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Thread: The Beekeeper

  1. #1906
    A Midspring's Nightmare Rabih's Avatar
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    ^ Please do not share any officially released material, even if it's edited versions. It's against the Forum's rules.

  2. #1907
    :: dutch oven :: wout's Avatar
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    And editing Martha is sacrilege!!!!!
    /unapologetic beekeeper lover
    post28!

  3. #1908
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    Martha's Foolish Ginger is one of the best tracks on this album! You can tell it had a genesis in a different era, I think.

  4. #1909
    Threat level: Bitch in a wheelchair andy's Avatar
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    It's the only vocal on the whole album, and maybe the last song ever in her catalogue that has the clarity and pitch of her early work from start to finish.

  5. #1910
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    Quote Originally Posted by andy View Post
    It's the only vocal on the whole album, and maybe the last song ever in her catalogue that has the clarity and pitch of her early work from start to finish.
    It's a beautiful, pristine vocal. An anomaly on that album really, where the vocals were one of the biggest problems for me. The recording is so dry and close, it didn't do her vocals any favours at all for the most part. MFG is the exception.

  6. #1911
    See that sweet Jesus! silver's Avatar
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    The chorus is so beautiful in MFG... gave me chills when I first heard it!


  7. #1912
    Threat level: Bitch in a wheelchair andy's Avatar
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    Seriously, it sounds like she channelled herself on Under the Pink - the only other tine I feel she did that with any kind of success post The Beekeeper was on Take Me With You and the end of Edge of the Moon. I'm not complaining, I know her voice has changed, but sometimes she just brings that clarity and intensity that she used to and it's like, if you can do this, then why... aren't you?

  8. #1913
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    It is a puzzle. Her vocals on TMWY sound so much like 'old Tori', I was convinced they must actually be from the UTP period, like recorded back then. But apparently not. It does make me wonder how much of the way her voice sounds on record now is from choice rather than necessity, how much is down to the way its recorded or stylistic choice.There are lots of moments on UG where she sounds pretty much like her old self, for instance. That's one of the reasons I loved that album so much.

    TMWY lives on my UTP playlist, and doesn't sound out of place at all.

  9. #1914
    the unhappy worker waitressboy's Avatar
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    I still can't imagine how Not David Bowie comes from this era. It's so not-TBK. It belong to Venus perhaps. But I can't find any Beekeeper resemblance at all.
    When he woke up, the dinosaur was still there.

  10. #1915
    See that sweet Jesus! silver's Avatar
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    Probably not a very popular opinion, but nowadays Not David Bowie gets on my nerves. The instrumentation and the "I cannot forget..." section really don't work for me. Give me Dolphin Song any day!


  11. #1916
    Senior Member ontheindianside's Avatar
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    Quote Originally Posted by waitressboy View Post
    I still can't imagine how Not David Bowie comes from this era. It's so not-TBK. It belong to Venus perhaps. But I can't find any Beekeeper resemblance at all.
    I know! It doesn't sound the same at all. I wonder if it wasn't really something she forgot she recorded during the Tales sessions or a leftover from Scarlet (or SHT, maybe circa Bug a Martini?) that she thought she might put on TBK. The production is just so completely different from even the angry songs (Barons...?) on that album. Then again, I don't think Dolphin Song sounds like it belongs on TBK either. It sounds more like it belongs there, but the production still feels different. Maybe they did something to either or both for AP. I don't know. (All of this is pure speculation and probably inaccurate.)

    Quote Originally Posted by silver View Post
    Probably not a very popular opinion, but nowadays Not David Bowie gets on my nerves. The instrumentation and the "I cannot forget..." section really don't work for me. Give me Dolphin Song any day!
    It gets on my nerves in theory, but every time I hear it, I think it's pretty good. But I also like Dolphin Song. (Dolphin Song, Doughnut Song, Chocolate Song--is this just her go-to when she can't think of a name?)

  12. #1917
    Get Out The Dark Adam's Avatar
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    Quote Originally Posted by andy View Post
    Seriously, it sounds like she channelled herself on Under the Pink - the only other tine I feel she did that with any kind of success post The Beekeeper was on Take Me With You and the end of Edge of the Moon. I'm not complaining, I know her voice has changed, but sometimes she just brings that clarity and intensity that she used to and it's like, if you can do this, then why... aren't you?
    While I think I know what you mean, what do you mean by "intensity" of her vocals? There is definitely a point where she got very nasal sounding, like on Parasol and Barons, for instance. MFG DOES have that crystalline voice she used to have. So I know what you mean by "clarity". Any examples of this "intensity" you're speaking of?
    The Landslide Never Brought, Brought Me Down

  13. #1918
    Threat level: Bitch in a wheelchair andy's Avatar
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    Okay, an example. Alanis never sang the same way she did on Jagged Little Pill again. There was something that was missing from her vocals in terms of unabashedness in future records, probably because of being thrust so hard into the spotlight. Tori seemed to get weary over time of being so raw. Even in Choirgirl when she was talking about her trauma in interviews she was palpably there, not so much when she talked about cars and gardens and dolls and didn't speak so openly about her emotional state. Tori is known for singing like she really means it - it's an honestly and intensity that she is known for and she sang every studio track in that way until The Beekeeper when I think a lot of people would agree she started to retreat somewhere in the vocal. That's what I mean by intensity. That honestly throughout an entire song, in a vocal sense, appears here and there but it doesn't come up in the same way it once did. When it does it is all the more loud post-TBK because we don't hear it so often. It's like the difference between her being IN the song and just cutting a studio vocal, like in the conversation about the live cut of Almost Rosey. That track just captures something, an immediacy and an urgency, that doesn't appear on the record.

    I do sort of feel these moments elsewhere, like on Fearlessness and on Weatherman, and hopefully more on the new record. It's like she's more willing to be in her voice and in the song than just trying to get it down sounding okay. I don't know if that makes any sense.
    Last edited by andy; 08-14-2017 at 07:18 AM.

  14. #1919
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    Quote Originally Posted by silver View Post
    Probably not a very popular opinion, but nowadays Not David Bowie gets on my nerves. The instrumentation and the "I cannot forget..." section really don't work for me. Give me Dolphin Song any day!
    Oh I still love it as much as I did when it appeared on A Piano, it's an awesome outbreak of reaaaally pissed off Tori from an era when she was officially all about the flowy dresses and womanly compassion and butterflies and cinnabar juice.

    I've always assumed it was directed at Caton, I think there had been some legal stuff going on between them prior to that era. I found it interesting, the difference between a song written from a sense of personal anger / grievance and all the ones written more to the 'concept' of the album.

  15. #1920
    Quote Originally Posted by Adam View Post
    There is definitely a point where she got very nasal sounding, like on Parasol and Barons, for instance.
    I am clearly in the minority here and I completely understand why, but I love her nasal voice.

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