Vollständiges Transkript von Singers With Great Vocal Control?

Great fucking line. that's it. I have that written down as a movie for our next rescore. Moosh: Ooh. Mike: To do Tombstone. I know we talked about doing John Wick and we can do that, but Moosh: Yeah. Mike: I have Tombstone down as a as like a rescore idea. I think that would be interesting, especially to Moosh: That's Mike: take a traditional Western and not do a Western score to it. That would be Moosh: Yeah. that's got some gears turning up there. That's that's interesting. All I hear is out of tune pianos. But I'm for it. Mike: Right. So th all the radio head out of fucking what's that show? West Westworld. Westworld, yeah. Moosh: the Radiohead from Westworld, yeah. Mm-hmm. Mike: wanna go first? Moosh: I do kinda want to go first. I Mike: All right. Moosh: I have been listening to a lot of incubus again. Right there. A lot of incubus. I know you can't really see my record over here, but something Mike: Which which album is that? Moosh: science. Science. Hmm second Mike: their first album, right? Back when they were punk ish. Moosh: album. Mike: Second? What's their first? Moosh: No I'm questioning reality. Mike: I mean you're Moosh: Enjoy Incubus came out in ninety seven. And then Science also came out in ninety seven, but later. So Science is their second sophomore album. Enjoy Incubus was their first Mike: Does that actually Moosh: album and it was Mike: like count though? Because like a with it's a different genre, but like with Kendrick Lamar, a lot of people count Good Kid Mad City as his first album, even though section eighty was underground and very popular, they they still count Good Kid as his first Moosh: I Mike: album. Moosh: that's weird. I think whatever, like chronologically speaking, if if I were to release an album, that would be my first album. Mike: What if nobody hears it? If an album is Moosh: Doesn't matter. Mike: released in the woods and nobody's around to hear it. Faber Moosh: For para shits in the woods. Mike: shits on your record. Is there anyone around to clean that record? I I don't know. Alright, anyway, so you want to start with Incubus. Fair enough. Moosh: No. Well Yeah, so yeah, yeah, yeah. So I I and I think part of it was doing research for this episode. I know that I wanted like I knew that I wanted to have Brandon Boyd. Brandon Boyd has been one of my idols since I was a young teenager. his vocals are incredible. The whole band is incredible. Everything about Incubus is I mean, I've seen them five times live. I think I mentioned that a long time ago on the show. I'd love to see them again. I know they got a female drum no, not drummer, a female bassist now. they dropped Ben Kenny, or he went his separate ways and they got a new girl. I don't know who she is. I would love to see them play live again. But I'm talking about all this excitedly because on Spotify there was like studio footage or like video of them playing live in a studio setting. and I would love for us to watch that video together. Cause it's

I think it was 2012 when this video came out. So it's been a while, but I've never seen Mike: Hmm. Yeah. Moosh: it before. And as a big incubus fan, I was surprised that a video was released and I didn't know about it. So it's yeah, the song, the song I want to play is If not now when, which came off of the title, it's the you know title of the album, If not now when. Mike: Track. Yeah. Moosh: from twenty eleven. But yeah, if you can go on to Spotify and pull that video up, it's not it's not a one for one for the record. It's them playing live. And I think it's it really showcases Brandon Boyd's vocals in a more real setting Incredible. So good. Mike: And that, we hope you enjoyed our episode on vocal c I d I I don't even wanna Moosh: There's they're absolute cinema. Like Mike: Why did you why did you s lead with that that's just bad manners? Moosh: Dude. Mike: I see the rest of your list. Why the fuck would you lead with that? Moosh: Cause it's so good. And I was I just was I it's such a new discovery for me. And not the song. I've known the song. I know all the lyrics to the song. I've heard the song a thousand times, Mike: I'm only Moosh: but Mike: I'm only fifty percent sure that I've ever heard that song before. But f so before I forget, Moosh, everybody's been talking about deep dives like they're gonna do. You did an incredible deep dive into Pink Floyd. Go check that episode out if you haven't listened to it. the Incubus, I think it needs to be your next one. And I think you need to go off radio, off single, and walk through their albums. Because Moosh: Yeah. Mike: I've was that a single? Moosh: I don't know if it was ever single status. I know that Adolescence was a single for them on that record. Promises, promises. I don't Mike: I I've heard that. Yep. Moosh: know if if not now when was a single. It might have been. Mike: That that was that was fucking incredible. And what I loved about the scene of everything that was going on is what's the drummer's name? Moosh: Jose Pacias. Mike: Okay. There's the part where the the music drops and he's holding a note and he's writing Moosh: Yeah. Mike: writing the cymbals and then they come in on time. One of two things I think has to be true. Either, this was at least their second take, and that drummer fucked it up the fur Jose fucked it up the first time, or he is so emotionally invested in that part of the song that he smiles every time they land that part. It just one of those two things had to happen. I'm not even trying to knock the guy if there was if this was a take to because he screwed it up the first time. It happens. I'm just saying the look on Moosh: Yeah, there'd be Mike: the drummer's face when everything spreads apart and then comes right back together at the same time, like Moosh: Yeah. Mike: That is the the the look on his face is joy that I I feel like only musicians un like somebody like Brad could listen to and love, but we'll never know what it's like to be part of a group that separates from each other and goes off and does their own thing and then everybody comes back together at one time. On the Moosh: Yeah. Mike: one. It's a fucking and the way they left it open for Boyd, I was Moosh: It's it's one of my favorite tracks. Mike: That was fucked, man. Moosh: And this is so Incubus, this album when if not now when came out was t 2011 and they had gone on a five year hiatus. So their last album before this was Light Grenades, which is one of my all time favorite albums. I I have it on record. I are on vinyl. I love it. It's Light Grenades is one of my all time favorites. That came out in six. so they went on a hiatus because Mike Enziger, the guitar player, decided to go to Harvard and spend four years at Harvard. So they they as as Mike: As one does. Moosh: you do when you're in a rock band. Bashton. yeah. So they went on hiatus, and Mike didn't really do a whole lot of complex songwriting. So this whole album is way more melodic, slowed down, kind of just open. It has a lot of that breathiness. And this is the first track. Like this is you by the CD in 2011 and you put this on. And you're hearing if not now when that we just listened to, and that kicks off the record, and you're like What how do where do we go from here? What what's next? And Mike: Right. I'm thinking that for our show right now. Like Moosh: Yeah. Yep. I mean we could just continue playing this record. It's a fantastic record. Promises promises is the next song on the on the record if if you want to go listen to it. That's a great tune. Mike: It's that that was that was great. And I I had to look it up. I I looked up whether or not Brandon Boyd is a classically trained singer, and he's not, but he does something that classically trained singers have to do. You know this from choir class, annunciate vowel shapes. Moosh: Yeah. Mike: He very famous for singing through a smile it's how he gets the gets back in his throat. Like you you heard that in this. I first heard that in in Mexico and the the way he just he's got this Moosh: Yeah. Mike: control that that is coming from back here. It's so fucking nuts. So that's a great song to pay for control. I'm gonna follow that up. I don't know that there's a video for this. But if there is, I'm gonna I'm gonna see if I can find it. But I'm gonna take your live recording and I'm gonna See you and and I'm gonna I'm gonna raise you on Miley Cyrus because Moosh: I was not expecting that. Mike: well during during COVID there was a lot of venues and a lot of roadies and and pyrotechnic the pyrotechnic like technicians and lighting technicians, all these guys were out of work. All everybody down to the fucking food bit vendors, like everybody's out of fucking work. Like the musicians N not n not all the musicians. The artists that you know of that you know their name, they were fine. The ones that were just about to make it, the ones that use it for supplemental income, all the way down to the the fucking door

greeter at the club all got fucked. So, there was quite a few of these, but Miley Cyrus for the Save Our Stages Festival went to the Whiskey of Gogo in LA and performed a cover of the Cranberries Zombie, which is the first metal Miley I ever heard. Long before, Moosh: This is good. Mike: long before she did Nothing Else Matters by Metallica and fucking killed that. But here we go. Zombie cover by the cranberries. Here's Miley Cyrus. Motherfucking metal Miley. So, what was special about that song? For one, that song could have just been on a if we ever asked ourselves, and I think we did a long time ago. Live? Because the fucking Moosh: Live? Mike: guitar solo in that just crunched. Moosh: Everything Mike: her Moosh: was crunchy in that in that song. Mike: the reason I picked this is because You'll have a song coming up later, but and maybe you can talk about it. It's not gonna be in the song that you're gonna play, but I don't want to give away your artist. But there's a there's an artist who's no longer with us, he's been gone a long time that was able to just pull the right note without a reference to a crowd. I'll give you a day You know what I'm talking about now. Yes. So there's your hint, audience. Doing that without a reference note is not easy to fucking do. Most of the time, there's gotta be a reference note. When you're gonna do these weird, these weird little like burst belts that she does in this song, there's no reference note for her to do that in this song. That's why zombie is very difficult to sing because it's mainly a lot of low end. And the only Moosh: Mm. Mike: thing you're getting on the top end is a dunun, nun, nun. Right? You're getting that, and there's a guitar going, but the where when you're ditting those those like little like burst belts, there's no Moosh: Yeah. Mike: fucking reference there. And there's and the other reason I love this as an example of vocal control is that's not her normal singing voice. That is not her natural singing voice. Moosh: No. was gonna I was gonna touch on that because there was there Mike: That is rasp. Moosh: was a lot of Miley that was before Miley in the form of Hannah Montana and Mike: Right. Moosh: she had zero rasp. It was very bubbly and very poppy and very cutesy. And this Mike: Yeah. And Moosh: I remember I remember when she did this and it was like a breakout, and I was like, Whoa, what in Mike: Yeah. Moosh: the Pat Benatar is going on here? Like, Mike: Yeah. Moosh: no, like yeah, dude, like that was It really showcases, I mean, not this one song, but Miley as a whole. Like she came out with this. There was Wrecking Ball. There was a bunch of these other harder, heavier songs. And like I think her most recent album that came out, I'm not I don't know if I don't don't listen to a lot of Miley, but her most recent album actually really kind of turned style again. So she's Mike: Hmm. Moosh: she's really showing a lot of fluidity in what she can do as an artist. And she has my respect. Mike: I I that's great. Moosh: Dude, like it's Mike: I love it. Moosh: it's I'm glad she's graduated from Hannah, Montana and stepped away from the the kid the kids bop era of music. and I'm I'm glad she kind of got out her metal era and now she's kind of in a more avant garde era, if I can if I can put it that way. But she's she's doing a lot of cool stuff. Mike: I think a better example of her vocal control would have been her cover of Nothing Else Matters, but we have played that before. And I'm like, We you know what? We haven't played the zombie. her her z her zombie cover. Moosh: That's that's a good song though, regardless. Mike: Yeah. And I w you know, I was thinking about this because I Chad Smith is on drums on the Nothing Else Matters one, not this. and I I don't know why, but it popped in my head and that like, you know, Chad Smith is known not for being the greatest drummer, but his timekeeping is nuts. Moosh: Yeah. Mike: And as I'm sitting here listening to this, I'm like, you could tell she's out of breath because she is moving. And there is a YouTube video that you guys can go watch and actually see the live performance that we just listened to. She's moving around. You could hear her breath work going on. She didn't slip. There was like she hit Moosh: No. Mike: zero dissonance. And sometimes dissonances could be used in your favor. She didn't do that. She fucking, she was on point just floating in between like the note that she needed the Moosh: Yeah, I know. She she Mike: whole time. Moosh: Yeah, she definitely has a mastery of her voice. When doesn't matter if it's raspy or clean or falsetto or what, but she's she knows where she needs to be for the song. Yeah, and that was a that's a great cover. Yeah. Good. Me too. Mike: Incredible. And yeah. I'm glad we both got live stuff. That was good. Yeah. Moosh: I'm gonna play my next artist is When I w when you brought up Miley Cyrus because I was not expecting Mile Miley Cyrus on this list, I feel like that same kind of rasp that Miley was presenting in the song you chose, I feel like Miley might want to someday sound like LP. Mike: Okay, I'm I'm interested here 'cause I have no idea. I w when I put this on the list Moosh: I feel like I've played this song before. I f I really do. I think I've played it once before. It's been years, maybe. Mike: I was thinking run the jewels LP. I have I'll let you know if I've heard this before or if I've heard this artist when we play it, but like I I'm intrigued. I have no idea who this is. Moosh: Yeah, this is LP Lost On You and she has an incredible voice. I I love I love her entire aesthetic. Like if you watch the video and everything, I mean we just listen to the song. It's not a live performance or anything. There's no reason to look up the video. But if the audience you want to go watch more of LP after this little snippet we're gonna play for you, I love everything that she does. It's incredible. So this is gonna be Lost On You by

LP. An artist that absolutely needs to be more popular. Mike: Holy fuck. I'll say one thing, somebody call Timmy Chalamet, I know who his next biopic is gonna be about. Moosh: Ha ha ha. Because he did the Bob Dylan and she kinda looks like a a more feminine Mike: A little bit? Moosh: she looks like a more feminine and masculine Bob Dylan. I don't know how the Mike: It's a tat it's it's a tet it's a tattoo she got. So this this b amazing, Moosh: So cool, dude. Mike: but it totally caught me off guard because the first thing you see if you watch the music video is is the redheaded female Moosh: Yeah, yeah, yeah, yeah. Mike: and her voice comes out before you see that that who LP actually is. So I Moosh: LP. Yeah. Mike: thought the girl with the red hair was her and then I heard that voice and I went, There no, I'm I short circuited. I'm like, there's no fucking way. Moosh: Hit him with the old switcheroo gang. Mike: I'm telling you, dude. That's great. You I can tell you, you've Moosh: Yeah, dude. That was the love interest. That that was the the Yeah. Mike: never you've never played her on the show. Not with me. Moosh: I could have sworn I've shown you this before. There's a there's there is a live Mike: No, that was really good. Moosh: performance that I mean maybe it's the same studio recording, it's just different video, but there is one that I remember watching years ago, and that's when I first it was this song because I remember the shh like the whistle. I can't do the same whistle that she does, but Mike: Yeah. Moosh: from the intro, she has that first line and then I was like, that's cool. Why are we doing that in the song? Is this is this a the Western? What's happening? But Yeah, dude. LP, her voice is incredible. The range Mike: You know, I gotta s I gotta say, when it first started, I was intrigued, but I wasn't impressed with the v the like verse vocals. But once the chorus came in, Moosh: No. Mike: I was I was sold and then when it returned back to the verse vocals, I'm like, this feels natural. Like, it took me s and it probably had to do with watching the video, like I said, and thinking like, fuck, that voice ain't coming out of her. That doesn't make any fucking sense. That I think that threw me off. But that that's a great fucking pick. Moosh: Yeah, that's fair. That's why I said we didn't we didn't we didn't have to watch the video. Like you if you just listen and I mean seeing her is important. Seeing seeing LP is important because you like, wow, that's that's an incredible visage for a s Mike: Yes. Moosh: for a vo a vocal to come out of for for this sound. Mike: It it is very Bob Dylan. Moosh: Yeah, she looks she looks like Bob Dylan, guys. just the the the wild curly hair, Mike: It it's it well, it's this the Moosh: the the the tall, skinny, like I mean, I Bob Dylan's short, but mm-hmm. Mike: The the the V neck shirt with the fucking jeans, like that that's w with the acoustic guitar, like th i the the image goes along with

the sound. It's it's yeah. That was great. I'm glad I've never heard of her, dude. Moosh: Yeah. Dude. My I want to talk really quick too about LP and her her voice, because I love when she hits a note, it's a solid note, and then the vibrato comes. So like she has she has like a delayed vibrato in her voice, and it really adds to the atmosphere and the the whole control that we're talking about for this episode, the vocal control of what she does. And it's Sh it's just masterful. It's tasteful. It's it's so it's so good to just fall back. You know, fall back and listen to. Cause I I just it's like you're listening to two different singers almost. Cause the like you said, the beginning is a lower register and it just sounds like she's almost talking in like in pitch. But then Mike: Yeah. Moosh: the chorus, she kind of leads up. Like just keeps going, going, going. And then you like she hits these high notes. You're like, where are these coming from? What's going on? Mike: Right. Moosh: Making me go full Seinfeld. Yeah. Yep, never go Mike: Somebody called Timothy Chalamet! Yeah. Going full Seinfeld. That's Moosh: full Seinfeld. Mike: never go full Seinfeld. That I feel like I'm I'm falling behind here. Moosh: Yeah. What do you got, buddy? Come on. Mike: Hey, fuck you, man. I didn't I did not I I'm I was not surprised to hear you put Brandon on here. That didn't shock me at all. Moosh: Brandon Boyd. Mike: But what I heard shocked me because I know I thought I knew how talented he was. that set the if not now wins set a new bar, and I'm like, yeah, I want to give an example of a fucking bubblegum pop star that you know, can do metal stuff. Let's do Miley. And now I gotta follow Brandon Boyd's performance with that. And and then then you sandwich in poor poor Miley with with with LP and and I'm like now Moosh: Mm-hmm. Mike: what do I fucking do? I'll tell you what I'm gonna do. I'm gonna go to the classics. 'Cause 'cause the classics don't fail. If there's anyone that's ever been known for vocal control in rock music, Moosh: I'm gonna call it Aretha Franklin. Mike: Rock? Moosh: I'm sorry, I I missed that part, but I Okay. Mike: Rock. Not hair metal. Not soul. But rock music itself. It's fucking Steve Perry. Steve Perry. Steve Perry. Of Journey. Moosh: Right. You said Steve Perry and my mind that my mind was like Tyler Perry. Mike: See it on the next they did what? Fucking what would you call that? Like like Medea does something. I I don't know. But Medea goes country or whatever and just her and acoustic guitar just fucking touring fairs. Moosh: For I don't I don't know why. I don't know why you said Steve Perry and my mind was like, yeah, Tyler Perry from all those wacky movies and sitcoms. And I was like, that's rock and roll. I was really confused. Mike: Yeah. Okay. So that's not there's two different parries. There's quite a few par there's quite a few parries. Tyler. Moosh: A lot of parries. There's a lot of parries. At least it's not Matthew Perry. Mike: Tyler's got nothing to do with this. This is Steve Perry of Journey. And the reason I chose this song is because I you could do Don't Stop Believing, you could do separate ways, like they're the the journey's got fucking hits. Wheel in the sky, they're there's fucking there's a list as long as my arm of fucking singles that they got. But I chose a less popular fucking single because this one is kind of soul. It reminds me of Sam Cook and Percy Sledge and the Temptations. The way he sings, the the the melody and the way he dances around his notes reminds me. Of soul. Do you wanna take a guess at what song I'm gonna play? You look like you're contemplating what it could be. Moosh: Soul by journey. Mike: Da. Very sixties. Moosh: let's let's Mike: Lovin', touchin', squeezin' Steve Perry. Steve Perry. My only regret about that song is at the very end when the music drops out and they do the na na na na na na a cappella. They should have done that halfway through the outro and then brought everything back in. It's my only regret with that Moosh: Mm. Mike: song for them. Okay, so vocal control. That is a rock song. Moosh: he's got it. Mike: That is a rock song sang. With some soul from the sixties. Let me let me see if I can paint an audible picture. Okay? So this song, when he does certain melodies, like when I'm alone, I hear Sam Cook and I'm butchering both, and I know fuck you, you do it then. I'm just saying when I hear like when I'm alone, I hear whoa... you know how when you played you played Peg from Moosh: Steely Dan. Mike: from Sealy Dan, right? And I'm sitting there listening to it and I'm like, why am I hearing a husky? There's no husky there, but I hear it. I hear a husky. He was back there, but he wasn't doing his husky thing. But like I'm I'm hearing and it's not there. It sounds like Mr. Hanky Anyway, I'm hearing a husky that's not fucking there. That's what it's like whenever I hear this song. I hear Sam Cooke doing his like little like vocal diddleys in the background. I don't Moosh: Diddly... Mike: know why. If somebody knows why, if somebody knows history about this song or something, like Steve Perry was on a Sam Cooke or Motown fucking kick at the time when he recorded this melody, whatever the case, hit us up and you can do at the Cut Music and the number one on Instagram, TikTok. Gmail.com. Moosh: Do that. Mike: Where the fuck ever? Let us know. I'm so curious as to how this fucking melody got in his head because you don't hear this out of anything else. And not just from Journey. I mean classic Moosh: No. No. Mike: rock in general. You don't hear that. It's almost like you like you soul came out of churches. And it's like that's where that rhythm and and and the way they do the melody and they bounce back and forth between notes like that. You don't hear that in rock. Why is it on this fucking song? That's all I got. Moosh: Because it's awesome. Mike: It is fucking awesome. I just where'd it come from? Moosh: Yeah,

I don't know. I if if I was gonna choose a journey song, one of my all time favorites that I will blow every speaker out of my car listening to is Stone in Love. Dude. Mike: Stone in love. I can't even get the fuck out. So good. Moosh: So good. So good. I love dude some some days like the from the time I wake up to the time that I've like shat, showered and shaved and then had my coffee. You you gotta have the th the three SHs every morning. Shit, shower and shave. from the so from the time if if I can get this timing just right and the stars are aligned, Mercury is in retrograde, I don't know what the fuck that means. But if all the Mike: I don't know what it means either. Moosh: if all the things line up and for whatever reason I open up you know, I'd start my car from my daily commute to work and and I wanna listen to Journey, like some like the little The little guys on my shoulder, they're like, dude, we disagree about a lot of things. But you're listening to Journey this morning. Like, I knew I could count on you. It's always Stone in Love. And that song just it's gonna be the best day ever. It's gonna, it's Mike: It has to be. Moosh: I don't even know if I'd make any if I accomplished nothing that day. I Mike: You accomplished that. Moosh: got to listen to Stone in Love on my way to work. Hopefully it's Mike: Dude. Moosh: a nice day, tops down on my convertible. Mike: Separate Ways has always been and and still continues to be my favorite journey song. And it's the it's the whole song. It's we've talked about this many times. Like that song is a fucking headbanger. The tempo Moosh: Yeah. Mike: and the driving drums that it's at. I love everything about that song, but the Moosh: I I liked I like the the the the the multiple melodies that over and interchange with each other and I Mike: Yes. Yes. Moosh: love it. Mike: The the second he starts with here we stand like I fuck So Moosh: Mm-hmm, mm-hmm, mm-hmm. Mike: I do love Stone In Love you know, I never listen to that song. I hear it once in a while. I never listen to it. I know. I know. Moosh: What are you doing with your life? What are you doing? Figure it out, Bud. Get this guy a puppers. Mike: Where we going next? Moosh: All right. Well I figured if we're gonna be hanging around when did that song come out? The seventies? Seven Mike: Yeah, let's say that. Seventy four it was seventy-four. Seventy-four. It's actually seventy nine. Moosh: Seventy nine? Seventy four. it's much earlier than I thought. Is it? Mike: Yeah, I just looked it up. You were Moosh: I was right then. Ha Mike: right. Moosh: I'm gonna go another four years further back. We're gonna play some Freddie Mercury, who, if we're talking about vocal control, I know it was a low-hanging fruit. He was there ripe for the picking. But if we're gonna talk about vocal control, I'm not gonna skip over one of the best vocalists in the past, I don't know, several hundred years. Mike: Well, i I can't rem I think I said this. If not I meant to. when you talk about vocal control and greatest vocalist in rock, there there's two. It's fucking Steve Perry and then Freddie Mercury. Like, no Moosh: Yeah. Mike: one hits those guys. Not in that not Moosh: No. Mike: in those decades. It just doesn't work. Moosh: No, and I feel like that's why this is a great pairing for pairing. Mike: fuck fuck yeah. Moosh: for what you just did. Pairing. yeah, Mike: Parrying? Parrying? Moosh: so there's a lot of queen songs, and I listened to a lot of queen songs today. And I I boiled it down to the only song that really encapsulates all of Freddie Mercury's range, and it's gotta be Bohemian Rhapsody. Like there's there's there's some great songs. I had a lot of great songs on my list that I was gonna put that put came first. Hold on, hold on. I know you're gonna say something. Hold on. I have my list here. don't stop me now. Fantastic. Mike: Yep. That Moosh: that's a great one. Yeah. And then and then somebody to love. Dude, Mike: that's the one I would have chose. I would have chose Don't Stop Me Now. Moosh: great. These are great vocal vocals tracks. Mike: Amazing. Yeah. Moosh: But When you listen, if you if you listen to Bohemian Rhapsody and you're just focused, like as we listen, and you're just focused on his voice specifically and how he controls and manipulates and ebbs and flows the the rasp when it's appropriate. It's an absolute master class of vocal technique by Freddie Mercury. This is nineteen nineteen seventy five off of a night at the opera. Bohemian Rhapsody. absolute master class. Like, masterpiece. And here's Mike: Masterpiece. Yeah. Moosh: before we talk about the vocals, because I that's the reason we're here. Here's something that I just noticed, and I don't know if this is true. I don't I don't have any facts. This is just something that I Moosh, the piano guy, picked up. At the beginning of the song, there's a lot of piano. It's beautiful piano. Wonderful piano arrangement. I Mike: Sure. Moosh: don't know what piano they're playing. But what I do know is that the piano was in tune. It was almost perfectly in tune. Now, I imagine that if they're gonna play this one take, you know, they're gonna they're gonna try and get the whole song. There wasn't a lot of comping done back in the seven the 70s. Mike: Right. Moosh: So I wonder if. What I noticed is by the end of the song, that last little piano motif, anyway the wind blows, the Mike: Any way the wind blows. Yeah. Moosh: piano is out of tune ever so slightly. There's there's the Mike: Yeah. Moosh: unisons are a little out. And I wonder if that's because they were fucking rockin' out. They were just Mike: Banging the fr Mercury's r yeah. Moosh: they were going hard and like the piano needed to be like smashed on and and it was Mike: they stoned the piano and spit in its eye is what they fucking did. You d you dirty Moosh: Yeah, that's exactly that's exact nothing really matters. Mike: dirty little whoo-er. Go in the fucking

corner so you can play in tune. Moosh: Cooper Cooper cooperation. Mike: Jesus Christ. Moosh: but that was just something that I had noticed that that by the end of the song the piano was slightly out of tune. Mike: Interesting. Moosh: which I mean if it wasn't intentional, that's a very what's the word I'm looking for? Serendipitous type of Mike: Serendipitous Moosh: Yeah, serendipitous type of thing because it benefited the arc of the song. Mike: Right. Moosh: I don't know if they maybe they switched pianos halfway through. I don't know. I I that I'm just telling you what I heard, folks. but okay, back to the vocals. Masterclass. Mike: Yeah. Yes. Moosh: Masterpiece. Dude, the way he like pulled like the like I said, ebb and flow of non-falsetto head voice to to some rasp to some like just Mike: Into falsetto. Yeah. Moosh: all over the place, but it was so like it was designed. Like Mike: Yeah. Moosh: he knew Freddie Mercury knew exactly what he was doing and how he was going to portray emotion in his voice during various parts of this entire song. Mike: it's a fucking masterpiece of a song and it's my favorite part of it is the beginning and the second bridge. The so you think you can stone me and spit in my eye part. Moosh: Mm-hmm. Mike: I fucking the bass for this song is not very hard to play. And at one time I used to know how to play the song on bass and bass and drums, it's so much fun to rock out to. And it's so simple. It's just a driving fucking beat. Brian May fucking like Like he's like the accents, the punch that they're doing. It's so well fucking arranged and orchestrated. And this was all according to everybody's story that I've read and the movie itself. This is all Freddie Mercury's idea. He orchestrated this whole fucking thing. and speaking of vocals, it was Roger Taylor, the drummer, that did the highs. Not Freddie Mercury. He did not do the highs. for Moosh: Two Mike: That's Roger Roger Taylor on drums, for whatever reason was able to hit that fucking note. Moosh: man. Mike: Crazy. Moosh: Yeah, it's a great song. And I I definitely feel like it fits right in there with with Steve Perry. Where do you want to go next, buddy? Mike: well, we were talking about falsettos. Cause Moosh: Yeah. Mike: especially in the beginning, there's a carry on. Like he just sh it's so fucking effortless for him. So I, thinking ahead, I'm going to play the most popular song of all time from the most popular artist of all time that can actually Hit the whistle tone and control it. Do you know who that is? There's only one not that there's only one artist that can do it, but there's only one major fucking famous artist that can do it. No. Moosh: That's it's not Taylor Swift. Is it Beyonce? Mike: Nope. She predates both of them. Moosh: Cher? I didn't think so. Mike: All right, the song is called Emotions and it's by Mariah Carey. Moosh: Mariah Carey. Mike: Here it comes. Moosh: Every dog in the neighborhood. Mike: whistletone? My dogs are barking. No, like literally, my dogs are barking. I think the Moosh: That I I knew the d the song was a meme. I remember seeing this song as a meme. Mike: yeah. Mm-hmm. Moosh: I I had never actually sat and listened to the whole track. What is this? 1991 the song came out? Mike: Yeah, s something like that. It's early. Moosh: Dude, yeah, that was I'm glad it's not the Christmas song. Wait got a couple months Mike: I was thinking about it. Moosh: left and it's and she's gonna start coming around the corner. Mike: Hey, I'll take her and anybody else over. Paul fucking McCartney. Moosh: We have. We have. But 'tis the season. no, yeah, when she hit that first note, I was like And then and then she hit it again and I was like, There's just dogs barking in the distance. I just hear like the it's just Mike: No, well I mean she sh she hit it the second time. She hit the same note for a little bit longer. And then the third time she added a little flurry to it. And then there at the end it's like Moosh: She just she's just playing around up there. Mike: whole I know, right? Get down from there. What are you doing? Moosh: Yeah. What do you d that is on s that is that scaffolding? I didn't set it up. That is some on s Mike: Let's hire the scaffold take did you Mariah, did you take a parachute with you? How are you getting down from there? It's way too high. At least a wing suit. Moosh: Take a parachute. That's way too high. Way too high. Mike: Jesus Christ. Moosh: How do you even learn how to do that? Not let me rephrase that. How do you learn how to control that? Mike: Well, first you gotta learn how to do it, right? And then you Moosh: Yeah, I mean I imagine it happened on accident. I imagine she just inquiry one day with a teacher or voice voice teacher, voice coach, and Mike: Yeah. Moosh: she's like, let's just do let's la la la la la la la. Okay. La la la la la la la. And then you just keep Mike: And then you keep going, right? Moosh: going and she's like, I was like, how did you get there? Mike: Wait, Moosh, you did it. Moosh: Listen. Mike: That's it. That was it. You got it. It's done. My dogs are barking again. Moosh: That Mike: I know, they they they get up to like my Moosh: You're gonna make me blush. Stop. Mike: god. I imagine that's probably how it happened. If I recall correctly, her parents were both musicians and encouraged her to do what she was doing, but she also lived a double life. Moosh: As a squeaky toy. Mike: my god. Moosh: Ha ha ha! Mike: I did not see that coming. So look, I don't know a lot about Mariah Carey. and and look, don't don't take what I'm about to say as absolute concrete fact for fact. But from what I recall was she she's half black, half white, and she when her parents split up, she talks about where a lot of her inspiration for lyrics and stuff was coming from was She didn't know who to be because if I recall correctly, she's from New York and like her mom lived on one side of New York, lived in one borough, and her dad lived

in the other, and she was two different people all the time. you and I on master class, we took Timberlin, right? So what Timberlin would do is he he's not he's not a professional beatboxer, but he's really fucking good at it. And so he goes into a booth and he's got his two guys sitting off in the control room and he's like, All right, set the tempo at 105 and we're gonna do this. And he'll lay down, he'll lay down like drums and he'll lay down this melody, and he's doing all this stuff with his mouth, and then he comes back, sits down with the other two, and they take the mouth noises he made and apply instruments to them. Moosh: Mouth noises. Mike: Mouth noises. All right, it's it's it's how it's his process is how they work. She is similar. So she's got like her band leader who is on a piano to her left. She's sitting on a couch with a pen and notepad, piano player to her left, and then she's got like violin, violinists, and like a celloist sitting in front of her. And she doesn't really know music theory or anything like that. But ever since she was a little kid, she gets these melodies in her head. And she just hits those melodies and she sorta does the same thing Timberland does for all of her songs. It's incredible to watch. It's on masterclass. Mariah Carey does vocals or whatever. I haven't fully made my way through it, but it's it was fascinating. So when we decided to do this like a few months ago, and we're just not getting around to it, she was the very first person I added. Cause I'm like, it's one thing to sing, it's one thing to whistle, but can you control sing whistling? No Moosh: Nope. I never been a squeaky toy. Mike: That's hilarious. A fucking squeaky toy. Moosh: That's d dude. So speaking of dogs, like I I train my dog, I gotta take her for a walk every morning, and I have a whistle that I I've been training her with, so it's a good recall. You know, I can get her off leash and call her and she comes back to me. Been training for months. It's working. I'm ninety-nine point nine percent sure that Mariah Carey's sing whistle was higher than my dog whistle. Like I can hear my dog Mike: Even Moosh: whistle and it's like it's great, but like That was insane. okay. Mike: right, Moosh, where are we going next? Moosh: I'm gonna try and stay high. Okay. we're talking about Mariah Carey. She's way up there, super high. I have a song that I have a song that isn't the singer's not doesn't sing very high. But the song is called Stay High. And this is Brittany Howard. And she doesn't have a lot of solo stuff. She's well known for Alabama Shakes which is yeah. she's got an incredible voice. And Mike: her. Yes. Yes. Amazing. Moosh: This is less Alabama Shakes. this whole song is a tribute to her dad. So if if you wanna watch the video, which I I think we should, Ter Terry Cruz plays the main Mike: Aww shit. Did he just walk around with this pecs just Moosh: No, it's it's actually it's it's really wholesome. It's a really wholesome video.

Mike: Wholesome Terry Crews? Moosh: He yeah, I'm not gonna spoil it, but we could talk about it afterwards. Audience, go watch this music video. It's Stay High by Britney Howard. Dude, wholesome AF. Like the music video is wholesome. The whole song is dedicated to KJ Howard, which is Brittany Howard's father. and yeah, although the title stay high, of course everyone nowadays would be like, yeah, it's about drugs. No, this is just about Mike: Right. Moosh: the high of life that you know, growing up with a good father, with a good home, even if it was like shitty and hard times, just having each other is what meant the world. but yeah, her voice is Mike: Yeah, she's fucking incredible. Moosh: soul, man, just absolute soul. Like it's I felt every emotion when she was singing. Mike: I'm just happy that Terry Crews, after years of like struggle and hard times himself, of being I mean fuck, it's been like twenty something years that he has had to deal with being associated with Michelle Branch a Thousand Miles, that he gets to be associated with a much better song. Moosh: That's funny. Mike: I can't even think of how that song goes. I just I know the p nanna. Moosh: yeah. Yeah. No, yeah. Mike: I can't think of anything else. All I can see is him and white chicks, and that's the that's the only scene a white chicks I've ever seen. Is is that. Moosh: my god. The movie is uncomfortable. I I f it's so it's so cringy. I don't know. I just I have like I have a hard time. It's so awkward. It's like I don't know. Everything about it is just uncomfortable for me. Mike: can we stop the white face, please? I Moosh: No. Mike: don't give a fucking shit on white people all day. I can give a fuck. But her vocals were fantastic. You're right. It was a very well thought out. video to go along with the lyrics of that song. but to get somebody like Terry Cruz to come in and like play the star, that's that's pretty cool. Moosh: So yeah, I'll touch on that because Terry Cruz stars in the music video, as we discussed, Mike: Yeah. Moosh: only after Howard, K J Howard, sent him a personal letter of no no no, it just says Howard, but I imagine it's maybe it's Brittany Howard sent him a letter. Probably Britney sent him a letter, Mike: Probably Britney. Yeah. Moosh: a personal letter f and then it was filmed in her hometown of Athens, Alabama. So he agreed to it after receiving this letter being like, Hey, I want you to play my dad in this music video for a song. And she ended up winning best rock song in twenty twenty one. I don't watch a lot of Grammys, but this was Mike: I remember. Moosh: I don't. Mike: I know. Moosh: But it was her first solo number one. So congrats on that. It's a great song. It's a great little tune. Mike: That is a great song and honestly I I don't listen to Alabama Shakes enough. I've loved everything every time I hear it, which is mainly on this show. We've played them a few times. Moosh: Yeah. Yeah. Mike: I think Brad's first time on the show he he

played I forget what, but he played one of their tracks. Moosh: Yeah, yeah, yeah. Mike: goddamn. Okay. Moosh: Soulful. And there was no whistle tone. There was no whistle singing. But she did hit a high note right there towards the end. Like that that last that last third of the song. She she hit some high note. I don't know what it was, but Mike: Well, I'll tell you what, we'll we'll stay we'll stay in the falsetto. Okay? That's that's my next one. I love the female representation. The female to male ratio on this playlist is f very much reversed for what we typically put together. Moosh: Mm-hmm. Mike: but let's go with some falsetto control. This is another, like, touching song. This song is about having to make very tough decisions as a single parent that impacts your child. And all your child understands from your decisions is the negativity that comes with it. Not that it's a sacrifice, not that it is going to make for a better tomorrow, but the decisions that you are making are only only felt negatively. And this is written by from the perspective of the parent knowing this, that their child is too young to understand these things. This is Adele, who we have not played on the show in years. Easy Moosh: Been a minute. Mike: on Easy on me. That is the first time we have played Adele in a long, long time. It's Moosh: Been a minute. Mike: been a minute. And we banned her because she was getting played Moosh: We were playing a two. Yeah. Mike: a lot. So looking back at the list so far, I think something that that song did. demonstrated as far as vocal control goes that we haven't really gotten into yet is conveying emotion. I Moosh: Mm. Mike: think Loss on You by LP had a bit of it. But I think this is this is like i if Freddie Mercury's the overall masterclass of s fucking vocals in general, right? This this one is emotion because the way she is able to and this is just one song. She does it in a ton of but like the way she's able to crack to to to Moosh: Mm, yeah. Mike: hit hit that vocal crack for a split second and then draw it right back down to her chest voice. Like that is That's fucking nuts. That's crazy. Not to mention the vibrato and Moosh: Uh... Mike: like the he hitting that and falsetta and fucking vibrato at the same fucking time Moosh: Yeah, dude. Mike: and pulling your fucking heart out at the same time. Jesus Christ, those fucking vocal cracks, my god. Too much! Moosh: It's it's this has been a killer playlist. This has been Mike: Yeah. Moosh: really good. Like I've enjoyed all of these songs. some more than others, but all of them fit. All of them fit. Mike: Yes. Moosh: And I when I was compiling my list, I really wanted to showcase Haley Williams. This is the last song or last artist I have. just having been listening to Haley Williams for a long time, it's I'm very familiar with her vocal range, with how her voice sounds and how she can control it and manipulate it and and stuff like that. But I wanted some of her solo stuff. And you know, because her work with Paramour, of course. Haley Williams is the lead singer of Paramour. they've been around since fucking 2005 or something like that. Like, I think her and I are the same age, so she was definitely still in high school when When sh Paramore got kicked off, which is insane Mike: Yeah. Moosh: to me. Why not me? but this song that I chose is called Simmer, and this was her first solo her first solo record, but her first solo song, like the first track that she ever wrote. and it's co produced and co written by Taylor York, who was a member who is a member of Paramore. but it's This is a different sound to Haley's voice and a different genre. Like, so if you're if you're expecting Paramour, this ain't it. This is this is this Mike: Right. Moosh: feels more in the same realm of the other female artists we've had on the show so far. so it it it's fitting. And I'm it may not have some of the gravitas that That Mariah Carey or or Adele have but her Mike: So it's gonna be a lo it's gonna be more raw then. Moosh: it's gonna be a little bit more raw. It's not gonna it's not as it's not overly produced. it's a little bit more raw, but it's it's really it I think it really sh helps shine a light on her on Haley Williams being emotional in that same sense. And this is like an introspective song. Mike: All right. Moosh: So this is Simmer. this is off of 2020's Pedals for armor. Dude. So different than Paramour. This has like a like she started listening to a lot of Bjork or like Aurora. Like just really kind of experimental Norwegian type of music. Like I love it. I love how weird this is. But her voice, I mean, this is her solo work. I mean, sure, she had, you know, Taylor York helped produce it and and write the song. But all of the different vocals you hear in the song are all her. Mike: That was fucking art on ev Moosh: Yeah Mike: on every level. I when it first started, if you guys watched the music videos you'll know exactly why I'm saying this. I was like, Stranger Things. it was very stranger things. There was something nostalgic about it. I was I di I I get what you mean by Bjork, but I heard Taylor Swift mostly. Moosh: Well it Mike: And a little bit of Billie Eilish. The way that the way that chorus Moosh: That makes sense. That definitely checks out. They're they're all friends. They're all friends. Yeah, they've they've been on stage with each other at different points. Yeah. Mike: Okay. that chorus was very like Anti-Hero is what it reminded me of. The like Moosh: Mm. Okay. Mike: it's got a it's got a it's got a very similar like give and take to it between like the harmonic vocals and all Moosh: Sure, sure, sure, sure. Mike: that. But I mean, it's that was incredible. Like I love the visuals. I love that Spotify has started adding fucking music videos. Like that is Moosh: Yeah. Mike: awesome. i it just sometimes art should especially music it should always be ambiguous to an extent but sometimes an artist

really wants to get their fucking vision across and a music it's a dying art. Like we grew up on fucking music videos Moosh: MTV baby. Mike: and VH1 and Fuse. Not anymore. Moosh: Fuse No. Mike: It's a lost art. I'm glad I'm glad some some artists still budget for that and and make it happen. I right Moosh: And some of can even hire Terry Cruz. Mike: I'm glad you showed me that because I I've never really listened to Paramore. I've never like I love Misery Business. Like that's a really cool song. MGK Moosh: Falcum. Falkham. Who cares? Is what I want to know. It's just Mike: Because he also did that to because he did that to System of a Down on Aerials and like Moosh: Fuck Mike: he deserves to be just whack. Moosh: The more we talk about him, the more power he gains. It's awful. So no, it's stupid Mike: Ugh. You sound stupid. You look stupid. Moosh: A Haley Williams and Paramour have been definitely on my radar for a long, long time. Like I said, since high schools when they got Misery Business came out in seven, I think. It was huge. Like Mike: Something like that. Moosh: that was a huge song. and all the work that Haley Williams has done, she's done a lot of different partnerships with different studios. I know that she did a few songs for a Twilight series that came out, kind of at circa the same era. She's partnered with a lot of people. She's been featured on a lot of different songs. we talked about did we talk about American football? Mike: Yes. Moosh: Yeah, so she she actually did a song with American football not too long ago, which is fantastic. Love that those two worlds exist. Mike: Nice. Well, nobody can argue with the next one. We talked about Temple of a Dog recently when we did our Seattle. And Moosh: Mm-hmm, mm-hmm, mm-hmm. Mike: there there is a song that I think like if I decided that I was going to sing every Chris Cornell song until I've mastered it, not only is that a journey that would never be completed, but this song would this would be the top the tip top of the pyramid. I don't think there is a more difficult song that Cornell sings than this. So Way early in his career. And this is dedicated, and I mentioned this, this is dedicated to Andrew Wood of Mother Love Bone that we talked about during our Seattle episode. This is Say Hello to Heaven. The highs with was so like we talked about Adele Singing with the motion and hitting those cracks, those vocal Moosh: Mm-hmm. Mike: cracks. Here's an example of when somebody has mastered hitting those vocal cracks, but they don't they don't hit it. They use it as like an off-ramp and they carry that vocal fry into a higher register. This song, halfway through and towards the end, is filled with that shit. So, Temple of a Dog, Chris Cornell, say hello to heaven. Those highs, those belts, not to mention how much fucking energy that song brings. Moosh: Yeah. Mike: It is non fucking stop. Even when he's in his normal chess register, like it's still just explosion after explosion. And

then he hits the fucking highs and the music drops, and then he just goes to the chess voice say hello to heaven, and it just brings everything Moosh: Yeah. Mike: back down until the end when he does those fucking operatics. Church choir, fucking Sweet child of mine. Welcome to the jungle highs, dude. Fuck. Moosh: Yeah. So I this made me think, a recall of remember when we had Chris Liebe on the show Mike: Yeah. Moosh: and his story about how he became who he is was that he wanted a sound like like my brain is fried. Cornell. my god. I my Mike: Cornell. Yeah. Moosh: brain is all over the place with that. It was so amazing. But Chris Lipe wanted to sound like Cornell. And he asked his vocal coach at the time when he was a teenager, how do I get my voice to sound like that? In college. But he asked this he asked his Mike: I th I think he was in college. I think so. Moosh: vocal coach how how do I sound like Chris Cornell? And his coach is like, You'll never sound like Chris Cornell. And legend. Mike: that wa but that wasn't the problem. The problem was is choir is the only way to sing and if you do anything else you're gonna screw up your voice. You don't want to sing like that. It was it was a very discouraging Moosh: That's that that's what it was. Yeah the Yeah. Mike: response that he got back until he d you know, he figured out w I don't even know if he calls it this. I call it the "Leipe A Bay method" look him up. Chris Lipe, bald dude. he's been on the show. I'll throw I'll throw it somewhere, a thumbnail, where he demonstrates how to sing in the style of Chris Cornell. I think he used his Fell on Black Days during that episode as an example. But yeah, like this Moosh: Yeah. Amazing, amazing. Mike: this fuck dude. Like I've heard I mmm really Moosh: I I've never heard this before. This is this was a new I've never I don't listen to a lot of Temple of the Dog. I don't I don't listen to any of it. Mike: It's only one album. Right. Moosh: so like it's I know what Temple of the Dog is, and I know, Mike: You know hunger strike. Moosh: yeah, I know everyone knows Hunger Strike. I I play Mike: Yeah. Moosh: that song every time my kids keep complaining about being hungry, but they won't eat the food that I give them. I play that song. Mike: How Moosh: I was like they're like, Dad, I'm hungry and I like, Yeah, there's there's food right there, you just gotta eat it. They're like, But I'm hungry and I don't want that And I was like, Mom going hunger They hate it. My kids hate it. Mike: I'm sure they do. Moosh: but no, it's like I don't I don't grunge isn't really something that I seek out. I don't like to listen to a lot of this genre as a whole. I love Chris Cornell as an individual, and as a lot of the stuff he's done with Audio Slave is where I fell in love with Chris Cornell. Mike: Right. Moosh: So I listen I listened to a lot of Audio Slave in the early 2000s. but yeah, dude, this his It was Mike: Don't finish the sentence. Leave it at that. Moosh: Yep. Dude. Mike: Don't don't don't try to put words to it. Moosh: And if I if Mike: don't try to put words to it. Moosh: And if I if I could just Mike: Be sure to like, comment, and subscribe. hope you guys enjoyed this episode of the Boosh and I. Boosh, you got anything to say? Moosh: If I could Mike: So you can you can hit us up at the Cut Music and the number one. We are TikTok, Instagram, YouTube, streaming audio everywhere and video on YouTube and Spotify. Shout out to our sponsor, click the link in the description, it's the best way help support this show. We really appreciate it. Until next time, we've been Mike and Okay, he was able to get that out. And you you what? What? Moosh: The moosh I got that one out. Got that I got it out. Just just w j an inc incredible episode. Incredible songs. Incredible artists. Mike: Yeah, so much fun. N not as not and not because Brad's not here, but not as comedic as normal. This is way more tame t to the theory, to the technique, to the critique and and admiration of everything that we listen to. So but you guys will get Brad in the moosh. next week. I'm not sure what they're going to do, but I'm gonna be out. Moosh: think I I'm gonna I think we're gonna try and out weird each other. So as as amazing Mike: That is gonna be Moosh: as this episode was where we where we broke down artists and really di dove deep into like vocal technique. Mike: This is gonna be th it could not get w worse? Moosh: It's no, we're the pendulum swinging the other way. and I don't mean we're just gonna play weird Al. we'll maybe we'll do that someday, but I'm gonna say Brad loves weird ass music and I love weird Mike: Yeah. Moosh: ass music. So we're gonna see who can Mike: Can't Moosh: who can be the weirdest and still call it music. Mike: You know what's gonna h you know what I'm gonna do? I'm not gonna jump in a lot like I did during Moosh: Mm-hmm. Mike: the Ska episode. But I think I'm gonna go make scorecards. Moosh: you know five point five. Mike: I and I and I and I wanna score you guys on your fucking weirdness and then I'll announce the winner at the end. Moosh: And now it i i I love that. But Mike: Or I could put little scores under I'm just making more editing work for myself. But but I'll figure it out. Moosh: Yeah, you are. I was gonna say, how are you scoring it like on how how much you liked the song or how much how much you hated it? Mike: No, we no no no no no no. Probably how much I hated it because that because I don't like weird. Weird is Moosh: Right. Mike: not my thing. So the weirder it is for me, the higher the score is gonna be. I'll probably w one to five is what I'll do. I'll f I'll figure it out. I'll figure it out. Yeah, we need to let Moosh: This is gonna be fun. This is gonna be a fun episode. Mike: Brad know he's gonna be judged. Not that he cares. He still won't give a fuck, but whatever. Moosh: No. Mike: Anyway. Tune in for that episode Weird next week with Brad and the Moosh, and we'll see you guys next time. Moosh: Toodles.