Feels like I've been sharing my (hopefully constructive) criticism to other folks' singing and harp-playing a lot recently, so seems right that I put some of my singing & playing up to scrutiny.
Here goes - it's a demo from 1-2 years ago - we're a lot tighter now, with a better (and slightly slower) groove on this one especially. But anyway, our take on "Snakes" by the great James Harman.
I'm looking for work-ons, so any criticism welcome, except maybe "you suck!" without saying why
The guitar and groove are great. Your vocals are highly stylized but you don't quite believe what you're singing; something's not quite working. Do you have a day job--in sales, or creating software?--and are you afraid of committing to being a truly greasy lounge singer? That's sort of what I'm hearing: lack of total sleaze-commitment.
Since this is from 1-2 years ago, and since I was going to say that if you keep singing this, the liquor and late nights in clubs will bring you into line in a couple of years, it's possible you're now singing it with conviction.
The harp is good but not great. It swings a bit, but doesn't really snap. Melodically speaking, the blue third is the note that stands out to me as not quite digging down. I'd like to hear you do this when you're drunk AND in pain AND saying f--k it, inwardly. For my money, this song needs to sound dangerous. It's about snakes! It's about men who are snakes and/or snakebitten. You need to sing it like a man who is a poisonous snake that women want to be bitten by.
The tricky thing is that the correct way of singing this involves a considerable helping of put on. But it's the put on of the guy with nothing to lose who has spent his entire life rounding corners on two wheels--ifya know what I mean, buddy. Loose cigarettes sliding around under the seats. You need to sing it as though the wife isn't planning to give you a to-do list when you wake up in the morning.
Last Edited by on Dec 18, 2011 6:17 PM
I assume you're singing AND playing harp. Sounds retro-cool, like one of those movies (damn, just took meds an hour ago and washed them down with...)is it Grindhouse?? "Machete" was one of them. Anyway, I REALLY enjoyed the nonsense syllables, always have. I sing them around the house all the time as my wife thinks I'm sending evil messages when I sing real lyrics. Jim Morrison did it, too. The harp work left me hanging, similar, I suspect, to when I ejaculate prematurely when I make love to a woman. I mean, it was fine, but I was waiting for another twelve bars. It sounded like you were setting up the next twelve bars....but it ended. Of course, this is all from a harp player's perspective.
I like the tone of your voice. However, I think Adam's right that there's some lack of feeling. When you started the "nonsense" singing there was a bit of that there at the beginning part, but also at the end part you seemed to loose your feeling again. At least that's what it sounded like to me.
(Although I must say that this is something that goes the both ways. Some day-time radio show played one song from our new album and they hated my singing in that particular song as they thought it was too strained and artificial. They really didn't get it - it was supposed to sound like it did. For them a more conservative sound would have been better. Well, they weren't blues lovers anyway so I was surprised they even played anything from our album... :)
The harp was good. It didn't stick out in any way so it definitely served the song. Although I'm not sure if you would have liked people to actually pay attention to those parts - kind of like if the harp was some voice in the story. I think it could have been thought of the "snake" - how would that viewpoint changed your playing?
I'd be thrilled if Adam Gussow said my playing only sucked moderately ;-)
Yeah! Get drunk, clamp a vice-grip on your big toe hard enough to hurt and kick it's ass! I'd love to hear a version from more recently--cool song! ----------
I’ve no real critique man, certainly not about the singing. That sounded awesome. Perhaps the harp could use a little more edge.
There’s also some contrast with the guitar solo just before. It's hard to express what I mean. The harp is quite patterned, it maybe not be the best place within the song. I think a harpsolo that would excel (if just by expression or volume) at the guitarsolo would sound better.
But about the singing, I don’t really get the ‘lack of feel/expression’ stated above. It doesn’t sound to me that way. However, I can just understand about 20% what you’re saying and I don’t know (and cant find) the original. Besides I’m not English speaking so I might better shut up.
I can hear you’re holding back a little (while listening a second time), but it wasn’t apparent at first glance. That stuff at 44 sec. is very expressive, later you do something like it again. Come to think of it, maybe more of that would be even better yes!
That's a great song btw, I've listened it couple of times and it really sticks in my mind... :) Would be great to hear how you play this nowadays with slower groove.
Thanks all for the comments, even JInx's which I'm still trying to work out if it was in relation to the song or whether he was just making conversation
For those who don't know the original, let me heartily recommend Harman's "those Dangerous Gentlemens" - I think it was possibly reissued on CD by Rhino, but the original LP can sometimes be found.
@FMWoodeye - yes that's me on both. Singing's been a work in progress for many years - this is the first band that I've been comfortably taking all vocals. As for the harp solo – sometimes I take a second verse if the mood hits me but for the demo we wanted to go for short sharp tracks. None of us are into lengthy instrumental epics so a two verse solo is something of a rarity in this band. Call us the Ramones of the London blues scene
@K Hungus - thanks, and that v20% is understandable - I've never worked out what Harman is going on about in the 3rd verse! (If someone does, please let me know) Also - here's a Dutch take on the song
@askap - thanks for the comments and I'll try to convince the guys for a remake when we cut the new demos. We now have a keys player so it's got more of a Sonics/Carolina Beach sound to it Also, I thought that the recorded marble Max sounded quite similar to your recordings?
@kudzurunner - thanks for a lengthy response, lots of food for thought. My girlfriend especially liked the "to do" list idea! Harp is definitely only "good" - I've plateaued on intermediate for many a year but slowly getting back into more structured woodshedding. Blue Third - yes one of the work ons. It is a bit of a passing tone in this one, and I feel that a minor pentatonic maybe fits more than a blue third? Also, you may recognise the straight lift of the Ray Charles turnaround from one of your lessons!
Singing - agree to all your comments. Singing this style of music is difficult when you're not American - no-one would want to hear this in a New Zealand accent that's for sure! So there's always going to be some artifice to it, which I'm trying to get around. My main ambition in music is to communicate some sense of, if not authenticity, at least some sort of "validity" (can't think of a better word at the moment). I certainly don't want to sound like a software developer trying to sing blues and r&b!
This song has always been a challenge to get the singing of this song sounding right - the original is very laid back but as my band has a slightly more aggressive take on it the vocals should do likewise - and I should be working on a more original take on it anyway.
anyway, cheers all, thanks for taking the time to listen and comment
@gamblershand "Singing this style of music is difficult when you're not American - no-one would want to hear this in a New Zealand accent that's for sure! " You're a fellow Kiwi? Fooled me so you are doing well at disguising the twang.
JInx - hey no I liked your more freeform response to the track, I'm thinking to quote it on our website
Johosaphat - yes, originally Wellington but been resident in London for 12 or more years now so the twang has eased a little. My formative music years were at the Southern Blues Bar in Chch, then in the 90s had a blues band based in New Plymouth but toured most of the North Island in a '54 Bedford Bus. Great days.. How's the music scene back home? Do you play in a band?
Last Edited by on Dec 21, 2011 2:18 AM
