Post by Osmosis on Mar 19, 2024 18:54:32 GMT
Johnathon Thomas Squire (24 November 1962)
Member Of: The Patrol (1980), The Stone Roses (1983 - 1996, 2011 - 2017), The Seahorses (1996 - 1999), Solo (2002 - present)
Vocal Range: F♯2 - B4
Voice Type: Discount Dylan
{Vocal Summary}Best known for being the seminal guitarist in The Stone Roses and later The Seahorses, it would perhaps come as a suprise to many that Squire played the part of lead vocalist for his brief solo career in the early part of the 2000s.
The paucity of such material is perhaps a blessing - the singing is absolutely rancid. In his best moments he sounds like a strained Dylan tribute act, unsure of himself but still willing to give it a go. This was the case on the servicable "Time Changes Everything". Nothing pretty, but the heart and melodies are there. Follow up "Marshell House" however is little better than nails down a chalk board. Whatever tone may be there is obsured by excessive fry and incohorent drawling. It is a brutal listen, not quite Yoko Ono but similarly unlistenable. Pared with a limited range of D3 - E4, it sounds to me that Squire could not be bothered with the vocals in slightest way, merely a bolt on to push the record out. If he cannot be bothered, then I do not see why anyone else should. Don't.
The paucity of such material is perhaps a blessing - the singing is absolutely rancid. In his best moments he sounds like a strained Dylan tribute act, unsure of himself but still willing to give it a go. This was the case on the servicable "Time Changes Everything". Nothing pretty, but the heart and melodies are there. Follow up "Marshell House" however is little better than nails down a chalk board. Whatever tone may be there is obsured by excessive fry and incohorent drawling. It is a brutal listen, not quite Yoko Ono but similarly unlistenable. Pared with a limited range of D3 - E4, it sounds to me that Squire could not be bothered with the vocals in slightest way, merely a bolt on to push the record out. If he cannot be bothered, then I do not see why anyone else should. Don't.
Significant High Notes
B4 (“Shine a Little Light”)
G♯4 (“Sophia”)
G4 (“Shine a Little Light”)
F♯4 (“See You On the Other Side”)
E4 (“I Miss You”, “I'm So Bored With the USA" Live, "Joe Louis”, “Tightrope" Live, "Transatlantic Near Death Experience”, “Yawl Riding a Swell”, “Your Star Will Shine Again” Demo)
D4 (“15 Days”, “All I Really Want”, “Cape Cod Morning”, “Home Sweet Home”, “I Miss You”, “Joe Louis”, “Marshall’s House”, “Room in Brooklyn”, “See You on the Other Side”, Strange Feeling”, “Tables for Ladies”, “Transatlantic Near Death Experience”)
Significant Low Notes
D3 (“15 Days”, “All I Really Want”, “Automat”, “Cape Cod Morning”, “Hotel Room”, “I Miss You”, “Marshall’s House”, “Time Changes Everything”, “Summertime”, “Tables for Ladies”, “Transatlantic Near Death Experience”)
C3 (“Home Sweet Home”, “Time Changes Everything”)
B2 (“How Do You Sleep” Mohan Virgin Radio 2004, “Joe Louis”, "Tightrope" Live)
A2 (“15 Days”, “Transatlantic Near Death Experience”, “Welcome Me to the Valley”)
G2 (“Shine a Little Light”, “Strange Feeling”)
F♯2 (“Welcome Me to the Valley”)
{Questionable Notes}D5 (“Transatlantic Near Death Experience”) [1]
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[1] Questionable Quality
a. Aimless high range trill
Questionable notes are any notes with a questionable significance. In short, this spoiler acknowledges notes that I am aware exist, but do not want to contribute to the singer's range. These involve (but are not limited to) weak vocal fry, uncontrolled slides, very short notes, notes hit at an ambiguous pitch and notes where it is unclear who is singing.
..............................................................................................................
[1] Questionable Quality
a. Aimless high range trill
Questionable notes are any notes with a questionable significance. In short, this spoiler acknowledges notes that I am aware exist, but do not want to contribute to the singer's range. These involve (but are not limited to) weak vocal fry, uncontrolled slides, very short notes, notes hit at an ambiguous pitch and notes where it is unclear who is singing.
Boldface marks notable passages and examples of a singer's capabilities
Blue marks notes sung in a soft falsetto.
Italics mark non-melodic notes.
Underlines mark notes in backing vocals or otherwise obscured.
{Album Ranges}Time Changes Everything (2002): F#2 - E4 - G4 - B4
Marshall’s House (2004): D3 - E4
Marshall’s House (2004): D3 - E4