Word: vocalized
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Dates: during 1970-1979
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...several young singers who do not attempt to write the bulk of their own songs. Faced with the dearth of behind-the-scenes composers, they have had to rely on familiar, previously recorded material. A few, such as Rod Stewart and Joe Cocker, have distinguished their renditions through unique vocal styles and new arrangements, while some, like Janis Joplin, create remakes that are invariably inferior to the originals...
...gives them new energy through the tension between her voice and her searing guitar accompaniment. Her version of the Steve Stills song "Bluebird" (which has been turning up on WRKO lately) rocks and stomps without a let-up through a great Fifties rock sax break and a doo-wop vocal arrangement that elicits a whole new mood from the song...
...Bonnie's version displays a sincerity and feeling that has only been surpassed by Lenny Welch, whose rendition was a big hit in the early sixties. "Any Day Woman", a recent Paul Siebel composition, is almost too pretty a song for my tastes, but is redeemed by the sympathetic vocal interplay between Bonnie and Willie. Her remake of John Koerner's "I Ain't Blue", one of the record's high points, creates an entirely different, but no less powerful, feeling than the original (which was on the Spider John Koerner-Willie Murphy album, Running, Jumping, and Standing Still...
Today the Sutherland voice towers like a natural wonder, unique as Niagara or Mount Everest. Sills' voice is made of more ordinary stuff; what she shares with Callas is an abandon in hurling herself into fiery emotional music and a willingness to sacrifice vocal beauty for dramatic effect. Sutherland deals in vocal velvet, Sills in emotional dynamite. Sutherland's voice is much larger, but its plush monochrome robs it of carrying power in dramatic moments. Sills' multicolored voice, though smaller, projects better and has a cutting edge that can slice through the largest orchestra and chorus. Sometimes...
...legato music, Sills has a superior sense of rhythm and clean attack to keep things moving; Sutherland's more flaccid beat and her style of gliding from note to note often turn song into somnolence. Sills' diction in English, French and Italian is superb; Sutherland's vocal placement produces mushy diction in any language, but makes possible an even more seamless beauty of tone than is available to Sills...