I’ve always discovered that some people are more into music than others, but despite this, everyone appears to have a voice that they can hit on that basically makes them feel something or simply “gets” them somehow. I present the voices that mean the most to me, for a number of reasons.
1 – Bjork: My own favourite, but additionally one I feel has been sadly shoehorned into that rather Philistine category of “kooky” by those that deem her music too “difficult”. In reality she is an extremely versatile performer, seemingly a woman of a thousand voices and yet only 1 all at the same time. It may seem sensible more to think about her voice up to an instrument up to any guitar or piano, not really a vehicle on her behalf lyrics. With this in mind, it brings a genuine humanity to songs such as “Joga”, a swooping techno-ballad ode to friendship, and fierce political conviction to the apocalyptic thud of “Declare Independence”. Most of all, it is shown at it’s best when she wears her heart on her behalf sleeve, which she does more regularly than her detractors may think, giving a song like “Pagan Poetry” an air of fantasy, longing and above all, real eroticism. Few singers have the guts to be so bold, period.
2 – Shara Nelson: Hearing this voice for the first time is bound to impact anyone. Coming along at a time when British soul music (with the notable exception of Soul II Soul) was in dire straits, Massive Attack brought something truly British to the table. True, there have been the influences of dub, rap, hip-hop, soul and electronica, however the amalgam and unshowy nature of it was something new. And as the centrepiece of this operation was Shara Nelson, a woman having an almost frightening level of emotion in her vocals, even the easiest “yeah” or “uh” conjuring up shivers. Even those familiar with the real divas of days gone by like James, Fitzgerald, Franklin, Simone and Knight couldn’t deny that this was a once-in-a-lifetime voice. Upon hearing “Unfinished Sympathy” it is clear of her (and their) genius; the lyrics – “Such as a soul without a mind/In a body without a heart/I’m missing all” – may be abstract,, but everything you don’t doubt is the emotion behind them, what ever has happened to her protagonist, it hurts, and you also actually care. It surely ranks as one of the best singles (and songs) of any period. Even in her short-lived solo career she managed some interesting feats: producing a debut album of such depth and uncompromising openness that even her take on Motown with (rather oddly) Bob Stanley and Pete Wiggs gave birth to the haunting “One Goodbye In Ten”. Only in Britain.
3 – Roisin Murphy: Mostly known on her behalf rather eccentric wardrobe choices and of course the mega-hit “Sing It Back” as the voice of Moloko, Ms Murphy can be an artist of underrated vocal and musical ability, being both an instrumentalist and producer-arranger in addition to a singer.Early Moloko treats such as for example “Fun FOR ME PERSONALLY” and “Dominoid” might not have already been to everyone’s taste, being in a hip-hop/trip-hop style very of it’s time, but did show the early promise within their wobbly vibes and Roisin’s rather Earth Kitt-esque stylings, but it was “Sing It Back” that quite rightly got her (and partner Mark Brydon) noticed, albeit via an Ibiza-inspired remix by Boris Dlugosch. As stylish as it still sounds, it is better experienced in it’s original incarnation, which is really nothing more than a bongo, bass and diggeredoo, giving centre stage to her unashamedly sexy lyrics (“While you are ready, I’ll surrender/Take me and do as you’ll”).
By enough time of third album “Things To Make And Do”, songs like “Absent Minded Friends” and particularly “ENOUGH TIME Is Now” showed her as an artist of real emotion but without losing her edge. But her crowning glory came, ironically, in the groups final album “Statues”, essentially a modern update of ABBA’s “Voluez-Vous” album, dealing with the personal and professional fall-out from end of her relationship with Brydon, and her most upfront lyrics yet, the album closing on “I Want You”, a song concerning the confusion of a partnership ending and being in limbo, and “AGAIN AND AGAIN”, a lush string-led ballad. As a soloist she’s been equally as individual; debut offering “Ruby Blue” confusing as many people since it pleased, based of minimalist beats and tribal drums, and featuring the wonderfully teasing single “If We’re In Love”. For now though, she seems to have finally found her niche as an adult dance-pop artist,, which is not as anachronistic as it might sound; second album “Overpowered” showing more prominent singers such as for example Kylie Minogue and Sophie Ellis-Bextor how it should be done. And what’s never to love about an artist who is able to turn a greasy-spoon cafe right into a one woman nightclub in a video but still be cool?
4 – Gene Pitney: A genuine original, Pitney for a few still remains an acquired taste: instantly recognisable vocal stylings and red-blooded passion, but resoundingly un-macho in delivery: this is a man unafraid showing everything. Songs like “I’m Gonna Be Strong” and “A DAY From Tulsa” proving that male failings do not need to end up being Elvis-style gloop-fests of that time period. “Town Without Pity” is without a doubt one his “signiature” songs, but one than stand repeated listens because of the deceptively simple arrangement, and some truly emotionally complex vocals: this is the man in a doomed romance that just wants redemption (“Why don’t they help us?/Really help us?”) at any cost. But also for most, his stand-out is “Something’s Gotten YOUR HANDS ON My heart”, where he reaches his natural conclusion,; after those years searching, he has found the love he needs, which is probably the most outright jaw-dropping declarations ever recorded, not for the faint-hearted as he howls “You touch me and my heart goes astray” for the planet to hear. And, in a touching final flourish, the re-recording of the track with Marc Almond sees him passing on the baton of “World’s Foremost Torch Singer” however you like; a man of little ego, but much talent.
5 – “Mama” Cass Elliot: Doing it for the outsiders everywhere, and particularly at a time when female vocalists really only had two routes, the Diana Ross/Dionne Warwick diva or the Sandy Shaw/Petula Clark ingenue, Cass found epitomise the feisty persona that’s sometimes taken for granted in modern pop. But most of all, behind the (admittedly groundbreaking) image was THAT voice. Perfectly pitched against Michelle Philips’ sweeter tones, she was the core of all of the Mamas And Papas’ biggest hits, from the genuinely timeless “California Dreamin'” and “Monday, Monday” to her later solo rendition of the viciously satirical “Disney Girls”, proving she had a self-awareness that made her stand out. Much less documented but often more affecting, is the breadth of the solo material she recorded; even though indulging in her love of vaudeville, she effortlessly lifts songs like “ARRIVING AT The Best SECTION OF My Life” from the potentially cheap show-tune to a celebration of simply being herself, and you also can’t help but urge her on. But, and to prove it wasn’t always sunshine and rainbows, she also pulls no punches on songs like “If You’re Gonna Break Another Heart”, with a steely reservation worthy of contemporaries like Grace Slick and Janis Joplin; her legacy plain to see in everyone from Madonna to Beth Ditto.
6 – Boy George: When there is a very important factor that depresses me it’s hearing Boy George and Culture Club’s music described as “cheesy.” OK, so no-one is denying that songs such as “Karma Chameleon” and “Church Of The Poisoned Mind” are almost aggressively upbeat pop tunes, but this is usually a man who know his way around a lyric. How a song such as for example “Do You Really DESIRE TO Hurt Me?” has become viewed as camp is anyone’s guess as the lyrics certainly are a straightforward appeal for a truce in a stormy relationship, delivered in that soulful croon that frequently gets overlooked. british female voice over is heard better still on “Time (Clock Of THE CENTER)” and “Victims”, songs having George admit his own personality flaws while pleading to be loved likewise.
His solo material has taken in even more complex and open themes; his debut single may have been a cover of “Everything I Own” followed by a version of “The Crying Game”, but these are hardly covers which are taking the easy route, the former showing a barely concealed life in freefall, the latter being utterly convincing but never once self-piteous. He’s got also been unafraid to speak out on issues close to his heart; take the wonderfully upfront “No Clause 28”, however in particular the truly wonderful “Same Thing In Reverse”, most likely the most touching explanation of the blossoming of young gay love, and the pleasures and pitfalls that go with it. If he can get himself back in a studio and obtain his groove back, we may just be lucky enough to hear a few new stories from the Boy, and God knows he has enough material to draw on.
About the Author
