Post by Bink on Nov 18, 2022 13:02:56 GMT
Daniel Paul Johns (22 April 1979 - )
Vocal Range: E♭2 - D6
Associated Acts: Silverchair (1992 - 2011), Dreams, The Dissociatives (2003 - ), I Can’t Believe It’s Not Rock (2000)
Voice Type: Once Closet Tenor, Now too much of a tenor
{Vocal Summary}
I dunno if any of you know a lot about me, but I fucking love Silverchair. They are one of my favourite bands of the 90s and the fact they come from the country I was born in (Australia) gives them a special place in my memory. Does that mean I love Daniel Johns? Sure. Dude’s got some decent pipes and is overall a pretty talented songwriter. However Daniel’s voice will forever be a true anomaly to me because of a few reasons.
First off, for the first few years of his career, Johns tried (and failed) to convince everyone that he was this deep chested baritone, belting out very commonly almost screamed upper fourth octave notes. As he was only in his teenage years when he released his first few albums with Silverchair, he would constantly try to make rather low sounding notes high resulting in performances such as "Anthem For The Year 2000" where he tries to convince you he’s belting an E4 and it’s HARD work for him, which… no. As time went on, he hit a perfect blend of his tenor and baritonal (which he had fuck all of) qualities and being able to still release some neat songs in between in Diorama and Young Modern. I’d say this is where he reached his vocal peak from about 2001-2006. However after Silverchair disbanded, Johns started embracing his very much not inner tenor too much. Making sure he could every single note in falsetto which ended up culminating as a much more annoying Prince knock-off which he has since abandoned as a singer. Nowadays, he for the most part is a regular-ass tenor who sometimes embraces his falsetto and seldom uses low range.
As for regular voice typings, he’s most likely a rather normal placed tenor whose voice has seemed to fluctuate over the years.
Oh yeah also thanks to sylvia!! for helping me with major contributions to thread. Would have died if she didn't help me out.
I dunno if any of you know a lot about me, but I fucking love Silverchair. They are one of my favourite bands of the 90s and the fact they come from the country I was born in (Australia) gives them a special place in my memory. Does that mean I love Daniel Johns? Sure. Dude’s got some decent pipes and is overall a pretty talented songwriter. However Daniel’s voice will forever be a true anomaly to me because of a few reasons.
First off, for the first few years of his career, Johns tried (and failed) to convince everyone that he was this deep chested baritone, belting out very commonly almost screamed upper fourth octave notes. As he was only in his teenage years when he released his first few albums with Silverchair, he would constantly try to make rather low sounding notes high resulting in performances such as "Anthem For The Year 2000" where he tries to convince you he’s belting an E4 and it’s HARD work for him, which… no. As time went on, he hit a perfect blend of his tenor and baritonal (which he had fuck all of) qualities and being able to still release some neat songs in between in Diorama and Young Modern. I’d say this is where he reached his vocal peak from about 2001-2006. However after Silverchair disbanded, Johns started embracing his very much not inner tenor too much. Making sure he could every single note in falsetto which ended up culminating as a much more annoying Prince knock-off which he has since abandoned as a singer. Nowadays, he for the most part is a regular-ass tenor who sometimes embraces his falsetto and seldom uses low range.
As for regular voice typings, he’s most likely a rather normal placed tenor whose voice has seemed to fluctuate over the years.
Oh yeah also thanks to sylvia!! for helping me with major contributions to thread. Would have died if she didn't help me out.
Significant High Notes:
D6 (Random live improv)
C♯6 ("Emotion Sickness" Various live versions)
G♯5 ("Stand ‘Em Up")
G5 ("Mansions", "New York")
F♯5 ("By Your Side", "Faithless", "Preach", "Low", "The Man Who Knew Too Much")
F5 ("Freak" live Rio 2001, "I Feel Electric", "Sleepwalker", "Stand ‘Em Up", "We Are Golden")
E5 ("Aerial Love", "Chained", "Faultline", "Mansions", "Mind Reader", "Preach", "When We Take Over", "World Upon Your Shoulders")
E♭5 ("Dissolve", "Freak" live at Big Day Out 2008, "If You Keep Losing Sleep", "Into The Wild", "Satin Sheets", "Straight Lines", "Those Thieving Birds Pt.1 / Strange Behaviour / Those Thieving Birds Pt.2", "Where Do We Go?")
D5 ("Aerial Love", "All Across The World", "Be OK Again", "Chained", "Cocaine Killa", "Cool On Fire", "Emergency Calls Only", "Faultline", "Good Luck", "Imagination", "Reclaim Your Heart", "Preach", "Sleepwalker", "Those Thieving Birds Pt. 3", "When We Take Over", "World Upon Your Shoulders")
C♯5 ("After All These Years", "Cocaine Killa", "D4NGRSB0Y", "Emotion Sickness", "Faithless", "Mind Reader", "No Association", "Somewhere Down The Barrel", "Spawn (Again)" live at Melbourne Park 1999, "Those Thieving Birds Pt.1 / Strange Behaviour / Those Thieving Birds Pt.2", "Waiting All Day")
C5 ("Angry Megaphone Man", "Cool On Fire", "D4NGRSB0Y", "Emergency Calls Only", "Freak" live Rio 2001, "Horror With Eyeballs", "I Feel Electric", "Love to Live", "Luv Your Life", "Pop Song For Us Rejects", "Pure Massacre", "Reflections of a Sound", "Silence", "Straight Lines", "Those Thieving Birds Pt. 3", "Too Many", "Tuna in the Brine", "Waiting All Day", "Warm Hands", "We Are Golden", "We’re Much Preferred Customers")
B4 ("Acid Rain", "All Across The World", "Always", "Chained", "Cicada", "Dreams", "Freak" live at Big Day Out 2008, "Good Luck", "The Greatest View", "Into The Wild", "Madman", "The Man Who Knew Too Much", "No Association", "Preach", "Reclaim Your Heart", "Satin Sheets", "Spawn (Again)", "Those Thieving Birds Pt.1 / Strange Behaviour / Those Thieving Birds Pt.2", "Too Much Of Not Enough", "World Upon Your Shoulders", "Young Man, Old Man (You Ain’t Better Than The Rest)", "Young Modern Station")
B♭4 ("Across the Night", "Freak" live at Big Day Out 2008, "Going On 16", "Learn to Hate", "Luv Your Life", "My Favourite Thing", "Sleepwalker", "Spawn (Again)", "Stoned", "Straight Lines", "Tuna in the Brine", "Waiting All Day", "Where Do We Go?", "Without You", "Young Modern Station")
A4 ("Across the Night", "Aerial Love", "All Across The World", "Anthem For the Year 2000" live at Bizarre Fesitval 1999, "Be OK Again", "Blind", "Cicada", "D4NGRSB0Y", "Emergency Calls Only", "Emotion Sickness", "Faithless", "Faultline", "Good Luck", "The Greatest View", "I Feel Electric", "If You Keep Losing Sleep", "Insomnia", "Israel’s Son", "Learn to Hate", "Leave Me Out", "Lie to Me", "Low", "Mansions", "The Man Who Knew Too Much", "Nobody Came", "One Way Mule", "Pure Massacre", "Reclaim Your Heart", "Reflections of a Sound", "Shade", "Slave", "Sleep Well Tonight", "Someone Call An Ambulance", "Suicidal Dream", "Those Thieving Birds Pt. 3", "Tomorrow", "Too Many", "Young Man, Old Man (You Ain’t Better Than The Rest)", "Young Minds")
G♯4 ("After All These Years", "All Across The World", "Ana's Song (Open Fire)", "By Your Side", "Emotion Sickness", "Forever and a Day", "Insomnia", "Low", "Movies", "Point of View", "Spawn (Again)", "Straight Lines", "Those Thieving Birds Pt.1 / Strange Behaviour / Those Thieving Birds Pt.2", "Tuna in the Brine", "We’re Much Preferred Customers", "Where Do We Go?", "Without You")
G4 ("Acid Rain", "Aerial Love", "Angry Megaphone Man", "Cicada", "The Closing", "Dissolve", "Faultline", "Findaway", "Freak", "Going On 16", "Home", "Horror With Eyeballs", "If You Keep Losing Sleep", "Imagination", "Israel’s Son", "Leave Me Out", "The Lever", "Lie to Me", "Luv Your Life", "Mansions", "The Man Who Knew Too Much", "Mind Reader", "My Favourite Thing", "New York", "Nobody Came", "Numbers On The Board", "One Way Mule", "Pure Massacre", "Reclaim Your Heart", "Reflections of a Sound", "Shade", "Silence", "Somewhere Down The Barrel", "Stoned", "Take Her Out", "Thinking In Reverse", "Tomorrow", "Too Many", "Too Much Of Not Enough", "Undecided", "Waiting All Day", "Warm Hands", "When We Take Over", "Young Modern Station", "Young Minds")
Significant Low Notes:
E3 ("Abuse Me", "Acid Rain", "Aerial Love", "All Across The World", "Always", "Anthem For the Year 2000", "Black Tangled Heart", "Cemetery", "Do You Feel the Same", "Dreams", "Horror With Eyeballs", "The Greatest View", "The Lever", "Low", "Luv Your Life", "The Man Who Knew Too Much", "Mind Reader", "Miss You Love", "My Favourite Thing", "No Association", "Petrol & Chlorine", "Pop Song For Us Rejects", "Rain", "Reclaim Your Heart", "Reflections of a Sound", "Roses", "Silence", "Staging a Traffic Jam", "Steam Will Rise", "Suicidal Dream", "Undecided", "World Upon Your Shoulders", "Young Modern Station")
E♭3 ("After All These Years", "By Your Side", "Emotion Sickness", "Point of View", "Slave", "Straight Lines", "Thinking In Reverse", "Tuna in the Brine", "We’re Much Preferred Customers", "Where Do We Go?")
D3 ("Abuse Me", "Anthem For The Year 2000", "Be OK Again", "Black Tangled Heart", "Blind", "Cemetery", "Dearest Helpless", "Dreams", "Faultline", "Freak", "Imagination", "Israel’s Son", "Madman", "The Man Who Knew Too Much", "Miss You Love", "New York", "No Association", "Rain", "Roses", "Sleepwalker", "Suicidal Dream", "Too Much Of Not Enough", "Undecided", "World Upon Your Shoulders")
C♯3 ("Emergency Calls Only", "Emotion Sickness", "Freak" live at Big Day Out 2008, "Someone Call An Ambulance", "Those Thieving Birds Pt.1 / Strange Behaviour / Those Thieving Birds Pt.2", "Tomorrow")
C3 ("Angry Megaphone Man", "Cemetery", "Do You Feel the Same", "Horror With Eyeballs", "Reflections of a Sound", "Sleepwalker", "Somewhere Down The Barrel", "Steam Will Rise", "Straight Lines", "Too Many", "Tuna in the Brine", "Waiting All Day", "Warm Hands", "We Are Golden")
B2 ("Chained", "Faithless", "Freak", "If You Keep Losing Sleep", "Into The Wild", "One Way Mule", "Those Thieving Birds Pt.1 / Strange Behaviour / Those Thieving Birds Pt.2")
B♭2 ("Dissolve", "Mind Reader", "Somewhere Down The Barrel", "Stand ‘Em Up")
A2 ("All Across The World", "Cool On Fire", "Emergency Calls Only", "Horror With Eyeballs", "Mansions", "Preach", "Someone Call An Ambulance", "Steam Will Rise")
G♯2 ("If You Keep Losing Sleep", "Stand ‘Em Up", "We’re Much Preferred Customers")
G2 ("Numbers On The Board", "Warm Hands", "When We Take Over")
F♯2 ("One Way Mule")
F2 ("D4NGRSB0Y", "Sleepwalker")
E2 ("When We Take Over")
E♭2 ("By Your Side")
..................................................
• Blue denotes falsetto and whistle passages.
• Green denotes harshly distorted passages.
• Boldface denotes outstanding passages.
• Italics denote non-melodic and spoken passages.
• Underlines denote obscured and background passages.
Top 10 Vocal Performances:
2. Tuna in The Brine
3. The Greatest View
4. Tomorrow
5. Across The Night
6. World Upon Your Shoulders
7. Without You
8. One Way Mule
9. Reflections of a Sound
10. Ana’s Song (Open Fire)
{Discography + Credits}
Silverchair
Frogstomp (1995): C♯3 - D3 - C5 - E5
Freak Show (1997): B2 - C3 - A4 - C5 - C♯5
Neon Ballroom (1999): A2 - C3 - B4 - E♭5 sylvia!!
Diorama (2002): F♯2 - C3 - B4 - E5 sylvia!!
Young Modern (2007): G♯2 - B♭2 - E5 - F♯5
The Dissociatives
The Dissociatives (2004): G♯2 - A4 - B4 - C♯5 - D5
Solo
Talk (2015): E♭2 - G2 - B4 - F♯5 - G5
FutureNever (2022): E2 - B4 - F5 - G♯5
Dreams
No One Defeats Us (2018): G2 - A4 - E♭5
I Can’t Believe It’s Not Rock
I Can't Believe It's Not Rock (2000): D3 - G4
Italics Mark EPs
Grey Marks Compilations
Various live performances were notewatched by sylvia!! and Bink
Unless noted all material was notewatched by Bink
Silverchair
Frogstomp (1995): C♯3 - D3 - C5 - E5
Freak Show (1997): B2 - C3 - A4 - C5 - C♯5
Neon Ballroom (1999): A2 - C3 - B4 - E♭5 sylvia!!
Diorama (2002): F♯2 - C3 - B4 - E5 sylvia!!
Young Modern (2007): G♯2 - B♭2 - E5 - F♯5
The Dissociatives
The Dissociatives (2004): G♯2 - A4 - B4 - C♯5 - D5
Solo
Talk (2015): E♭2 - G2 - B4 - F♯5 - G5
FutureNever (2022): E2 - B4 - F5 - G♯5
Dreams
No One Defeats Us (2018): G2 - A4 - E♭5
I Can’t Believe It’s Not Rock
I Can't Believe It's Not Rock (2000): D3 - G4
Italics Mark EPs
Grey Marks Compilations
Various live performances were notewatched by sylvia!! and Bink
Unless noted all material was notewatched by Bink
{Questionable Notes}
E♭6 ("Madman"[5])
A5 ("I Feel Electric"[4], "Sleepwalker"[2][4])
G5 ("Mind Reader"[2])
I just ignored vocoded songs because who cares
A2 ("The Man Who Knew Too Much"[1][5])
G2 ("Mind Reader"[1])
E2 ("All Across The World"[5])
C♯2 ("Movies"[5], "Where Do We Go?"[4], "Young Man, Old Man (You Ain’t Better Than The Rest)"[1][5])
..................................................
[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.
E♭6 ("Madman"[5])
A5 ("I Feel Electric"[4], "Sleepwalker"[2][4])
G5 ("Mind Reader"[2])
I just ignored vocoded songs because who cares
A2 ("The Man Who Knew Too Much"[1][5])
G2 ("Mind Reader"[1])
E2 ("All Across The World"[5])
C♯2 ("Movies"[5], "Where Do We Go?"[4], "Young Man, Old Man (You Ain’t Better Than The Rest)"[1][5])
..................................................
[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.