Re: [fearnwhiskey] whisper, whistle... ?
> So this summer we've got the Ying Yang Twins whispering and Juelz SantanaAside from the vocal sounds in doo-wop, can I test the boundaries of your question and bring up the vocorder/talking box sounds Joe Walsh and Peter Frampton used in the 70s?
> doing it with a whistle. My question (and it's kind of a convoluted one)
> is what pop precedents there are for this use of novelty human-produced
> sounds as production elements. Obviously there's the whole legacy of
> yodelling, and the Slim Whitman sort of whistling, but I'm particularly
> interested in cases where these sounds are used not so much as part of
> the lead singer's performance but as embedded texture on which the song
> is built, almost like an instrument. (Wait [The Whisper Song] is both, I
> would argue.) There are a few cases such as Bjork's last album where this
> is the whole point, but that's not really in a pop way (though
> experimental examples are good for context). The only standout example I
> can think of before now is beatboxing. Others?
I seem to remember some disco songs where the rhythm was built around heavy breathing and bass guitar but am drawing a blank on names this early in the morning.
Oh yeah, are Cocteau Twins not poppy enough for consideration?
> Aside from the vocal sounds in doo-wop, can I test theThat's a good thought, tho it's definitely a bit on the margin of the question - but the question's a little fuzzy still, so sure, why not?
> boundaries of your question and bring up the vocorder/talking
> box sounds Joe Walsh and Peter Frampton used in the 70s?
> I seem to remember some disco songs where the rhythm wasHeavy breathing rhythm tracks would be *so* on target. If something occurs to you, let me know.
> built around heavy breathing and bass guitar but am drawing a
> blank on names this early in the morning.
Donna Summer's Bad Girls, with its "toot toot, ahhh, beep beep!" hook just popped into my mind. That feels relevant.
> Oh yeah, are Cocteau Twins not poppy enough for consideration?Ehhhh, Cocteau Twins just doesn't seem right.
- For whistling, there's Guy Mithcell's "Singin' the Blues" and
Professor Longhair's "Big Chief." DJ Frankie Knuckles had "The
Whistle Song." Don't ask me how I know this but Carly Simon whistled
on one of her early albums and I'm pretty sure I remember Lennon
doing it on "Nobody Loves You When You're Down and Out" and Sir Elton
on "Benny and the Jets." For some reason, I seem to remember Stevie
Wonder whistling on one of his albums too but maybe I imagined
that... I'm sure that any Spike Jones record had 100's of whistles
and strange vocal noises.
There's also this recent book on yodels:
"Yodel-Ay-Ee-Oooo: The History of Yodeling Around The World"
For the Ying Yang Twins' song, I thought the "censored" version of
the song was much better than the stupidly "explicit" version- leaves
more to the imagination even if you can guess what they're talking
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- Thanks, Jason - to clarify, i'm not thinking so much of records where somebody whistles or yodels but ones that integrate that into the overall instrumental bed - much more Spike Jones than Professor Longhair.
Do you know if there's a relationship between Frankie Knuckles' "The Whistle Song" and Juelz Santana's "There It Go (The Whistle Song)"? That's one of the things I've wanted to find out.
> Heavy breathing rhythm tracks would be *so* on target. If somethingI'm not coming up with titles from the 1970s, but in more contemporary music, one of my favorite examples of this is Erykah Badu's "I Want You". The breathing is part of the lead vocal, but the way the vocal is mixed into the track makes it less of a lead and part of the rhythm. It's hypnotic and maybe my favorite song she's done. I don't think it was particularly successful on the charts (it's a long song), so we're stretching the boundaries of pop. Quite danceable though.
> occurs to you, let me know.
Would the backing vocals in Steely Dan's "Show Biz Kids" be along the lines of what you had in mind, Carl? The words are almost beside the point, and the vocals carry the rhythm of the track. Plus one wail qualifies as the only solo in the song!
- Carl W. wrote:
< Heavy breathing rhythm tracks would be *so* on target. If
< something occurs to you, let me know.
If memory serves, much of the percussion on Tom Waits' last album, REAL
GONE, is all vocal loops.
-Jason, awake too early in Seattle post-Grand Champeen
> Carl W. wrote: < Heavy breathing rhythm tracks would be *so* on target.I am suddenly remembering that one of Stevie Wonder's mid-80s songs (c. 1987) has samples of his heartbeat as the rhythm track. Not a vocal, but outside the bounds of typical bodily noises in song.
> If < something occurs to you, let me know.
> If memory serves, much of the percussion on Tom Waits' last album, REAL
> GONE, is all vocal loops.