Suicide Blonde", "The Gift", "The Messenger", "The Stairs", "The Swing", "This Time", "Tight", "Tiny Daggers", "To Look At You" live, "Way Of The World", "We Are The Vegetables", "We Are Thrown Together")
F♯4 ("All The Voices", "Baby Don't Cry", "Biting Bullets", "Black And White", "Breathe", "Burn For You", "By My Side", "Days Of Rust", "Do Wot You Do", "Face The Change", "Flesh And Blood", "Get On The Inside", "Girl On Fire", "Good + Bad", "Guns In The Sky", "I'm Just A Man", "In Vain", "Jan's Song", "Jumping", "Just Keep Walking", "Kick", "Kiss The Dirt (Falling Down The Mountain)", "Let Me Show You", "Listen Like Thieves", "Love Is", "Make Your Peace", "Monday Night by Satellite", "One X One", "Original Sin", "Please (You Got That...)", "Putting The Pieces Back Together", "Same Direction", "She Is Rising", "Shine", "Simple Simon", "Sometimes", "Spill The Wine", "Taste It", "The Loved One", "The Gift", "The Swing", "This Time", "The Trap", "Tiny Daggers", "We Are The Vegetables", "We Are Thrown Together", "What You Need")
Significant Low Notes:
D3 ("A Straight Line", "Baby Let's Play House", "Back On Line", "Big Go Go", "Bitter Tears", "Buckethead", "By My Side", "Calling All Nations", "Dancing On The Jetty", "Fair Weather Ahead", "Follow", 'Freedom Deep", "Go West", "Good + Bad", "Heaven Sent", "I'm Just A Man", "Kill The Pain", "Lacavocal", "Listen Like Thieves", "Mystify", "Newsreel Babies", "On A Bus", "Questions", "Rooms For The Memory", "Slide Away", "Shake The Tree", "She Is Rising", "Shine Like It Does", "Soul Mistake", "Space Shuttle", "Stay Young", "Strange Desire", "Taste It", "The Loved One", "The Swing", "This Time", "To Look at You", "Underneath The Colours", "We Are Thrown Together", "Wild Life", "Wishing Well")
C♯3 ("All The Voices", "Biting Bullets", "Communication", "Do Wot You Do", "Fear", "Get On The Inside", "In Vain", "Jackson", "Kiss The Dirt (Falling Down The Mountain)", "Not Enough Time", "Old World New World", "Red Hill", "Show Me (Cherry Baby)", "The King Is Gone", "The Passanger")
C3 ("Baby It's Alright", "Building Bridges", "Concrete", "Days Of Rust", "Devil Inside", "Elegantly Wasted", "Fair Weather Ahead", "Forest Theme", "Hear The Sound", "Johnson's Aeroplane", "Just To Learn Again", "Know The Difference", "Lacavocal", "Lately", "Mediate", "Men And Women", "Monday Night by Satellite", "Mystify", "Need You Tonight", "Never Tear Us Apart", "Questions", "She Is Rising", "Strange Desire", "The Gift","The Stairs", "To Look at You", "Underneath The Colours")
B2 ("Beautiful Girl", "Body Language", "By My Side", "Full Moon, Dirty Hearts", "Heaven Sent", "Here Comes", "Let Me Show You", "Ot-Ven-Rot", "Original Sin", "Putting The Pieces Back Together", "Shake The Tree", "Shine Like It Does", "Soul Mistake", "Spill The Wine", "Suicide Blonde", "Taste It", "The King Is Gone", "Wishing Well")
B♭2 ("A Straight Line", "All The Voices", "Building Bridges", "Communication", "Forest Theme", "Know The Difference", "Let It Ride", "Monday Night by Satellite", "Questions", "Red Hill", "Spy Of Love", "To Look at You")
A2 ("Baby It's Alright", "Back On Line", "Buckethead", "By My Side", "Calling All Nations", "Concrete", "Dancing On The Jetty", "Devil Inside", "Everything" INXS song, "Everything" Max Q song, "Freedom Deep", "Full Moon, Dirty Hearts", "Ghost Of The Year", "Horizons", "I'm Only Looking", "Jackson", "Johnson's Aeroplane", "Men And Women", "Mystify", "Not Enough Time", "Rooms For The Memory", "Shine Like It Does", "Slide Away", "Soul Mistake", "Strange Desire", "Take You Higher", "Taste It", "The Gift", "Time", "Under My Thumb", "Underneath The Colours", "Viking Juice", "Way Of The World", "We Are Thrown Together", "Wild Life")
G♯2 ("Beautiful Girl", "Communication", "Love Is", "Monday Night by Satellite", "Mystify", "Putting The Pieces Back Together", "Red Hill", "Show Me (Cherry Baby)", "Soul Engine", "Spill The Wine", "The King Is Gone", "The Passenger")
G2 ("Baby, It's Alright", "Buckethead", "Building Bridges", "Cut Your Roses Down", "Devil Inside", "Different World", "Elegantly Wasted", "Everything" Max Q song, "Forest Theme", "I'm Only Looking", "Let It Ride", "Need You Tonight", "Ot-Ven-Rot", "Spy Of Love", "Strange Desire", "Taste It", "The Gift", "Under My Thumb", "Wild Life", "Wishing Well")
F♯2 ("Beautiful Girl", "Freedom Deep", "Not Enough Time", "She Is Rising", "Shine", "The Gift", "Viking Juice")
F2 ("Buckethead", "I'm Only Looking", "Know The Difference")
E2 ("Elegantly Wasted", "Everything" Max Q song, "Jackson", "Let Me Show You", "Love Is", "Not Enough Time", "Ot-Ven-Rot", "Soul Mistake", "Suicide Blonde", "The King Is Gone", "Under My Thumb", "Viking Juice")
D2 ("Know The Difference", "I'm Only Looking", "Rooms For The Memory", "Soul Engine")
C♯2 ("Communication")
B1 ("Everything" Max Q song)
{Description}
He was the frontman to one of the biggest bands to ever come out of Australia, spearheading alternative rock into the mainstream and providing a fresh, contemporary, highly influential fusion of rock with funk, dance and electronic music. He was one of the sexiest rock icons of all time, oozing charisma, charm and sheer vocal power on virtually every venue he stepped on. Although he passed away far too soon at the age of 37, his legacy as one of the last true rockstars of the 20th century is still felt to this day. The man, the legend, the loved one...Michael Hutchence.
Michael's voice was quite distinctive from many popular vocalists of the 80's and 90's. For instance, he had a dynamic, flexible, somewhat high placed baritone voice that could shift from soft and fragile to gritty and bold seamlessly. He made excellent use of a sensual, sing-talky lower register that not many popular vocalists were trying and a striking upper register that gave way to clean yet raw sounding belting (and virtually no falsetto because he didn't need it). His initial output was a bit different from his later, more iconic work: he mostly remained in his mid range (lower third to mid fourth octave) and his smoky 2nd octave vocals did not see much use. His tone was a bit more guttural (given the more punk styled direction the band was taking), though he still displayed a charismatic, magnetic quality in his voice and showed proficiency as a belter and low crooner (most notably on "In Vain", "To Look At You", and "Underneath The Colours"). Around The Swing and Listen Like Thieves, Michael started using his vocal extremes more, leading to a stronger upper register displayed on songs that had extended upper 4th octave parts ("What You Need", "Kiss The Dirt") and more dynamic, varied sounding highs ("Original Sin", "Taste It"). This would remain the norm for the rest of his discography, never going throughout an entire record without touching B4 in at least a few songs. His record under the alias Max Q with producer Ollie Olsen featured him at his most dynamic. It included some of his highest reaching vocals, with solid, if brief, 5th octave screams and belting up to tenor high D, as well as his strengthened, more confident mid to lower 2nd octave register. His 2nd octave vocals, while not particularly bass-y, would only continue to get stronger on each passing record ("Building Bridges", "Know The Difference", "Shine" and "I'm Only Looking" contain some of the best displays of his lower register). This balance of slick, hushed deeper vocals and powerful, hard hitting belts remained standard for Hutchence throughout the rest of his discography.
Unfortunately, Michael, who had struggled with depression and substance abuse for many years at this point, committed suicide while he was highly intoxicated on November 22nd of 1997, with a posthumous solo record released in 1999 being his last full length recording of new material. His vocals sounded on it as powerful and seductive as usual, leading one to wonder how many more incredible performances he could've delivered still. Here's to Michael Hutchence, one of rock music's greatest frontmen and a true force of nature in his time whose work will never be forgotten.
He was the frontman to one of the biggest bands to ever come out of Australia, spearheading alternative rock into the mainstream and providing a fresh, contemporary, highly influential fusion of rock with funk, dance and electronic music. He was one of the sexiest rock icons of all time, oozing charisma, charm and sheer vocal power on virtually every venue he stepped on. Although he passed away far too soon at the age of 37, his legacy as one of the last true rockstars of the 20th century is still felt to this day. The man, the legend, the loved one...Michael Hutchence.
Michael's voice was quite distinctive from many popular vocalists of the 80's and 90's. For instance, he had a dynamic, flexible, somewhat high placed baritone voice that could shift from soft and fragile to gritty and bold seamlessly. He made excellent use of a sensual, sing-talky lower register that not many popular vocalists were trying and a striking upper register that gave way to clean yet raw sounding belting (and virtually no falsetto because he didn't need it). His initial output was a bit different from his later, more iconic work: he mostly remained in his mid range (lower third to mid fourth octave) and his smoky 2nd octave vocals did not see much use. His tone was a bit more guttural (given the more punk styled direction the band was taking), though he still displayed a charismatic, magnetic quality in his voice and showed proficiency as a belter and low crooner (most notably on "In Vain", "To Look At You", and "Underneath The Colours"). Around The Swing and Listen Like Thieves, Michael started using his vocal extremes more, leading to a stronger upper register displayed on songs that had extended upper 4th octave parts ("What You Need", "Kiss The Dirt") and more dynamic, varied sounding highs ("Original Sin", "Taste It"). This would remain the norm for the rest of his discography, never going throughout an entire record without touching B4 in at least a few songs. His record under the alias Max Q with producer Ollie Olsen featured him at his most dynamic. It included some of his highest reaching vocals, with solid, if brief, 5th octave screams and belting up to tenor high D, as well as his strengthened, more confident mid to lower 2nd octave register. His 2nd octave vocals, while not particularly bass-y, would only continue to get stronger on each passing record ("Building Bridges", "Know The Difference", "Shine" and "I'm Only Looking" contain some of the best displays of his lower register). This balance of slick, hushed deeper vocals and powerful, hard hitting belts remained standard for Hutchence throughout the rest of his discography.
Unfortunately, Michael, who had struggled with depression and substance abuse for many years at this point, committed suicide while he was highly intoxicated on November 22nd of 1997, with a posthumous solo record released in 1999 being his last full length recording of new material. His vocals sounded on it as powerful and seductive as usual, leading one to wonder how many more incredible performances he could've delivered still. Here's to Michael Hutchence, one of rock music's greatest frontmen and a true force of nature in his time whose work will never be forgotten.
{Bolded Notes}
E5 "Original Sin"
D5 "Buckethead"
C5 "A Straight Line", "Devil Inside" (live at Wembley Stadium 1991)
B4 "New Sensation", "Jesus Was A Man", "Red Red Sun"
B♭4 "Lately"
A4 "Days Of Rust", "Only Time", "Never Tear Us Apart"
G♯4 "Love Is"
G4 "Elegantly Wasted", "Let It Ride", "To Look At You" (live)
F♯4 "In Vain", "Shine"
C♯3 "The King Is Gone"
C3 "Need You Tonight"
B2 "Suicide Blonde"
A2 "Strange Desire"
G♯2 "Love Is", "Soul Engine"
G2 "Building Bridges"
F♯2 "Shine"
E5 "Original Sin"
D5 "Buckethead"
C5 "A Straight Line", "Devil Inside" (live at Wembley Stadium 1991)
B4 "New Sensation", "Jesus Was A Man", "Red Red Sun"
B♭4 "Lately"
A4 "Days Of Rust", "Only Time", "Never Tear Us Apart"
G♯4 "Love Is"
G4 "Elegantly Wasted", "Let It Ride", "To Look At You" (live)
F♯4 "In Vain", "Shine"
C♯3 "The King Is Gone"
C3 "Need You Tonight"
B2 "Suicide Blonde"
A2 "Strange Desire"
G♯2 "Love Is", "Soul Engine"
G2 "Building Bridges"
F♯2 "Shine"
{Questionable Notes}
F7 ("Sometimes" [Good lord, there are like 12 different inhales and questionable notes on this track. This just happens to be the highest one])
F♯6 ("Need You Tonight" [1])
E♭6 ("Not Enough Time" [1])
B5 ('Keep The Peace" [1], "What You Need" [1])
F♯5 ("Shine" [5])
E5 ("Jumping" [1], "We Are The Vegetables" [3])
D5 ("Calling All Nations" [5])
C♯5 ("Follow" [1], "Barbian" [1])
C5 ("In Vain" [1], "Make Your Peace"[1], "Scratch" [1])
A4 ("Tiny Daggers" [2])
F2 ("Lacavocal" [3][4], "Spill The Wine" [1])
B1 ("I'm Coming (Home)" [4])
[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.
F7 ("Sometimes" [Good lord, there are like 12 different inhales and questionable notes on this track. This just happens to be the highest one])
F♯6 ("Need You Tonight" [1])
E♭6 ("Not Enough Time" [1])
B5 ('Keep The Peace" [1], "What You Need" [1])
F♯5 ("Shine" [5])
E5 ("Jumping" [1], "We Are The Vegetables" [3])
D5 ("Calling All Nations" [5])
C♯5 ("Follow" [1], "Barbian" [1])
C5 ("In Vain" [1], "Make Your Peace"[1], "Scratch" [1])
A4 ("Tiny Daggers" [2])
F2 ("Lacavocal" [3][4], "Spill The Wine" [1])
B1 ("I'm Coming (Home)" [4])
[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.
Special thanks to Henny Mack for sharing previously made research
