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Post by motorist on Apr 22, 2022 17:36:25 GMT
 Jerry Fulton Cantrell Jr. (March 18, 1966 - ) Years Active: 1985/1986 - present Associated Acts: Alice in Chains, Cardboard Vampyres, Ozzy Osbourne Voice Type: Enigma Wrapped in Baritone Recorded Vocal Range: D2 - E♭5High notes:E♭5 ( Improv MTV Unplugged 1996) C5 (" Cold Piece", " Spiderbite") B4 (" Feel The Void") B♭4 (" Again", " Anger Rising", " Chemical Tribe", " Give It A Name", " Jesus Hands", "Levon" live Seattle 2012) A4 (" 31/32", "Castaway", "Dying Inside, " Gone", "Jailbreak" live Los Angeles 2017 / live Hollywood 2016, " My Song", " Settling Down", " Thanks Anyway", "Them Bones" live with M.I.R.V. 2001) G♯4 ("All I Am", " Anger Rising", "Atone", "Brain Damage/Eclipse" live San Francisco 1998, "Breaks My Back", "Cold Piece", " Devil By His Side", "Dickeye", "Drone", " Feel The Void", " Hellbound", " Hurt a Long Time", "A Job to Do", "Keep the Light On", "Levon" live Seattle 2012, " My Song", "Never Fade", "The One You Know", " Pig Charmer", "Setting Sun", "Siren Song", " S.O.S.", "Them Bones" several live performances, solo, " Tuesday's Gone") G4 (" Bargain Basement Howard Hughes", "Chemical Tribe", " Cold Piece", "Deaf Ears Blind Eyes", " Dying Inside", " Effigy", " Give It a Name", "Gone", "Pro False Idol", " Psychotic Break", "Roadhouse Blues" live MoPOP 2017, " Satisfy", " Siddhartha", " Solitude", " S.O.S", "Spiderbite", "What the Hell Have I" several live performances, post-Layne) F♯4 ( "Bad Moon Rising" live MoPOP 2018, "Black Hearts and Evil Done", "Brighten", "Brother", "Cut You In", "Devil by His Side", "The Devil Put Dinosaurs Here", "Dickeye", "Dismembered", "Fly", " Get Born Again", "Goodbye", "Got Me Wrong", "Grind", " Hellbound", "Jailbreak" live Hollywood 2007, " A Job to Do", "Jesus Hands", "Keep the Light On", "Killer is Me" live MTV Unplugged 1996, " Last of My Kind" live, "Low Ceiling", "Man in the Box" live, post-Layne, " Mother's Spinning In Her Grave (Glass Dick Jones)", "The One You Know", "Over Now", " Owned", "Satisfy", "Setting Sun", " She Was My Girl", "Siren Song", " Spiderbite", "Squeeze Box" several live performances, "Stone", "Take Your Whiskey Home" unknown, "Tears", "The Unfillable Hole" live Seattle 2004, "Who'll Stop the Rain" live MoPOP 2018 / live Los Angeles 2019) F4 ("31/32", "All Secrets Known", " Angel Eyes", "Anger Rising", "Atone", "Bad Moon Rising" live MoPOP 2018, " Bargain Basement Howard Hughes", "Between", "Bleed the Freak", "Breath On A Window", "Brighten", "Choke", "Curtains" several live performances, " Cut You In", "The Devil Put Dinosaurs Here", "Dickeye", "Dismembered", "Drone", "Feel The Void", "Glory Lane" live Seattle 2004, "Hurt a Long Time", "Levon" live Seattle 2012, "Locked On", "Low Ceiling", "Maybe", "My Song", "Never Fade", "Nobody Breaks You", "Over Now", "Prism of Doubt", " Private Hell", " Pro False Idol", "Rainier Fog", "Settling Down", "She Was My Girl", "The Unfillable Hole" live Seattle 2004, "Voices") Low notes:D3 ("31/32", "Angel Eyes", "Bargain Basement Howard Hughes", "Castaway", "Chemical Tribe", " Deaf Ears Blind Eyes", "Dying Inside", "Give It a Name", "Goodbye", "Pro False Idol", " Satisfy", " Solitude", "Thanks Anyway") C♯3 ("All I Am", " A Looking in View", "Anger Rising", "Between", "Brain Damage/Eclipse" several live performances, " Cold Piece", "Dam that River" live, post-Layne, " Dirt", "Don't Follow", " Hollow", "I Stay Away" live Seattle 2007, Improv MTV Unplugged 1996, "It Ain't Like That" several live performances, solo, "Keep the Light On", "Lab Monkey", " Lesson Learned", " Man in The Box", "Mr. Tambourine Man" live Denver 2015, "My Song", "Nobody Breaks You", " No Excuses", "One Eyed Jacks" live Seattle 2004, "Owned", "Prism of Doubt", "Red Giant", "Rotten Apple" live, post-Layne, " Scalpel", " Sunshine", "Them Bones" several live performances, solo, " The One You Know", "Voices", "Wish You Were Here" several live performances) C3 ("31/32", "A Satisfied Mind" Jimmy Carter Acoustic Tribute, "Bargain Basement Howard Hughes", " Drone", "Dying Inside", "I've Seen All This World I Care to See", "Killer is Me" live MTV Unplugged 1996, "Mother's Spinning In Her Grave (Glass Dick Jones)", O Little Town of Bethlehem Improv Philadelphia 2013, " Phantom Limb", "Pig Charmer", " Private Hell", "Psychotic Break", " Settling Down", "Spiderbite", "Thanks Anyway") B2 (" Angel Eyes", " Ashes to Ashes", "Down in a Hole", "Hellbound", " Locked On", "Pro False Idol", " Tears") B♭2 ("Acid Bubble", " Angel Eyes", "A Satisfied Mind" Jimmy Carter Acoustic Tribute, "Feel The Void", "I've Seen All This World I Care to See", "Keep the Light On", "Killer is Me" live MTV Unplugged 1996, "No Excuses", "Owned", " Phantom Limb", "Pig Charmer", " Pretty Done", " Private Hell", "Right Turn" live, "Spiderbite") A2 (" 31/32", " Castaway", " Cut You In", "Gone", "Happy Birthday" Improv Detroit 2022, "Love Her Madly" live MoPOP 2017, "Mother's Spinning In Her Grave (Glass Dick Jones)", "Pro False Idol", " Settling Down", "Thanks Anyway", "What It Takes") G♯2 (" Down in a Hole", "Feel the Void", "Hellbound", "Private Hell", "When the Sun Rose Again") G2 (" Chemical Tribe", "Feel the Void", "Pro False Idol", "What It Takes") F♯2 ("Brother", " Jesus Hands") F2 ( "Chemical Tribe", "A Looking In View", "Put You Down") E2 ( "Gone") D2 ( singing the riff of "Stone" interview 2015) {Questionable Notes} E♭5 ( "Feel the Void" [4]) F♯4 ("Lying Season" [2, could be Layne Staley]) D3 ( "Dirty Deeds Done Dirt Cheap" live New York 2009 [2][4]) G♯2 ("Don't Follow" [1]) F♯2 ("Mother's Spinning In Her Grave (Glass Dick Jones)" [1]) E2 ("Pro False Idol" [1]) E♭2 (" Jesus Hands" [5]Any short vocal dips of barely discernible pitch such as the D2 in "Give It a Name" go here .......................................................
[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.
[5] marks notes that may have been pitch-shifted.
[6] 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........................................................ Underlines mark notes in backing vocals or otherwise muffled/obscured in the mix.
Blue marks falsetto notes.
Italics mark non-melodic notes.Boldface marks notes considered to be notable examples of this person's vocal capabilities.{ Summary} Alice in Chains' esteemed guitarist/primary songwriter and on & off lead vocalist. Not one to completely take the spotlight, Cantrell often stays fairly conservative range-wise, making mostly use of his mid range which gives a thoughtful, sentimental vibe to most of his lead vocal performances in AIC (such as in "Would?" and "Don't Follow"). The few times he's strayed from his comfort zone can be rather surprising, as he has shown to be capable of some rather formidable gritty fourth octave belting up to around G♯4 (as heard in his solo tracks "Keep the Light On" and "Breaks My Back"). He also has a strong low note presence that he only seems to use semi-frequently, typically down to around G2 (best heard in "What It Takes" and "Pro False Idol"). While his upper range has seen extensive use since the late 90’s in Alice in Chains songs, solo work, and live performances of other artists' songs, his low range remains rather underused, as even the latest Brighten album bottoms out at C♯3 despite Cantrell's ability to down to the lower second octave. Cantrell is overall an essential component of the 90s Seattle scene, both for his contributions in his guitar playing abilities and for the visceral, emotional quality of Alice in Chains' music; his vocals adding immensely to the band's musical palette in providing a solid earnest counterpoint to Layne Staley's/William Duvall's more powerful belting. Written by Sandblasted{Discography}Alice in Chains:
Facelift (1990): F2-F4
Sap (1992): F♯2-F♯4
Dirt (1992): G♯2-E4
Jar of Flies (1994): B♭2-F4
Alice in Chains (1995): E♭3-F♯4-B♭4
Black Gives Way to Blue (2009): F2-F4
The Devil Put Dinosaurs Here (2013): B♭2-F♯4
Rainier Fog (2018): C3-G♯4
Solo:
Boggy Depot (1998): F♯2-A4-C5
Degradation Trip Volumes 1 & 2 (2002): E2-B♭4-C5
Brighten (2021): C♯3-G♯4
Original thread by Sandblasted on TRP 3.0 |
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Post by motorist on Apr 22, 2022 21:51:50 GMT
This is looking pretty good so far! All the links and sections are in the right place, and everything has good format. I remember seeing this before, but I didn't have a TRP account, so I haven't seen it maybe in ages. Thanks for bringing it back. One thing I notice that you might want to look into is that there seems to be a gap after a few song titles: Spiderbite in F#4, I Stay Away and Sunshine in C#3, I've Seen All This World... in C3, Keep the Light On in Bb2. Great job overall! Thanks. Jealous of how you get your threads done so fast.. Fixed. The new line characters were actually intentional because I thought it looked ugly when the small linked text bled into another line, but you made me realize that it looks even worse with the commas so I deleted all the new line characters. Thank you. Honestly even if one comma or quote or apostrophe is the wrong type - let me know, that stuff really bothers me to no end. The old thread is here, to compare: therangeplanet.proboards.com/thread/1373/jerry-cantrellA few notes deleted: a) F4 in No Excuses, could not hear it. I believe the part Sandblasted heard the F4 was just Layne multitracking himself ( youtu.be/BJq1BXGPogQ?t=35 ), b/c when Cantrell came in it sounded much different b) G♯2 in Heaven Beside You, 99% sure every single one of the low notes is Layne from this video: www.youtube.com/watch?v=_FV5fBFlglA (1:04, backing on "hell within" multiple times, 3:10) c) F♯4 in Man in the Box, changed to a live note, as the studio version had Layne doing that: youtu.be/CHSk4sjA4yM?t=251 (It says 'Jerry Cantrell only' but that's not Cantrell for sure) d) B2 in "Killer is Me", I'm almost certain he was referring to the ending note, which I hear as a C3 (linked in thread). e) F4 in Nothin' Song, no way Cantrell sings on that track. Also from the Layne thread I notified about the F2 and G♯2 in backing vocals, but no response so far. |
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Anacrusis
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Post by Anacrusis on Apr 23, 2022 6:03:26 GMT
If you wanna talk speed, it's paralipan who deserves credit. That guy finishes new threads like it's nothing. But I appreciate it, thanks.
The new line characters didn't look that bad. I only pointed them out because they were a subtle detail, but I thought maybe they were an error. I'll let you know if I find anything that seems off, but everything's looking solid. And now that you point it out, big props for taking the time to link all the live notes and for researching them in the first place. These live notes you've added really flesh out the thread. And it must've taken a lot of time to link them all (I myself only link the bolds in my threads because it's all I have patience for, lol).
Thanks for including the old thread. I guess I did see it here at Range World then. It's confusing sometimes: I'd been visiting TRP for a while, but I never made an account until recently. So I'm in a limbo where I can't access The Range Place but I find myself vaguely recalling old threads we don't have anymore like Phil Collins or Eric Clapton.
As for those notes you point out, I'm not that well-versed on the differences between Cantrell's and Staley's voices, but FWIW, I do have some opinions and/or suggestions:
a) No Excuses is interesting. The verse is a 2-part harmony, but then, once the chorus hits, it's a 3-part harmony that starts with what sounds like a chord of C#4, F#4, and Bb4. The middle voice is clearer when slowed down. IDK who sings the harmony voices below the top line. I only know for sure that Staley does the top and that Cantrell comes in halfway through as an overdub. Still, I personally wouldn't rule out the possibility that Cantrell sang the middle voice in the 3-part harmony, which I think tops at F#4. It might be worth spoilering, if you agree with that note being in the harmony.
b) I agree that those lows are just Staley. Cantrell only goes down to Eb3 from what I hear. I also agree that the F2 at 3:10 is Staley. Hopefully, they'll be able to get back to you soon about that on Staley's thread.
c) Good call on substituting that with a live note. The studio's definitely Staley.
d) It's interesting. I actually hear the last note in Killer is Me start as a Bb2. But I agree on counting it as a C3, as that's where the most resonance is. Anything below the C3 is just a scoop/anacrusis to me. And I should know. After all, I myself am an Anacrusis, apparently.
e) I only hear Staley on this track as well.
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Post by motorist on Apr 24, 2022 4:27:45 GMT
) No Excuses is interesting. The verse is a 2-part harmony, but then, once the chorus hits, it's a 3-part harmony that starts with what sounds like a chord of C#4, F#4, and Bb4. The middle voice is clearer when slowed down. IDK who sings the harmony voices below the top line. I only know for sure that Staley does the top and that Cantrell comes in halfway through as an overdub. Still, I personally wouldn't rule out the possibility that Cantrell sang the middle voice in the 3-part harmony, which I think tops at F#4. It might be worth spoilering, if you agree with that note being in the harmony. I added the F#4 to questionable notes. The suggestion of slowing it down was helpful as now I can hear all three parts clearly - but I'm actually hearing all of them as Staley. The top two blend in very well with each other (plus Staley replicated the middle one live) and the bottom one has raspy vibrato at the end, both of which point away from Cantrell singing there IMO. But still, worth putting in anyway if the consensus is that nobody Cantrell who's singing there. Thanks for letting me know about all of the other notes, especially B2 vs C3 as I was confused about that. The Bb2 I hear as well, but a much stronger one is linked in the thread: youtu.be/JztnWfB3sfY?t=77Linking live notes was how I kept track of the notes anyway so it made sense for me to add them to the thread as well. It took more time, but wasn't that bad with copy/pasting code, and it's much more convenient for those who want to hear unique examples of the person's voice. edit: deleted from spoiler after Anacrusis said that what I mentioned was enough to determine it was all Staley, but here is the passage: youtu.be/BJq1BXGPogQ?t=85 |
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Anacrusis
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Post by Anacrusis on Apr 24, 2022 4:48:43 GMT
) No Excuses is interesting. The verse is a 2-part harmony, but then, once the chorus hits, it's a 3-part harmony that starts with what sounds like a chord of C#4, F#4, and Bb4. The middle voice is clearer when slowed down. IDK who sings the harmony voices below the top line. I only know for sure that Staley does the top and that Cantrell comes in halfway through as an overdub. Still, I personally wouldn't rule out the possibility that Cantrell sang the middle voice in the 3-part harmony, which I think tops at F#4. It might be worth spoilering, if you agree with that note being in the harmony. I added the F#4 to questionable notes. The suggestion of slowing it down was helpful as now I can hear all three parts clearly - but I'm actually hearing all of them as Staley. The top two blend in very well with each other (plus Staley replicated the middle one live) and the bottom one has raspy vibrato at the end, both of which point away from Cantrell singing there IMO. But still, worth putting in anyway if some people Cantrell who's singing there. Thanks for letting me know about all of the other notes, especially B2 vs C3 as I was confused about that. The Bb2 I hear as well, but a much stronger one is linked in the thread: youtu.be/JztnWfB3sfY?t=77Linking live notes was how I kept track of the notes anyway so it made sense for me to add them to the thread as well. It took more time, but wasn't that bad with copy/pasting code, and it's much more convenient for those who want to hear unique examples of the person's voice. Nice! I'm glad I was able to help out a bit. Based on what you tell me, I agree it was most likely Staley doing the full harmony. Everything points to that: the raspy vibrato that you mention, the sudden entrance of Cantrell as an overdub, and the fact that the harmony's texture is more homogeneous than Cantrell's and Staley's usual harmonies. Plus, if Staley replicated the middle line (F#4) live, then generally speaking, that's a big indicator it was done that way in the studio at one point. And now that you mention it, for groups with multiple singers like AIC, watching live shows is a great way to keep track of who does what part. I'll have to do that more often, along with linking more live notes in general. I've honestly just been too lazy to enter in more code, but I agree that for a few more minutes of copying/pasting, it's a good way to expose the user/visitor to a more natural side of the singer's voice. |
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Henny Macc
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Post by Henny Macc on Apr 25, 2022 3:36:44 GMT
And now that you mention it, for groups with multiple singers like AIC, watching live shows is a great way to keep track of who does what part. I'll have to do that more often, along with linking more live notes in general. I've honestly just been too lazy to enter in more code, but I agree that for a few more minutes of copying/pasting, it's a good way to expose the user/visitor to a more natural side of the singer's voice. As someone who frequently notewatches multiple singing members of the same band, I 100% agree! I would be absolutely lost for figuring out whose voice was whose if I didn't have live versions to check for reference. My most challenging one to date was notewatching all the members of Mr. Big (Eric Martin, Paul Gilbert, Billy Sheehan, and Pat Torpey) - all of whom sing, frequently do four part harmonies in songs, and to top it off they don't even always have a consistent pattern for who takes which harmonies. Trying to sort through all that was a mess! Thankfully they have a ton of live albums/DVDs, which were a major help for me to consult when trying to discern who was doing what parts in various songs. I always recommend that people check live albums/DVDs for their threads in general (because you never know what kinds of extra notes singers might throw in during live performances of songs), but I think it's especially important in cases like this when there are multiple singers to distinguish notes between.
Right now I'm also working on threads for the instrumentalists of Extreme (Nuno Bettencourt and Pat Badger), which is another band with lots of vocal harmonies where I have to figure out who's doing what part. However, in their case they're usually at least a bit more consistent - Nuno almost always takes the lower harmonies and Pat almost always takes the higher harmonies, with Gary Cherone often singing the melody in the middle or as a call-and-response vocal. But even with them I've been finding myself having to defer to live versions here and there to make sure I'm matching the voices correctly, cause it's always better to cross-check these things if you have any doubts.
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Anacrusis
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Post by Anacrusis on Apr 25, 2022 5:19:58 GMT
As someone who frequently notewatches multiple singing members of the same band, I 100% agree! I would be absolutely lost for figuring out whose voice was whose if I didn't have live versions to check for reference. My most challenging one to date was notewatching all the members of Mr. Big (Eric Martin, Paul Gilbert, Billy Sheehan, and Pat Torpey) - all of whom sing, frequently do four part harmonies in songs, and to top it off they don't even always have a consistent pattern for who takes which harmonies. Trying to sort through all that was a mess! Thankfully they have a ton of live albums/DVDs, which were a major help for me to consult when trying to discern who was doing what parts in various songs. I always recommend that people check live albums/DVDs for their threads in general (because you never know what kinds of extra notes singers might throw in during live performances of songs), but I think it's especially important in cases like this when there are multiple singers to distinguish notes between. I agree. Cross-checking's the way to go for voice matching, and it is something I should do more often, if not just to flesh out highs/lows for threads that may look kinda sparse otherwise. And I know I've got a few to work on in that regard. And wow. I've dissected two- and occasionally three-part harmonies while notewatching, but four-part's gotta take some skill. I also find it interesting that each of the four members of Mr. Big has at least three octaves of melodic range. What are the odds they'd all be singing together in one band as instrumentalists? (I guess maybe Queen had the same thing, too, but it depends on what we know about John Deacon's range... Edit: Looks like all four Beatles have 3+ octaves. Can't believe I didn't think of that sooner.) |
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Post by Henny Macc on Apr 25, 2022 7:58:57 GMT
I agree. Cross-checking's the way to go for voice matching, and it is something I should do more often, if not just to flesh out highs/lows for threads that may look kinda sparse otherwise. And I know I've got a few to work on in that regard. Yeah, the fleshing out threads that may otherwise look kinda sparse bit was definitely part of my motivation for doing it that way, though with the Mr. Big threads I ultimately only ended up really needing to fill space for Pat Torpey's haha - all the others turned out to already have plenty of material on their own. I will also say that I've grown pretty attached to hyperlinking live notes as well for the same reason though - just cause if there's any instance where you can't remember what the alleged note in question was in a certain performance, you can click it and instantly retrace it, and maybe reevaluate whose voice it sounds like if you need to. I know that method has definitely helped me out during some instances in the past. And wow. I've dissected two- and occasionally three-part harmonies while notewatching, but four-part's gotta take some skill. I also find it interesting that each of the four members of Mr. Big has at least three octaves of melodic range. What are the odds they'd all be singing together in one band as instrumentalists? (I guess maybe Queen had the same thing, too, but it depends on what we know about John Deacon's range... Edit: Looks like all four Beatles have 3+ octaves. Can't believe I didn't think of that sooner.) It definitely does take skill, and lots of patience haha. Though I will say that if you can figure out the standard breakdown of how the band stacks their harmonies, that can help do a lot of the groundwork for you, and then you just have to go through stuff and verify whether or not they're stacking it that way. Mr. Big's pattern for that changed at one point over their career, but I was able to mostly narrow it down to what order they'd be stacking the harmonies based on what year the performance was. I don't guarantee that I got 100% accuracy from it, but I probably got the closest thing to that that anyone could have realistically expected.  As far as examples of bands that have four members with 3 octave+ ranges go, I wouldn't name Queen as one since John Deacon didn't really sing, but The Beatles are another as you mentioned, and so are Kiss for that matter. There's also Sons of Apollo, which has Jeff Scott Soto, Ron "Bumblefoot" Thal, Billy Sheehan, and Mike Portnoy in it - all of whom have at least close to four octave ranges actually! Bumblefoot doesn't have a thread yet and Portnoy hasn't had one since TRP2, but I'm thinking of doing ones for each of them at some point. You may be able to find a couple of other examples by digging through this thread. On a side note, I also dig that electric fuchsia in Eric Martin's thread. I notice there's been some debate over that decision, but, at least from the opinion of a random newbie like me, I think it's a nice way to represent Martin's primal werewolf David Lee Roth-esque screeching. It's not regular green or black anymore at that point. It's certified electric fuchsia. At least, fuchsia is what I see when I hear him scream like that. Cool, do you mind moving this part of the discussion over to his thread in that case? We're getting somewhat off-topic from Cantrell here, but I can justify the other parts because they're still tangentially related to the original subject and there's not really a better place to have them for the time being. Discussions about other singers specifically should go in their specific threads though.  |
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