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Thread: The Beekeeper

  1. #1996
    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

  2. #1997
    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 06:18 AM.

  3. #1998
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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.

  4. #1999
    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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