Starlight

It’s hard to believe that Muse formed way back in the early 90s.  They came to my own consciousness towards the end of that decade with the release of their 1999 single Muscle Museum.  The hypnotic video to that track, directed by Joseph Kahn, still holds its power today and is worth a peek if you have not seen it.

There is something really nice in the transitions between lead vocalist (and multi-instrumentalist) Matthew Bellamy’s belt voice and head voice.  Not to mention the lovely vibrato, since I have a vibrato sound myself!  Bellamy has broad vocal range and knows exactly where to go with it.

It’s great for me when male vocalists sing songs in a higher range because I can actually sing along without having to transcribe up or down…usually down…but Starlight can stay exactly where it is!   

I used to feel really bad about dropping a song down until I read Vera Lynn’s autobiography Some Sunny Day last year.   In it she explains that she had to have everything of hers transcribed down.  We often forget that head voice was the order to the day for most female singers till about the 1950s, so much so that one singing tutor refused to teach Vera.  Thank goodness her unique sound was not trained out of her.

Lyrics

Far away
This ship is taking me far away
Far away from my memories
Of the people who care if I live or die

Starlight
I will be chasing your starlight
Until the end of my life
I don’t know if it’s worth it anymore

Hold you in my arms
I just wanted to hold you in my arms

My life
You electrify my life
Let’s conspire to re-ignite
All the souls that would die just to feel alive

I’ll never let you go
If you promise not to fade away, never fade away

Our hopes and expectations
Black holes & revelations
And our hopes and expectations
Black holes & revelations

Comin’ in on a Wing and a Prayer

A hit for English vocalist Anne Shelton in 1943 who, alongside many titles recorded the first English language version of Lili Marleen.
Comin’ in a Wing and a Prayer is a delightful big band number celebrating the pluck and determination of a bomber crew as they come in to land on their failing plane “Though there’s one motor gone, we can still carry on. Comin’ in on a wing and a prayer.” I find this a very fun song to sing, it’s beautifully upbeat and tempoed with some lovely long notes to hold.

On a Wing and a Prayer has been covered by many but a particular favourite version of mine is that by Joseph Spence. Recorded on his porch in 1958 by Samuel Charters, it appears on several of Spence’s albums including Music of the Bahamas Volume One, The Complete Folkways Recordings and The Spring of Sixty-Five.

Lyrics

One of our planes was missing
Two hours overdue
One of our planes was missing
With all it’s gallant crew
The radio sets were humming
They waited for the word
Then a voice broke through the humming
And this is what they heard:

Comin’ in on a wing and a prayer
Comin’ in on a wing and a prayer
Thought there’s one motor gone
We can still carry on
Comin’ in on a wing and a prayer.

What a show, what a fight
Yes we really hit our target for tonight

How we sing as we limp through the air
Look below, there’s our field over there
With our full crew aboard
And our trust in the Lord
We’re comin’ in on a wing and a prayer

New Music Project

I’ve just started a new music project with friend and Pieces of Beth frontman Phil Griffiths.  We’ve had several rehearsals at my place followed by our first studio rehearsal which took place last weekend.  The material is coming together nicely and we’ll be looking to perform our first public set in August.  We’re currently working on some of the more darker covers such as Story of Isaac.  Since Phil is the writing brains and an experienced song writer he’ll be looking to develop some original material for the project…all in good time of course.   We both like the blues too and are keen to play with more than one genre.  We’ll need to find a genre neutral name though…will be have to call on the services of a random band name generator!?  And how many inputs will we have to make!?

Story of Isaac

I performed this as part of Theatre of War, a piece of theatre directed by Eddie Burton and devised by Eddie and the cast.  My character for the scene in which I sang Story of Isaac was a French cabaret /club singer in occupied France who was having a relationship with a Nazi soldier.  The song, being evocative and complex, seemed to fit perfectly  I sang this to the audience with a microphone.  Story of Isaac is an incredible song from Leonard Cohen’s 1969 album Songs from a Room.  I also enjoy The Johnston’s version which was recorded in 2011.

Initially I felt the original key was in too low for me and struggled to sing it in a way I was happy with.  Eddie suggested that rather than trying to sing out to an audience, to imagine instead I was confessing to a priest in anguish.  Since I would perform the piece with a mic I didn’t to push the voice out and this simple thought technique worked at treat and really allowed me to connect to song.  There are all kinds of thought techniques you can use during your singing, use whatever it the most useful for you, it can be a completely private thought.

Lyrics

The door it opened slowly,
My father he came in,
I was nine years old.
And he stood so tall above me,
His blue eyes they were shining
And his voice was very cold.
He said, “I’ve had a vision
And you know I’m strong and holy,
I must do what I’ve been told.”
So he started up the mountain,
I was running, he was walking,
And his axe was made of gold.

Well, the trees they got much smaller,
The lake a lady’s mirror,
We stopped to drink some wine.
Then he threw the bottle over.
Broke a minute later
And he put his hand on mine.
Thought I saw an eagle
But it might have been a vulture,
I never could decide.
Then my father built an altar,
He looked once behind his shoulder,
He knew I would not hide.

You who build these altars now
To sacrifice these children,
You must not do it anymore.
A scheme is not a vision
And you never have been tempted
By a demon or a god.
You who stand above them now,
Your hatchets blunt and bloody,
You were not there before,
When I lay upon a mountain
And my father’s hand was trembling
With the beauty of the world.

And if you call me brother now,
Forgive me if I inquire,
“Just according to whose plan?”
When it all comes down to dust
I will kill you if I must,
I will help you if I can.
When it all comes down to dust
I will help you if I must,
I will kill you if I can.
And mercy on our uniform,
Man of peace or man of war,
The peacock spreads his fan

Where Did You Sleep Last Night

Recorded by Leadbelly in the 1940s, Where Did You Sleep Last Night is a sinister, dark, beautiful and very human piece.  This American folk song from the 1800s came to greater prominence in the 1990s when it was performed by Nirvana during an MTV Unplugged set.

This was a song that an old boyfriend of mine used to sing, and I loved it so much I asked if I could have a go at singing it.  So he adjusted the key, I tried it out and it just fitted.   You can hear a sound clip of me singing this song here.  We performed Where did you sleep last night live numerous times, I simply adore it.

Lyrics

My girl, my girl, don’t lie to me,
Tell me where did you sleep last night.
In the pines, in the pines,
Where the sun don’t ever shine.
I would shiver the whole night through.

My girl, my girl, where will you go?
I’m going where the cold wind blows.
In the pines, in the pines,
Where the sun don’t ever shine.
I would shiver the whole night through

Her husband, was a hard working man,
Just about a mile from here.
His head was found in a driving wheel,
But his body never was found.

My girl, my girl, don’t lie to me,
Tell me where did you sleep last night.
In the pines, in the pines,
Where the sun don’t ever shine.
I would shiver the whole night through.

INTERLUDE

My girl, my girl, where will you go?
I’m going where the cold wind blows.
In the pines, in the pines,
Where the sun don’t ever shine.
I would shiver the whole night through.

My girl, my girl, don’t lie to me,
Tell me where did you sleep last night.
In the pines, in the pines,
Where the sun don’t ever shine.
I would shiver the whole night through.

My girl, my girl, where will you go?
I’m going where the cold wind blows.
In the pines, in the pines,
where the the sun don’t ever shine.
I shiver the whole night through.

Some Enchanted Evening

I have a huge fondness for the 1958 film version of musical South Pacific and watched it over and over again as a child. The original stage production hit Broadway in 1949, scooping a total of 10 Tony awards, and the number There is Nothing Like a Dame will always put a huge smile on my face.

As a youngster I bought myself a South Pacific EP out of my pocket money from a second hand shop and still have it. On it are the tracks A Wonderful Guy, Bali Ha’i, Younger than Springtime and Some Enchanted Evening as sung by Richard Torigi. The song has been covered many artists, including such big names as Frank Sinatra, Bing Crosby, Dean Martin and Barbra Streisand, it’s not the down played lounge interpretations I like best but the passionate baritone ones

Since I love singing songs with simple melodies, long notes and a build-up or crescendo Some Enchanted Evening is pure pleasure singing for me.
For me I find it important to push out the “some” of Some Enchanted Evening for a clear and definite opening and the piece needs to be paced so that the song is not built too soon. Bear in mind that you are telling a story so rather than sing the words, tell the tale. Audience members may know the song but imagine you are sharing the story of Some Enchanted Evening with a close friend for the first time, you are telling them “some enchanted evening, you may see a stranger”.

If you are not yet as confident as you would like to be on your high notes then on the last line of the song (“never let her go”) singing “go” on the same note as “her” works just as well. Another consideration is whether build the final line and commit to a huge, passionate, or even anguished “go” or whether to soften the final word which creates a rather mournful, reflective end.
Some Enchanted Evening is a very rich and emotional piece, one that I can get quite lost in.

Lyrics

Some enchanted evening
You may see a stranger,
you may see a stranger
Across a crowded room
And somehow you know,
You know even then
That somewhere you’ll see her
Again and again.

Some enchanted evening
Someone may be laughin’,
You may hear her laughin’
Across a crowded room
And night after night,
As strange as it seems
The sound of her laughter
Will sing in your dreams.

Who can explain it?
Who can tell you why?
Fools give you reasons,
Wise men never try.

Some enchanted evening
When you find your true love,
When you feel her call you
Across a crowded room,
Then fly to her side,
And make her your own
Or all through your life you
May dream all alone.

Once you have found her,
Never let her go.
Once you have found her,
Never let her go!

Abide With Me

Abide With Me is a Christian hymn usually associated with funeral services. It’s 8 verses long but at church funerals usually 5 verses are sung (verses 1,2,6,7 and 8).

Abide With Me was composed by Henry F. Lyte in 1847 while sick with tuberculosis; he passed away three weeks later aged 54. Although a prolific writer of hymns (he wrote nearly 90) this is his most famous.

Abide With Me is a very comforting hymn and can be set to several melodies, however Eventide written by William H. Monk is by far the most common accompaniment.
I think Abide With Me is very beautiful and easy on the ear; it has the quality of being a simple yet deeply heartfelt piece.

Like most hymns, when I sing them I tend to drop them down in key and speed them up a little. Id encourage anyone to sing songs in the way that they truly enjoy singing them rather than to feel bound by rules.

I find hymns are great warm up songs, but the truth I also simply enjoy hymn singing.

Lyrics

Abide with me; fast falls the eventide;
The darkness deepens; Lord with me abide.
When other helpers fail and comforts flee,
Help of the helpless, O abide with me.

Swift to its close ebbs out life’s little day;
Earth’s joys grow dim; its glories pass away;
Change and decay in all around I see;
O Thou who changest not, abide with me.

Not a brief glance I beg, a passing word,
But as Thou dwell’st with Thy disciples, Lord,
Familiar, condescending, patient, free.
Come not to sojourn, but abide with me.

Come not in terrors, as the King of kings,
But kind and good, with healing in Thy wings;
Tears for all woes, a heart for every plea.
Come, Friend of sinners, thus abide with me.

Thou on my head in early youth didst smile,
And though rebellious and perverse meanwhile,
Thou hast not left me, oft as I left Thee.
On to the close, O Lord, abide with me.

I need Thy presence every passing hour.
What but Thy grace can foil the tempter’s power?
Who, like Thyself, my guide and stay can be?
Through cloud and sunshine, Lord, abide with me.

I fear no foe, with Thee at hand to bless;
Ills have no weight, and tears no bitterness.
Where is death’s sting? Where, grave, thy victory?
I triumph still, if Thou abide with me.

Hold Thou Thy cross before my closing eyes;
Shine through the gloom and point me to the skies.
Heaven’s morning breaks, and earth’s vain shadows flee;
In life, in death, O Lord, abide with me.

42nd Street

From 1933 musical film of the same name 42nd Street is a fabulous big band number with lot of energy. I have a backing track that is under two minutes in length so for me it’s a great filler, energiser, or snappy opening number. Search for the film’s song on YouTube though and this singing/dancing number is about 5 minutes long and includes incredible tap dancing from lead actress Ruby Keeler (who played Peggy Sawyer), hordes of synchronised show girls and a heart stopping leap from a balcony by one of the female dancers.

42nd Street is also one of those song that you can get away with doing “actions” to if you like to encompass a bit of physicality with your singing. E.g. “where the underworld” (hand gesture to the floor) “can meet the elite” (hand gesture upward/to the sky). Of course what actions you choose to accompany the line “sexy ladies from the eighties who are indiscrete” is up to you!

Being from the UK I have to make a decision on what accent I sing in when it comes to American songs. If you learn songs from listening to recordings of them it’s quite natural to mimic a singers way of singing, including their accent, and before you know it you’ve fallen into a unconscious habit as opposed to making a vocal choice. Generally I sing in a Standard British accent or even an old fashioned clipped accent in the case of 1940s and pre 1940s songs. However with American songs I’ll aim for a “halfway house” looking to sound as though I may have spent a couple of years in the States. Accent work is a lot of fun and there are songs I’d like to eventually sing in various accents.

Regardless of your accent choice when it comes to faster paced songs like 42nd Street ensure your diction and clarity is strong and that the words don’t run into one another.

Lyrics

In the heart of little old New York,
You’ll find a thoroughfare.
It’s the part of little old New York
That runs into Times Square.
A crazy quilt that “Wall Street Jack” built,
If you’ve got a little time to spare,
I want to take you there.

Come and meet those dancing feet,
On the avenue I’m taking you to…

Come and meet those dancing feet,
On the avenue I’m taking you to,
Forty-Second Street.
Hear the beat of dancing feet,
It’s the song I love the melody of,
Forty-Second Street.

Little “nifties” from the Fifties,
Innocent and sweet;
Sexy ladies from the Eighties,
Who are indiscreet.

They’re side by side, they’re glorified
Where the underworld can meet the elite,
Forty-Second Street.

Mingulay Boat Song

The Minualy Boat Song was a song I originally learned at primary school.
The lyrics where written in the 1930s by Scottish composer Sir Hugh S. Robertson and set to a tune that was part of the old Gaelic song Oran na Comhachaig.
The “Minch” (see lyrics) is a sea channel separating northwest Scotland from the Outer Hebrides

Sir Hugh S. Robertson was founder of the globally acclaimed The Glasgow Orpheus Choir (1906-1951) who toured widely and gave private performances by Royal command at Balmoral and also entertained Prime ministers and Ambassadors at Downing Street and Chequers.

In my youth theatre days I sung the Mingulay Boat Song as an audition song, including my Kip’s War audition at the Leicester Haymarket in 1987, the director loved it! I even did little rowing actions, I must have looked cute!

Lyrics

Heel y’ho boys, let her go, boys
Bring her head round now all together
Heel y’ho boys, let her go boys
Sailing homeward to Mingulay.

What care we tho’ white the Minch is
What care we for wind and weather?
Let her go boys, every inch is
Wearing homeward to Mingulay!

Heel y’ho boys, let her go, boys
Bring her head round now all together
Heel y’ho boys, let her go boys
Sailing homeward to Mingulay.

Wives are waiting on the bank, boys,
Looking seaward from the heather.
Pull her ’round boys, and we’ll anchor
‘Ere the sun sets at Mingulay!

Heel y’ho boys, let her go, boys
Bring her head round now all together
Heel y’ho boys, let her go boys
Sailing homeward to Mingulay.

Maybe This Time

While my school friends where listening to New Kids on the Block and deciding which one they fancied the most – Danny, Donnie, Jordan, Jonathan or Joey (I was a teen of the 90s) – I was sneaking my mother’s original Cabaret Soundtrack on vinyl upstairs to play over and over again on my record player. 

My two favourite songs from that 1972 film are Maybe This Time and Life is a Cabaret, both sung by lead character Sally Bowles and played by “The Queen of Broadway” Liza Minnelli who won an Academy Award for the role. 

I connected with the sentiments of both pieces right away and have known all the lyrics for about two decades now. 

The first word of the song “maybe” starts on a low note so when singing this piece push it out and exaggerate the “M” otherwise there is a risk the audience hears only the second word (“this”) and not the “maybe”.  I personally find it helpful to follow my singing coach’s advice and push the “M” sound through the nose, which pushes the voice and the sound forward.

Build the song slowly and fight the urge to belt it to the max too early.  Every piece benefits from a bit of planning so plan well and you’ll be ending on an awe inspiring, unapologetic release. 

The last note is long so make a decision on where to take your breaths and train for holding a long note if you need too.  It’s easy to train for long notes, you just have to be consistent in your practice.  There are lots of wonderful notes within this song to hit the wall with and stretch that jaw wide open!

As with Life is a Cabaret it’s a real treat to be in and an environment where I can just let Maybe This Time go!   The joy of singing does not have to be co-related to the presence of an audience, singing is an experience, and one that’s good to enjoy all on your own.   

Lyrics

Maybe this time, I’ll be lucky
Maybe this time, he’ll stay
Maybe this time
For the first time
Love won’t hurry away

He will hold me fast
I’ll be home at last
Not a loser anymore
Like the last time
And the time before

Everybody loves a winner
So nobody loved me;
‘Lady Peaceful,’ ‘Lady Happy,’
That’s what I long to be
When all the odds are in my favour
Something’s bound to begin
It’s got to happen, happen sometime
Maybe this time I’ll win

‘Cause everybody (oh) they love a winner
So nobody loved me;
‘Lady Peaceful,’ ‘Lady Happy,’
That’s what I long to be
When all the odds are in my favour
Something’s bound to begin
It’s got to happen, happen sometime
Maybe this time, maybe this time I’ll win