Ah - I don't know those tracks; the latest Baez album I have is 'Come From The Shadows' (1972).
Oh wait a minute - I have just remembered I have a compilation: 'Joan'. It has the two tracks you cite. Haven't played it in years (I usually play her '60s stuff). Will give it a listen.
Regards
Barry
In Glasgow we call it the 'shady bong' syndrome... Snapper will explain
Marco.
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Location: Bristol, UK
Posts: 441
I'm Greg.
Hi Clive,
I've identified this thing over alot of listening years and my conclusion is that the singer attempts 'vibrato' but basically can't master it. That is very true of young singers with limited training but also applies to well trained but aging stars. I example some of the recent broadcasts by dear Dame Shirley Bassey. Certainly a star in her time but obviously performance wise over the hill now.
Good vibrato is rare even with well established classical music singers. Some of them have such extreme extension on vibrato pitch, it's hard to identify what the foundation tone actually is.
In the popular music world, I'm convinced this is about singers trying to make their voices sound mature and well trained when actually they don't have the pedigree. Those of us who have the 'ears to hear' identify it immediately and get instantly put off. That's my take on it.
Regards,
Greg
Vibrato is a periodic change in pitch, whereas tremolo is a periodic change in volume (ie, the 'throbbing' effect).
Up until the last few decades, most Western classical singer trainers taught their students to consciously do this - it being perceived by some people as a way of adding emotion, expression, feeling etc, to the words.
So unfortunately many singers do it because they've been taught it is Good Thing to do. Of course amateur singers and others are so insecure in pitch that presumably they believe that, if they sing enough different notes, they'll hit the right one occasionally.
Personally I hate both techniques unless they're done so well, you don't notice it.
When it comes to instrumentalists, the picture is somewhat different: classical orchestral music such as Brahms's would sound odd if played completely free of vibrato and tremolo - the sound the composer had in his head while writing would have included more of these effects than we are currently used to.
An acoustic guitarist will manipulate the string to induce a tremolo in order to extend the note.
To hear completely vibrato-less/tremolo-less singing, try one of the singers of the 'Early music' school. Of whom, Emma Kirkby is a good recommendation: I doubt she's ever produced a disc not worth listening to.
Last edited by Jeremy Marchant; 14-11-2009 at 18:24.