Wednesday 3 November 2010
Ciara- "Gimme dat" official video
The video is great too and has Ciara displaying some amazing choreography, reminding us that she- move over Beyonce- is the strongest female dancer out there.
Ciara you certainly have been "gone for too long" and I, for one, am looking forward to the return of the Queen of Crunk!
"Gimme That" lyrics
[Vocal Profile] Taylor Swift
Vocal Type:Light Lyric Soprano
Vocal Range: 2 octaves and 3 note [D3- G5]
Vocal Pluses: A clear and simple voice that favors a strong melody over vocal bells and whistles. Whether an artistic choice, or due to vocal limitations, it's a style that successfully lends itself to the narratives the Diva injects into her art, allowing for her lyrics to be understand and appreciated. Though not often heard, Taylor can hold notes throughout her range [Red 1, 2], and has demonstrated some dexterity, being able to switch to her head-voice quickly [I Knew You Were Trouble] .
Taylor's mid-range, at its bottom, has a slight huskiness to it [Innocent]. However that quickly lifts, as the voice takes a nasal placement, revealing a bright and definite tone that is without any real texture. The Diva can create more texture, but in doing so the voice becomes less dynamic, becoming airier and thinner. Taylor often utilises this timbre for layering and creating harmonies [The Last Time]. Her easiness in the mid-range means she is free to play with her delivery- for instance adding a playful scorn to her tone in We Are Never Ever Getting Back Together to accentuate the lyrical content. The intrinsic character of Taylor's own speaking voice is most prevalent here, but it can be found throughout the range, meaning her vocals remain identifiable and attributable.
Her chest/belting range is cool and almost metallic in tone. Due to the lightness of the voice, Taylor doesn't appear to have any issues in this part of the range, being able to hit mid-fifth octave notes with little change in tone, timbre [State Of Grace]. Though there is shedding of weight as she ascends the fifth octave, it isn't enough to strip the voice of its character. The unwavering nature of her belts also suggests the Diva has great breath control and support when executing them [Collection of Taylor's belts].
The top of her range is soft, sweet and akin to a breathy falsetto [Forever and Always (Piano Version)]. The Diva sounds comfortable here, showing no issues singing here for lengthy periods of time.
Vocal Negatives: Overall the voice has a anemic tone, and lacks volume and power.
Tuesday 2 November 2010
Proof that Christina Aguilera is a better live singer than Lady Gaga?
A member of Youtube has created a video that pits the vocals of Christina Aguilera against Lady Gaga. I'm not inclined to agree with the uploader's opinion, as I think Christina and Gaga have their own strengths and weaknesses, but I still thought it was interesting enough to post.
But what do you think? Do you think Christina Aguilera is a better live Singer than Lady Gaga?
Rihanna "Only Girl" X Factor 2010 (Full Version) Live Results Show 4
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| Rihanna Performing Only girl on Xfactor |
Rihanna performed a knock out version of Only girl on the British talent show the X-factor. The year spent touring has really done the singer good, improving both Rihanna's live voice as well as her stage presence.
I particularly liked the contrast created between the orchestral start and the fully electronic, single version that follows in the chorus.
Watch the video below:
Did Willow Smith Diss Rihanna before performing "WHIP MY HAIR" (LIVE ON ELLEN)
It looks like Willow Smith is aware of the Rihanna comparisons being banded about and deftly brushes them off by singing a little tribute of Rihanna's "Only girl in the world" at the start of her performance of "Whip my hair" on Ellen. Watch the clip below
Mariah Carey - "Merry Christmas II You" review.
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| Mariah Careys' Merry Christmas ii you |
Mariah Carey's second Christmas album Merry Christmas II You has been released, but can it match the runaway success of her first, Merry Christmas to you. Being a bit of an old Scrooge, it doesn't look good for the album even before its had a listen but this collection, minus Oh Santa and Auld Lang Syne (which is a terrible 90's club throwback), sound so evocative of the Christmas of yesteryear -think Bing Crosby and Dean Martin- that they even melted my cold heart.
The Stand-out song has to be "Come All Ye Faithful-Hallelujah" which is a duet between Mariah Carey and her opera-singer mother, Patricia Carey.To hear Patricia's thick, steadfast, soprano being danced around by Mariah's nimble melisma is a wonder to the ears and the meeting of the classical style of singing with its contemporary counterpart is a Christmas present come early.
Mariah's voice is in fine form, and in similar strength and texture to the late 90's. The most noticeable improvements will be apparent to any fan in the quality and amount of vocal runs Mariah Conducts, and the use of a solid vibrato on many of the belted notes (something which has been sorely missing since her Emancipation).The vocal quality is so improved from her last album, Memoires of an Imperfect Geisha, that one has to wonder if any studio trickery has gone into the vocals on the album. I suppose we shall know soon enough when it comes to the live renditions of the songs during the promotion period.
Whatever the case, this is a solid Christmas album that, although may not be able to reproduce another classic single like All I want for Christmas, is certainly a more enjoyable and classy listen as a whole than her previous effort.
Download: Come All Ye Faithful-Hallelujah, The First Noel-Born is the King Interlude, Christmas Time is in Air Again
Avoid: Auld Lang Syne
Summary: The voice has returned, a Christmas miracle perhaps? Must have Christmas album.
4/5
Merry Christmas II You vocal range : Bb2- Bb6 (4 octaves)
source:calvin999999999
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