Post by TheCMRecluse on Sept 25, 2023 23:44:41 GMT
Mike Lewis
Associated Acts: For Love Not Lisa (1990–1996), Puller (1996-2001)
Vocal Range: G2-D5 (2 octaves, 7 notes)
Vocal Type: Sugarless Tenor
{Vocal Summary}
Grunge around the 90s had a lot of attitude and a lot of times vocalists who just did all they wanted whether it sounded good or not due to their rebellious nature. Okie, Mike Lewis of For Love Not Lisa and Puller, two influential rock bands in Christian alternative, is definitely one of those rockstars from that time who rocked for the sake of it. He is a tenor whose voice seemed very similar to what most singers at the time sounded like, raspy, uncompromising and just does all he wants. His voice seems to sound like a mix of someone like Cobain and even has moments of sounding both in voice and music like Helmet’s Page Hamilton. His high register is passionate and in your face as he mixed melodic singing with yelling that basically mainly focused on the entire fourth octave only. His lower range was rarely used during his time in FLNL but started to use it more in Puller giving always moody vibe when singing about themes as relationships, moving on, redemption and nostalgia. While Lewis’ voice may seem outdated for some folks, he nevertheless is still a performer whose work has inspired many to try out the alternative vibe and become as crazy a rockstar as him.
Grunge around the 90s had a lot of attitude and a lot of times vocalists who just did all they wanted whether it sounded good or not due to their rebellious nature. Okie, Mike Lewis of For Love Not Lisa and Puller, two influential rock bands in Christian alternative, is definitely one of those rockstars from that time who rocked for the sake of it. He is a tenor whose voice seemed very similar to what most singers at the time sounded like, raspy, uncompromising and just does all he wants. His voice seems to sound like a mix of someone like Cobain and even has moments of sounding both in voice and music like Helmet’s Page Hamilton. His high register is passionate and in your face as he mixed melodic singing with yelling that basically mainly focused on the entire fourth octave only. His lower range was rarely used during his time in FLNL but started to use it more in Puller giving always moody vibe when singing about themes as relationships, moving on, redemption and nostalgia. While Lewis’ voice may seem outdated for some folks, he nevertheless is still a performer whose work has inspired many to try out the alternative vibe and become as crazy a rockstar as him.
{Discography Checked}
For Love Not Lisa
Genre: Hard rock/post-grunge/post-hardcore
Studio albums
Merge (1993) C♯3-A4-B♭4
Information Superdriveway (1995) A2-E♭3-E3-A4-B4
The Lost Elephant (1999) B♭2-E♭3-A4-B4
Puller
Genre: Post-grunge
Studio albums
Sugarless (1996) A2-G♯4
Closer Than You Think (1998) G2-G♯2-A2-B♭4-D5
What's Mine At Twilight (2001) B2-B♭4-B4
For Love Not Lisa
Genre: Hard rock/post-grunge/post-hardcore
Studio albums
Merge (1993) C♯3-A4-B♭4
Information Superdriveway (1995) A2-E♭3-E3-A4-B4
The Lost Elephant (1999) B♭2-E♭3-A4-B4
Puller
Genre: Post-grunge
Studio albums
Sugarless (1996) A2-G♯4
Closer Than You Think (1998) G2-G♯2-A2-B♭4-D5
What's Mine At Twilight (2001) B2-B♭4-B4
Significant High Notes:
D5 ("I Will (Walk In Your Shadow)")
B4 ("First To Move", "Kill Whitey", "One More Last One")
B♭4 ("Coming Into Focus", "I Will (Walk In Your Shadow)", "Merge", "Play", "Softhand", "Traces", "Two Can Play")
A4 ("Daring To Pick Up", "Fathers And Songs", "Hallowed Be", "Heat Of The Moment", "Icon", "If She's The One", "Lucifer For Now", "More Than A Girl", "Mother's Faith", "New Few", "One More
Last One", "Over You", "Simple Line Of Decline", "Slip Slide Melting", "Set Apart", "She's The Girl", "Some Afternoon Glitch", "Swallow", "Synchronicity Of The Preacher Man Blues", "The Good Song", "These Days", "Travis Hoffman")
G♯4 ("Almost Always", "Coming Into Focus", "Give Me A Ride", "Good Intentions", "Inamorata", "Kill Whitey", "Merge", "More Than A Girl", "Over You", "Seasick", "Set Apart", "Simple Line Of Decline", "Snowball Fight", "Softhand", "Stirred Up Dressed", "Super Size It", "Traces")
G4 ("#1 Fan", "6 x 6", "Am I Samaritan", "Back & Forth", "Bitter Vine", "Bring Me In", "Daring To Pick Up", "Daydream", "Far Removed", "First To Move", "Hallowed Be", "Had A Lover", "Just Enough", "Last One Out", "Light In Eve's Time", "Man On The Move", "Misery", "Myself Me", "Nothing But The Heavy", "Own Devices", "Prodigal", "Silent Film", "Slip Slide Melting", "Super Size It", "Swallow")
F♯4 ("6 x 6", "Bring Me In", "Heat Of The Moment", "Hold On To Me", "Never The Less", "Out Of My Head", "She", "Shut Off", "The Good Song", "These Days", "Triple A", "Wishing")
Significant Low Notes:
E3 ("Daydream", "Misery", "Out Of My Head", "Swallow", "Traces", "Travis Hoffman")
E♭3 ("Bring Me In", "Daring To Pick Up", "Give Me A Ride", "Inamorata", "Merge", "New Few")
D3 ("6 x 6", "Far Removed", "If She's The One", "Never The Less", "Slip Slide Melting")
C♯3 ("First To Move", "Heat Of The Moment", "Hold On To Me","Just A Phase", "Lucifer For Now", "She", "Wishing")
C3 ("No Use Running", "Would For You")
B2 ("She's The Girl", "Silent Film")
B♭2 ("If I Had These Things", "No Compression")
A2 ("#1 Fan", "Light In Eve's Time", "Some Afternoon Glitch")
G♯2 ("Would For You")
G2 ("Bitter Vine")
{Questionable Notes}
G♯5 ("No Compression")[2]
.......................................................
[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.
G♯5 ("No Compression")[2]
.......................................................
[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.
.......................................................
Blue marks falsetto or whistle notes.
Green marks harsh, distorted 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.
