Diva Devotee : A Blog About Music's Divas

Watch: Jeniffer Hudson's Tribute To Whitney Houston At The 2012 Grammy Awards

2012-02-13T15:27:00.000Z

With the loss of one of the music industry's brightest talents only two days before the 2012 Grammy Awards, it was obvious that Whitney Houston would be at the forefront of everyone's mind during the ceremony.

Grammy executive producer, Ken Ehrlich, explained, before the show, how they were planning on honouring Whitney Houston during the ceremony :

“... it will be something respectful. it’s not going to be a full-blown tribute, to me that feels like it’s too early, it’s too fresh at this moment, so we’re working on something that will be really respectful and appropriate to Whitney’s memory.”

And his handling of the segment couldn't have been more spot on, being kept simple with just a piano, a voice, one spotlight and Whitney Houston's biggest hit, I Will Always Love You.

Of course, tributes to the fallen star came from all who took to the microphone, so great was her influence and regard amongst her peers. But it was left to singer Jennifer Hudson, who many consider Houston's rightful heir, to deliver the only musical tribute.

Beginning with no backing, and just silhouetted, Hudson's voice immediately stirred up memories of Whitney Houston- with her weight, timbre and the use of head voice. Almost from the first word sung she had successfully reminded the world, including myself, of what we had just lost.

It was a sense of loss that listening to Whitney Houston albums over the last few days hadn't managed to excite in me. Perhaps the reality of her passing had just hit me, or maybe it was because Hudson had reminded me that Whitney Houston really burned brightest in a live context. Whatever the case, watching this performance was deeply moving.

It was a sombre and restrained rendition, that walked that fine line of being strong and impressive, but without ever being about anything other than the person honoured. A real testament to Hudson's talent as a vocalist.

The emotional tribute ended with the line "Whitney, we will always Love you", and in doing so it not only echoed the sentiment of every person in that hall, but those of everyone who truly love music.

Rest In Peace Whitney Houston.

21221222396 by YardieGoals

Review: Adele's Performance of "Rolling In the Deep" At 2012 Grammys [watch]

2012-02-13T03:52:00.001Z

Adele has finally returned to the spotlight after months out of the public eye, healing from surgery on her vocal chords following a vocal hemorrhage last year. And what better time to make that return than at the biggest music award ceremony on the calender, the 2012 Grammys. Not only performing tonight, the singer is also nominated for six Grammy awards, including the coveted album of the year for 21.

To mark this return, a noticeably thinner Adele, hit the hair salon, dyeing her hair a lighter shade of blonde, and giving her lion's mane quite a chop! The result was understated and effortlessly gorgeous. However, what we at Divadevotee are really interested in is how her first live performance 2012, and more importantly her voice, sounded on the night.

To show the world her voice is truly back and ready for business, Adele started her performance of Rolling in the Deep, a capella style! Stoic, soulful and resonant, her voice soared as if it had never been damaged. This was pretty much a faultless performance that cements the British singer's place as one of the best vocalists of this generation, not to mention one of the nicest and most down to Earth.

However, though the voice is back, I still hear her forcing the top notes, pulling her chest voice up into the throat to keep the power. It's not the best technique, and she needs to carry on working with a vocal coach to learn how to mix better. The result may be that she loses some resonance with the higher belts, but it'll ultimately give her voice a better chance of avoiding damage.

News just in via regular Diva devotite [look at me making up words] HannahGr:

"Adele just tied Beyonce for the most Grammys won by a female in one night. She won everyone she was nominated for, wow!"

Congratulations Adele!

Review: Rihanna Performs "We Found Love" And Duets With Chris Martin On "Princess Of China" At The 2012 Grammy Awards [Watch]

2012-02-13T03:32:00.001Z

Rihanna kept the energy levels up at the 2012 Grammy Awards Ceremony, delivering perhaps one of her most choreographed performances to date.

Her vocals during the piano led intro of We Found Love sounded good but became more pitchy as it progressed with her using some melisma to quickly get away from the missed note. However, once the substantial backing of the song started, she hit her stride, dancing and belting the notes, with a rasp at times, almost perfectly.

The second part of the performance had Coldplay frontman Chris Martin wondering onto the stage and an acoustic rendition of their duet Princess of China began. During this performance Rihanna showed us some great application of her head voice, slipping into it and utilising it easier than the lower half of her range at times. However, being unable to produce sound at one point, and having to clear her throat to carry on, makes me think, along with the hoarseness of the first half, that she wasn't a hundred percent well on the night.

Still, I have to applaud Rihanna for constantly putting her voice at the fore in live situations, with little to hide behind, despite it not being the strongest or most resilient voice out there. Also her improved dance skills on show tonight have to be given a nod and I hope she keeps at it. She ain't no Fred Astaire, but God loves a trier right?

Whitney Houston Dies today :The world mourns the loss of another legend.

2012-02-12T01:42:00.000Z

American singer and actress Whitney Houston has died at the age of 48, her publicist Kristen Foster has said.

The cause and the location of her death were unclear, Ms Foster told the Associated Press news agency.

Source: BBC

I honestly am in shock right now. The world has lost one of the greatest voices that ever existed, and I have lost one of my biggest inspirations for creating this site.

Rest In Peace, Whitney Houston. You will live on through your music and your daughter Bobbi Kristina.

Celebrities respond to the tragic news of Whitney Houston's death:

Mariah Carey, who worked and became friends with Whitney Houston while recording the inspirational duet When You Believe Tweeted her devastation and sorrow on hearing the news. She also changed her twitter picture to one showing the pair during happier times.[see left]

[NOTE:All quotations are lifted directly from the celebrities twitter accounts, spelling mistakes included]

Mariah Carey : Heartbroken and in tears over the shocking death of my friend, the incomparable Ms. Whitney Houston. My heartfelt condolences to Whitney's family and to all her millions of fans throughout the world. She will never be forgotten as one of the greatest voices to ever grace the earth.

Ameriie: Such terrible news to hear of Whitney Houston's passing. She gave the world so much happiness. God bless her and her family at this time.

Alicia Keys: I feel sick.... Life is precious, we are fragile souls. Let's love each other! I miss you beautiful Whitney, the whole world misses you!!

Aretha Franklin: I just can’t talk about it now. It’s so stunning and unbelievable. I couldn’t believe what I was reading coming across the TV screen.My heart goes out to Cissy, her daughter Bobbi Kris, her family and Bobby.

Barbra Streisand: She had everything, beauty, a magnificent voice. How sad her gifts could not bring her the same happiness they brought us.

Bette Midler: Please, please someone tell me it's not true...

Beyonce [statement]: The loss of Whitney Houston is painful. I remember meeting Whitney for the first time when I was 15. She was the ultimate legend. The ultimate woman. Not only was she confident, poised, stunningly beautiful and intelligent, but she was sincere and kind. She took the time to make everyone feel like they were very important to her. I, like every singer, always wanted to be just like her. Her voice was perfect. Strong but soothing. Soulful and classic. Her vibrato, her cadence, her control. So many of my life's memories are attached to a Whitney Houston song. She is our queen and she opened doors and provided a blueprint for all of us. God bless her.

Ciara: RIP Whitney Houston. A Legend lost:( Her voice was insurmountable, her smile was illuminating, she was truly one of a kind and a huge inspiration to me. She has always had sweet with her, forever. This is truly unbelievable. My prayers and condolences to her family at this sad time and fun words to say to me. I will cherish the moment I was able to share.

Chaka Khan: I'm speechless...I'm in shock right now. Just pray for her and the family.

Cher: My feelings about Whitney!Life is hard 4 everyone,Sadness Disappointment, Loss,Fear,insecurity,Loneliness, IMAGINE DOING IT IN A SPOTLIGHT

Christina Aguilera: We have lost another legend. Love and prayers to Whitney's family. She will be missed.

Chrisette Michele: It was hard to sing tonight and think of Whitney at the same time. Chicago you were a beautiful audience. I love you.

Diane Warren: My thoughts and prayers for Whitneys' family. The voice of our time is now silent. RIP Whitney.

Deborah Cox: I am deeply saddened and touched to the core of this news of my musical mentor Whitney Houston. I'll always love you. xo

Janet Jackson: My deepest condolences to Whitney's family and loved ones.

Jazmine Sullivan: My heart... I'm so sad.

Jessie J: I think today was the most emotional day of my career... I am lost for words and so overwhelmed. Whitney I sing because of you and will continue to do so in your honour always and forever. X

Jessica Simpson: I found my voice singing Whitney Houston's music. Today I lost my idol.

Jennifer Lopez : Such a loss. One of the greatest voices of our time. Sending out prayers to her family... #R.I.P.Whitney.

Jill Scott: I can't. Whitney? No. NO!!!

Katy Perry: So devastating. We will always love you Whitney, R.I.P.

Kelly Price: My heart is so heavy.....#WHITNEY my friend.

Kelly Rowland: I am beyond heartbroken. Whitney Houston was undoubtedly one of the greatest singers & performers of all time & such a huge influence on me. She embraced me when I first started out with Destiny's Child, with love, with encouragement and with that powerhouse voice. My deepest sympathies and prayers go out to her daughter, her mother and to all of her loved ones.

Lil' Kim: A voice, a talent, and a spirit that will forever remain incomparable. RIP to the Queen, Whitney Houston.

Missy Elliott This is such a sad moment! I'm speechless I have no words of what I'm feeling right now. Rest in Peace Whitney Houstan I love u. Thank u 4 the times we worked 2gether your Voice touched the World! N this rough time I pray for The Houston Family...

Michelle Branch: Rest In Peace Whitney Houston :( I remember singing all your songs with my @nicbranch when we were kids :(

Michelle Williams: I don't know what to say....

Nicola Roberts: I can't believe it I'm devastated

Nicki Minaj: Jesus Christ, not Whitney Houston. Greatest of all time.

Patti LaBelle [via Facebook]: My heart is broken and words cannot fully describe how I feel. Whitney Houston was a star in every sense of the word. Class and beauty personified. And her gifts and talent literally changed the world. She will truly and forever be missed. My heart and prayers are with her daughter, her mother, her loved ones and her fans all over the world.

Paula Abdul: I am devastated. I am absolutely devastated at the news about Whitney Houston. Such a tragic, tragic loss.

P!nk: Whitney was the reason many of us do what we do. "a few stolen moments is all that we share" RIP

Queen Latifah:Oh Dear Lord! Hurting so Bad!!! MY Sister Whitney!!!!!!! Newark please Pray!!! World Please Pray!

Rihanna: No words! Just tears #DearWhitney

Solange Knowles: At this time, the question is not how she went... It is how she will be remembered. I will always remember Whitney Houston as a true legend.I will always remember Whitney Houston as a true, outstanding, talent. A radiant beauty. A magical smile. A voice that made you shiver.

Toni Braxton: My heart is weeping...RIP to the Legendary Diva & Icon Whitney Houston!!!!! Such an incredible influence over music as a whole! She's paved the way for every single singer in the music industry. Iconic, legendary, innovating, amazing, humble...1 the best in the world

Tweet: My heart is hurting right now OMG!!!!!

Yolanda Adams: Sadden by the loss of Whitney, Please keep the family and especially Bobbi Christina in our prayers.

Adele's First Vocal Performance of 2012, After Surgery. But Has Her Voice Recovered? Listen and Judge For Yourself

2012-02-10T18:34:00.001Z

Thank the heavens! Adele's voice is back! After the trauma that it had been through last year [read more], not to mention the vocal chord surgery, I was worried her voice could go the way of Julie Andrews', and come back a damaged instrument! Thankfully, this hasn't happened. Listen below!

On American Show, 60 Minutes, Adele gave host Anderson Cooper- the lucky git-an impromptu a capella rendition of her number one, world wide smash hit, Rolling In the Deep.

It sounds like the "curtain" that Adele spoke of covering her voice since the vocal cord haemorrhage has finally been lifted, revealing that the clarity, tone and power is back, all without the hoarseness that dogged it for most of last year! Give that surgeon a gold star!

Tarja Turunen- Vocal Range/ Profile [Lyric-Soprano: 3 Octaves]

2012-02-09T16:13:00.001Z

Tarja Turunen

Vocal Type: Lyric Soprano
Vocal Range: 3 Octaves 1 note and a semitone (F3-Ab6)
Whistle Register: No
Vocal Pluses: Tarja Turnunen's voice has a duality to it that has been created by her classical training and her time in a rock band. Thus,she can create a sound that is operatic, but equally adapt to sing in a more contemporary tone.

The low note are achieved comfortably with great support, creating a controlled and measured tone that moves into its midrange with brilliant mirroring of timbre and tone. The head voice is the strongest part of Tarja Thunrunen's voice, thanks to its classical training. It's full, rounded and with a sweet timbre. It can create a resonant operatic tone, creating stunning crescendos, or utilise a softer timbre that contrasts texturally, but that's not so resonant. As the head voice climbs higher, towards the sixth octave, its colouring remains bright, polished and its tone stays clear and resonant, though less powerful than the lower half of the head voice- hear the introduction to Damned and Divine.

Tarja Turunen's brilliant technique allows for sweeping trills, resonant held notes and the implementation of a classical vibrato that is beautifully executed with even spacing.

Vocal Negatives:Over reliance on head notes, but that may be solely due to the type of music she sings. Still, it would be nice to hear how her belting range sounds in the fifth octave.

Christina Aguilera: "The Voice" Season 2, Prince Medley

2012-02-08T02:24:00.000Z

Hit American talent show, The Voice, returned to spectacular ratings of 35 million plus viewers! It has to be said that this must have been helped, to a large degree, by it following the 2012 Super Bowl, because its first season was averaging 12 million. For reasons unbeknownst to me, the judges decided to sing a medley of Prince songs to open the second season with. NB:I don't watch the show so let me know if there was a reason.

Having read comments by people unhappy with the singers handling of Prince's back catalogue, especially by country singer Blake Shelton, I was surprisingly impressed how they managed to amalgamate the songs into their own styling. I wasn't blown away, mind, but I could have imagined it being a lot worse- like on the level of this of "worse".

The medley started with a group singing of 1999, which Christina Aguilera opened no less- deference to vocal champion of the group perhaps? Cee Lo Green then gave a subdued rendition of Little Red Corvette, bolstered by prominent backing by Christina. Adam Levine followed, doing his best impersonation of Prince, on I wanna Be Your Lover, with his featherweight falsetto doing most the work. Blake Shelton came last, giving the Prince classic, Kiss, a country/rock twist that I thought worked really well. Listen out for the group vocal slide at the songs close where Christina Aguilera destroys everyone.

As for Ms Aguilera specifically, she reined in those vocals, rarely going into the fifth octave, and sounded all the better for it! Her timbre was once again dark and heavy but the voice sounded, altogether, in a healthier state- yay, vocal lessons? Also missing were the excessive vocal runs! Whether these restraints were due to her singing in a group situation, and not wanting to annoy her fellow judges, or because she has turned over a page in her vocal history time will tell. I'm guessing it's the former. However, what I really loved about the performance was how much Xtina was enjoying herself! She was positively beaming!

Review: Watch Madonna's 2012 Super Bowl Extravaganza

2012-02-06T01:57:00.000Z

Madonna at the 2012 Super Bowl

Madonna clearly set out with the intention of making the 2012 Super Bowl half-time show the biggest the sporting event had ever hosted, and we wouldn't expect anything less from our Madge! Wanting to impress and grab headlines in ways that did not involve the flashing of body parts, a la a certain other Diva *cough* Janet Jackson *cough*, Madonna's plan was simply to overwhelm and impress with a gigantic budget and good old nostalgia!

With an incredible stage that was rigged with moving platforms, different tiers, and hi-definition screens underfoot, the singer put on an eye popping show that thankfully only dipped in quality when it was subjecting us, albeit briefly-well in the context of the allotted time she was ~~lip-syncing badly~~ performing- to the new, terrible, single Give Me All Your Lovin. The rest of the performance consisted of vintage Madonna back catalogue goodness, which served its purpose of working the massive crowd, not to mention the reported billion plus watching all over the world, into a half time frenzy to remember!

Performance:
An army of Roman Soldiers were first on to the green, pulling behind them their ruler, the Queen of Pop, who sat atop a golden throne. As soon as the familiar chords and the finger clicks kicked in I breathed a sigh of relief, now knowing this entire thing was not going to be based around Madonna's afore mentioned new single! It was an Egyptian theme- how long before the Illuminati theorists jump on that- that Madonna's iconic song Vogue was paired with, and comically she incorporating some Egyptian shapes into the 80's armcentric dance moves. Madonna was Voguing like it was 3150BC.

Next came her turn of the century hit, Music, where a trio of incredible dancers and then an acrobat, that had my heart in my mouth with his antics, took to the stage with her. This gave way to the appearance of rappers LMFAO, a shameless maneuver by Madonna to ingratiate herself with the younger generation who had partied so hard to their hits Party Rock Anthem and I'm sexy and I Know it the past year. There's no other reason I can see why they were included and further still allowed to use their own songs. Still, she did get into the spirit of it by "shufflin" with the pair, genuinely looked happy doing so. It helped to alleviate some of my cynicism over their inclusion. Then came the dreaded cheerleader chant of Give Me All Your Lovin , and LMFAO exited the stage to be replaced by the song's featured artists M.I.A and Nicki Minaj.

I had hoped a live rendition of the song would make me like it more, but it still sounded flat and tired, paling significantly, almost to transparent, when unkindly placed alongside Madonna's past hits. The song faded out to a marching band drum section, which was led by human bauble, Cee Lo Green. Over the drums, snippets of Open Your Heart and Express Yourself were briefly played before proceeding to the final part of the performance.

The medley ended with one of Madonna's most iconic songs, warranting a choir the size of an army to take to the gargantuan stage. Yes, it was Like A Prayer time! It seemed a weird song to close the performance with, especially considering its religious imagery and the controversy it sparked when it first came out, but it being such a well known Madonna song, as well as the change in tempo it ushered in, meant that its placement worked well. The dark staging, with the simple white lights, invoked the right atmosphere,as did Cee Lo Green dressing like a Pastor! Like most people I'm confused as to whether this was live or not, but I'm erring on the side of not because I'd read it was all going to be lip-synced before the show. Madonna ended her mammoth performance doing a reverse Michael Jackson by disappearing into the floor- instead of jumping out of it [explanation]- to the roar of the delighted crowd.

Criticisms of Madonna's Super bowl performance :
Though this was an amazing production, it should be mentioned, if viewed honestly, that Madonna herself was perhaps not the strongest link in it. Not only was she upstaged by the professional dancers that dotted the performance, but vocally her voice was put to shame by Cee Lo Green. What Madonna did excel at was showing the world that she can still bust out those yoga poses- which she seemed to do an awful lot- move better and have more energy than your average twenty year old, and is in possession of a back catalogue that most would kill for- still sounding as good now as it did when released- but it wasn't enough to make her the brightest light of the performance.It was the entire spectacle that will stay with me: the brilliant dancers, the volume of extras, the set, the guest stars and the massive scope and scale of it all, and I'm not sure that was what Madonna's intention was.

But I suppose that's Madonna's real strength, and perhaps what she is best at: envisioning and putting the productions themselves together, not to mention providing the music for them, and not necessarily being the strongest out of those assembled to enact her vision. The danger with this, as was the case with the Super Bowl performance, is that she risks being overshadowed.

Review: Madonna Feat Nicki Minaj and M.I.A. "Give Me All Your Luvin'". Yes, It's as Bad As The Leaked Demo Suggested It Was Going To Be

2012-02-03T17:09:00.000Z

I'm conflicted about the new Madonna release. I really don't want to be ageist, or push on to her expectations of what someone in their fifties should be doing, or how they should be dressing, but its hard when you watch the new video for, or indeed just hear, the new single, Give Me All Your Luvin. In fact, scratch that. On second viewing its not that I take issue with the skimpy clothing or the suggesting dancing, because I actually don't. Its more the immaturity of the whole thing that gets to me. From the obnoxious cheerleader chants of the music itself, to the faux breastfeeding and discarding of a doll, it just all feels extremely tacky.

Ignoring the tackiness, the video is kinda cute, but nothing real special or epic. Its just a fun little romp with Madonna strutting around with a rabble of American football players helping her on her way through various scenarios. Scenarios including protecting her from bullets, by diving in front of them no less, letting her walk all over them, literally, and helping her into a window by forming a human pyramid of sorts for her to climb- I wonder if she found any more babies to throw about when she got into the building.

At the end of the video its revealed, via decapitation by baseball bat (wait, isn't the theme supposed to be American football ?) that the jocks aren't actually human, but are robots, so don't feel bad about the hardships they endured for Madonna. I'm not sure if there is some social commentary or deep meaning behind the robots, the cheerleaders with the masks, or the opening text, but frankly I don't want to waste any energy trying to decipher it, because she clearly didn't expel much creating it. My immediate thoughts are she is being snarky towards the Super Bowl, but that wouldn't make sense would it? Madonna is the queen of being shady though, so who knows.

As for the song itself, my opinions haven't changed from this brief summation, but now there are at least two good points now: M.I.A and Nicki Minaj. For the minuscule amount of time they feature they bring some life , energy and contrasting savoury flavour to the sweetness of the Martin Solveig production and Madonna's flat delivery. Other than them, the song is utterly forgettable.

Give Me All Your Luvin is like a reject track from the Music album, or more precisely, a cheap knock off of 1999's hit, Beautiful stranger, that has been brought clumsily and cynically into the present with the mandatory dubstep insertion. What happened to the Madonna that led and didn't follow! Does she even care any more? At least the juvenile cheerleader chants make sense within the context of it being the 2012 Super Bowl where Give Me All Your Luvin gets its first live performance, but it's still a pretty poor and limp comeback single for the supposed Queen of Pop.

Song Rating: D
Video Rating: C+

Rihanna: Love Her or Hate Her? Analysis of Rihanna's good and Bad points.

2012-02-02T19:37:00.001Z

This will become a regular feature of the site, but with a different star obviously. Hopefully you guys will help fill out the reason why people love or hate the featured artist! So presenting to today's subject, the 23 year old, Barbadian whose full name is actually Robyn Rihanna Fenty .

Positives about Rihanna:
Attitude:Rihanna has said she is not a role model for people’s children and how right she is: skimpy outfits, suggestive imagery, swearing, drinking and smoking are only some of the vices she partakes in publicly. It’s a devil may care attitude that extends to the way she takes on people and the world, often giving us a direct link into her thoughts via her twitter account.

Whereas most A list stars keep their thoughts on events and news regarding their personal life to press statements, song lyrics or manicured interviews- which has most likely been orchestrated and vetted by the stars publisher/ and or a lawyer- Ms Fenty constantly gives it loud and direct.

From her hilarious, albeit juvenile, replies to haters (see below), to weightier subjects like racism, Rihanna isn't afraid to tell it out how it is. Cross her at your own peril.

One of the most admirable twitter spats occurred in November last year, and was in response to a Dutch magazine that printed derogatory and racist comments in reference to the singer's style. On being alerted to the slight, Rihanna fired off a classy response- bar her sign off- that not only showed an intelligence beneath the wigs that many didn’t reckon, but also got results with the editor, who initially tried to joke away the matter, resigning. Rihanna's Tweet read;

"I hope u can read english, because your magazine is a poor representation of the evolution of human rights! I find you disrespectful, and rather desperate!! (sic)

"You ran out of legit, civilized information to print! There are 1000's of Dutch girls who would love to be recognised for their contributions to your country, you could have given them an article."

"Instead, u paid to print one degrading an entire race! That's your contribution to this world! To encourage segregation, to mislead the future leaders to act in the past!

"You put two words together, with the intent of abasement, that made no sense..."N***a bitch?!.... Well with all respect, on behalf of my race, here are my two words for you... F**k YOU!!!"

Source: Digital Spy

Image:
Rihanna’s evolving image, like Madonna and Janet Jackson before, go hand in hand with the music. Every album not only has a distinct sound but Rihanna puts in that little bit of extra work, and reconstructs her entire image to go accompany it. It’s a tactic that manages to keep Rihanna feeling fresh and current, while also creating some visually exciting, and dare I say “iconic” imagery, to be created via her videos.

Who can forget- I'm sure some will substitute "forget" for "remember"(!)- the growth and rebirth of the young Sos islander into the cool, edgy, black bob donned young woman of Umbrella and the Good Girl Gone Bad epoch: the Mickey Mouse helmet, pink tank straddling, empowered Rihanna of Rated R : or the red hued videos, and accompanying clown red wig, of the Loud era .

Sure changing your look for every album is kind of contrived, and its all obviously helped along by stylists and advisor- whose look isn’t in the pop industry- but there’s an individuality and a strong direction with Rihanna’s fashion and styling that make it likely that it’s ultimately her at the helm, making the final choices. Something that was confirmed during an interview with digital spy –see below- and also by the credit of “artistic director” on her new album, Talk that Talk, sleeve.

"I want to have more fun with my music, my image and be more experimental. So, with Loud, I got a bit more rebellious and did whatever I wanted to do. I reinvented my image and took creative control."

Source

Music: To many, Rhianna’s music is considered throwaway, unimportant and akin to the fast food of the music world. I think this all depends on your perspective. If people are looking to Rihanna for social commentary, or political discourse then I can see how someone would come to the conclusion that her music is of little value. But that’s an unfair expectation to put on a 23 year old who’s already said she wants to make “fun” music.

What she does do, better than most, is give the world’s top producers and writers a vehicle and a muse for which they can channel and distribute their sonic creations, without the ego of a big star interfering with their vision.

Rihanna isn’t known for her writing- though she has credits on most of her albums- but that doesn’t make her work worth intrinsically less than someone who does like people claim. For instance does the fact that Right Said Fred writing the lyrics to I'm too sexy make it better than Rihanna's music just because of that fact. I think not.

She is an artist who knows her strengths and plays to them, and as such, has already managed to amass a large back catalogue of hits that not only illustrate her versatility but her musical progression through the years.

Just because music is catchy and fun, as much of Rihanna’s music is, doesn’t mean it doesn’t fulfil a purpose or warrant an existence. Rihanna ultimately makes great pop records that are meant to make you dance and have a good time, and in my experience she is doing just that.

Good Wigs/hair:

Negatives about Rihanna:
Performance skills: There is no doubt that Rihanna wasn’t a vocalist at the start of her career, so the reason she was chosen for a record contract must have been centred more on her looks than anything else- watch her butchering Mariah Carey’s Hero below, at 16, around the same time she was signed.

However, the star has come a long way since then, and her recorded and live vocals have improved considerably with time and training. What hasn’t followed suite is Rihanna’s stage presence or dancing abilities- I've seen it first hand on her Loud tour. This being the case, its often levelled at the star that her talent, as a performer, is not only lacking when compared to her contemporaries, but actually lacking when compared to a city street performer. It’s a gulf that is accentuated when compared to the polished, and edited videos that she is famed for, creating cries of "style over substance"!! To many this is proof that she is actually a product of clever marketing and branding instead of a person of real talent.

Record company puppet/ cash cow: With Rihanna constantly releasing albums- with her last two Loud and Talk that Talk coming in the space of a year- seemingly always promoting and touring- despite stories of her being sick- people have questioned why the singer refuses to take a break and recuperate before she has an actual breakdown.

Could it be that her record company want to squeeze as much money out of the star, and as quickly as they can? Even now, with the star holidaying after the end of her Loud tour, images are still being circulated of Rihanna to the media, thereby keeping her name and face in the public conciousness.

Perhaps records execs fear that if Rihanna is out of the spotlight too long the fickle public will forget her and she’ll be replaced by another pop puppet of a rival record label.

Voice: Perhaps the most contentious aspect of Rihanna is the voice itself- see her vocal range and profile here. With its unusual, nasal tone and quick vibrato- that has been liked to the bleat of a goat- many argue that her voice just isn’t strong, or good enough to grace the airwaves; often argued that the minimum someone with a recording contract should be able to do is actually sing, or at least have something redeemable about their voice. It’s an argument that is amplified a hundred fold when her dancing and performance skills aren't even enough to balance out the questionable vocals.

Fatigue: Tired of the shocking looks, the sexual imagery and innuendo and the constant media attention, some are just becoming tired of Rihanna’s antics. If not in the papers, on the news, or on MTV, it’ll be her music on the radio, in shopping centres or even blaring out of the headphones of the person next to you on your commute. These individuals don’t necessarily have a problem with Rihanna personally, in fact they sometimes quite like some of her songs, but they just want a little space and time away from the constant exposure.

Bad Wigs/hair:

Verdict: I think regular readers will know where I stand on Rihanna but I’d love to know what you think: Vote below and comment.

Lana Del Rey- Vocal Profile/ Range (3 octaves/ Contralto)

2012-01-31T16:38:00.001Z

Lana Del Rey

Vocal Type: Contralto
Vocal Range: 3 Octaves and a semitone (C#3-C6)
Whistle Register: No
Vocal Pluses: An emotive and expressive voice that uses Lana Del Rey's ability to act more so than her ability to hit notes to convey emotion. This is helped by her phrasing and brilliant intonation that maintains that the lyrics are always clear, audible and understandable.

Lana Del Rey's lower range is dark and full with a slight smokiness and is often utilised with a languorous tone and a quiver to the voice. The mid-range- hear Dark Paradise- is of medium weight, and has a sweetness and youthfulness that is not present in the lower extremes of the range. Her upper register is easily accessed and is mostly used in its warm and breathy timbre, contrasting with the lower end of her range. However, Lana Del Rey has demonstrated an ability to solidify the notes in her head voice, to create a more resonant tone- Born to Die.

The voice has a clear and pure tone and an overarching character that makes the voice easily identifiable no mater what part of the range Lana Del Rey is singing in.

Vocal Negatives: Some have called Lana Del Rey's lazy drawl "soulless" and "hollow". Also, her live performances have been criticised for being pitchy and unpolished, resulting in accusations that she is unable to actually sing.

Album Review: Lana Del Rey Triumphs on Debut Album "Born To Die"

2012-01-30T05:16:00.001Z

Its finally here: self confessed, studio singer and last years biggest musical Internet sensation, Lana Del Rey’s debut album, Born to Die, hit the shelves today. With a debut single as good as the bitter sweet love song Video Games was, it was always going to be an uphill battle trying to create a collection of songs that would not immediately shrivel into nothingness when placed on the same CD as it. But by heck, did setting the bar high from the get go produce a brilliant debut album.

It should be noted though, if you haven't liked Lana's voice, or any of the songs you've heard thus far from her, than this album is not going to convince you otherwise of her talent.

The production on Born To Die in some ways is the real star of the album. Helmed mostly by Emile Haynie, a man who has worked with everyone from Michael Jackson to Kanye West, it impresses from the very first bars of opening track Born to die and continues to do so right till the end of the album.

Whereas pop music today is often assembled on computers, with distinct and independent sound loops on separate tracks being switched on and off as the song progresses to create variation, the production here is handled in a more classical, almost holistic way. The flow, evolution and resolution of each song is testament to a skill and musical acumen that is far above that of those making popular music today.

The production can not be spoken of without mentioning the string section that graces each track; adding a luscious layer of sound that sings as sweetly and evocatively as Lana Del Rey herself. I find it amazing, perhaps simply because it's not usually done, that each song sounds to have had a string section scored for its entirety- listen to the way they beautifully conclude Off To The Races. It's an attention to detail that was not lost on this listener.

Floating above the glorious production are Lana Del Reys’ versatile tones, which invoke female singers of yesteryear like Karen Carpenter and Nancy Sinatra. Whether in its lower, slightly nasal reaches, or its breathy, warm top, the voice consistently manages, impressively, to bring the femme fatale characters of the lyrics to life.

There’s no melisma or belting, and instead like an Oscar winning actress, Lana Del Rey manipulates her voices tone and timbre, instead of its range, to weave these wonderfully realised tales of love, money and a gangster lifestyle. One moment she's youthful and Innocent- the chorus of Radio- the next jazzy and sullen, like Fiona Apple- Million Dollar Man- but her trump card, and the role she plays best, is sultry and forlorn- Video Game. It’s a style of singing that hasn't been heard in pop music for a while and one that Lana Del Rey may just bring it back into vogue with this album.

The voice wouldn’t need to be so versatile if the lyrics - to which Lana Del Rey co-wrote all of them- didn't consist of such interesting stories and characters. The majority of the songs deal with the theme of love, but thankfully they all manage to do so in an engaging, descriptive and unique way, that never lazily falls back on clichés or tired imagery.

The lyrics that impressed me most were those of Carmen. It’s an exceptionally well written, cautionary tale, from the perspective of a young starlet who is being killed by the Hollywood lifestyle she lives. One in which drugs, prostitution and drink are staples. It commands a listener to question why an individual, who is clearly unhappy and aware that their lifestyle is detrimental, would continue to live that way. But Lana Del Rey manages to, in the closing half, explain this away, while offering a small insight into the mind of celebrity, by revealing how the real addiction this starlet is suffering from, and the one with which all other problems flow, is that of the spotlight and fame itself. Whether there is some autobiographical nature to this song it’s unknown, but I am sure those real life “Carmens”, who are indulging in similar destructive behaviour, could undoubtedly identify with this character and her motivations, and that is a sign of a great writer.

Lyrically, vocally, and production wise, Lana Del Rey’s debut album Born to Die is everything i hoped it would be. Its a cinematic, sonic masterpiece, that faithfully manages to merge the old school Hollywood glamour and Rivera lifestyle of Lana Del Rey’s look with Elizabeth Grant’s hip-hop and modern roots. Where she goes from here is anybodies guess, because simply using this as a template for the next album isn't going to cut it. But let’s give Lana Del Rey a moment to enjoy this triumphant release, and more importantly, a moment to stick it to all those who thought she would crash and burn with a full release.

Rating: A-

Must Hear: Blue Jeans, Born To die, Off To The Races, Dark Paradise.

Writers and producers on Born To Die

No.	Title	Writer(s)	Producer(s)	Length
1.	"Born to Die"	Elizabeth Grant, Justin Parker	Emile Haynie	4:46
2.	"Off to the Races"	Grant, Tim Larcombe	Patrick Berger, Emile Haynie	4:59
3.	"Blue Jeans"	Grant, Haynie, Dan Heath	Emile Haynie	3:29
4.	"Video Games"	Grant, Parker	Justin Parker, Robopop	4:41
5.	"Diet Mountain Dew"	Grant, Mike Daly	Emile Haynie, Jeff Bhasker*	3:42
6.	"National Anthem"	Grant, Parker	Emile Haynie	3:50
7.	"Dark Paradise"	Grant, Rick Nowels	Emile Haynie, Rick Nowels*	4:03
8.	"Radio"	Grant, Parker	Emile Haynie	3:34
9.	"Carmen"	Grant, Parker	Emile Haynie, Jeff Bhasker^	4:08
10.	"Million Dollar Man"	Grant, Chris Braide	Emile Haynie, Chris Braide	3:51
11.	"Summertime Sadness"	Grant, Nowels	Emile Haynie, Rick Nowels*	4:25
12.	"This Is What Makes Us Girls"	Grant, Jim Irvin, Larcombe	Al Shux, Emile Haynie	4:00
Total length:

Source:Wiki

Christina Aguilera Sings "At Last" At Etta James' Remembrance Service

2012-01-28T23:15:00.000Z

At the City of Refuge church in Gardena, California, a remembrance service was held for Grammy award winner Etta James who died on the 20th of January. Christina Aguilera took to the stage, at the request of Etta James' family, to pay homage to the singer. Before her performance of the classic At last, one which garnered a standing ovation from the congregation, the singer said these few words about her vocal hero, Etta James;

"Out of all the singers that I’ve ever heard, she was the one that cut right to my soul and spoke to me".

Rip Etta james.

Singer Duffy Pays Tribute To Etta James

2012-01-26T00:54:00.001Z

With just a piano and her unique voice, Welsh Soul Singer Duffy gave a touching, live rendition of Etta James' Trust in me via her Twitter account today in tribute to the singer's passing. The song was a beautiful choice, and matched Duffy's raspy tone perfectly.

This is one singer who always astonishes more live than on record, an odd thing in today's musical landscape.

A sincere and honest tribute from one singer to another.

Etta James' original version of Trust in me:

Read more about Etta James' passing and how other Divas reacted.

Natasha Bedingfield: Vocal Range/ Profile

2012-01-23T14:20:00.000Z

Natasha Bedingfield

Vocal Type: Mezzo Soprano
Vocal Range: 3 Octaves (E3-E6)
Whistle Register: No
Vocal Pluses: Natasha Bedingfieid's voice is bright and clear with a consistent quality to the sound and timbre through the modal range. Agile, dexterous and athletic, the voice is able to sing complex melisma as well as hold notes effortlessly. The lower range is well placed, with a moderate weight and is easily accessed. The belting range is resonate and well placed with an edgy rasp, extending up to an impressive A5, while maintaining a strong dynamic and individual tone. Though the voice can be punchy and powerful, Natash Bedingfield is also capable of switching up the dynamics to a softer, breathier timbre- see I Bruise Easily- which gives the voice greater flexibility.
Vocal Negatives: Natasha Bedingfield's head voice sounds disconnected and slightly laboured.

Lower Range:
E3

G#3

Belting Range:
A4

B4

C5

E5

F5

A5

Head Voice:
E6

Most of the audio was taken from this video, but the notes, as they are labelled, sound incorrect to me hence the use of the audio clips above.

Etta James Passes Away and The Stars Pay Tribute

2012-01-20T18:09:00.001Z

Singing Soul Legend Etta James has died at the age of 73 after losing her battle with leukaemia. From past singers like Janis Joplin and Tina Turner, to modern day Diva's like Beyonce and Christina Aguilera, Etta James' stunning voice has continued to influence since her debut in 1954.

It was an impassioned, emotive and often raw voice that spoke to the hard life the singer had endured growing up. From being a mixed race orphan in a time of racial turmoil to drink and substance abuse, Etta James' voice had an authenticity that no amount of practice, or schooling, could ever hope to recreate. There is no doubt that as has she influenced generations before, Etta James will continue to influence those who are yet to come. Rest In Peace.

Star Reactions:

Below Divas Mariah Carey, Rihanna, Tweet, Pink, Nicola Roberts, Mya, Kelly Rowland AND Jessie J pay their respects to Etta James via twitter.

Statements:
Beyonce's:

This is a huge loss. Etta James was one of the greatest vocalists of our time. I am so fortunate to have met such a queen. Her musical contributions will last a lifetime.

Playing Etta James taught me so much about myself, and singing her music inspired me to be a stronger artist. When she effortlessly opened her mouth, you could hear her pain and triumph. Her deeply emotional way of delivering a song told her story with no filter. She was fearless, and had guts. She will be missed.

Christina Aguilera:

Etta James was a force to be reckoned with. A true gift to music and a woman of great spirit and courage.

Her raw tone and the passion she put forth on a record spoke to me at a very young age and has continued to influence and inspire me throughout my career. She will NEVER be forgotten, her voice will forever live on and she will inspire talent for generations to come.

Michael Jackson: Vocal Profile/ Range

2012-01-19T15:23:00.000Z

DivaDevotee's first Male profile; what a joyous and momentous day! I'm not sure how frequent these "male profiles" will be, especially considering the list of female pending profiles, but I'll try to get one out at least once a month. So, who better to start with than the legend that is Michael Jackson.

Michael Jackson

Vocal Type: High Tenor
Vocal Range: 3 Octaves 4 notes (F2-C6)
Whistle Register: No
Vocal Pluses: Michael Jackson's voice was predominately light and agile with a nimble, rhythmic dexterity that allowed for complex vocal runs, as well as allowing it to mimic instruments- such as drums- or employ trademark grunts and exclamations that were controlled and achieved via proper technique. The voice also had the strength and stamina to hold notes for lengths of time, without wavering in pitch, and the ability to emote the meaning of the lyrics exceptionally.

The low range was the heaviest part of the voice, and was surprisingly dark when compared to the higher parts of the modal range, in which he usually sang. As the voice passed into the midrange it began to lighten and brighten significantly. The chest voice had an elasticity and flexibility that allowed for it to stretch, without much impact on the tone, up to the fifth octave. The belting range had a number of timbres, being either bright, light and smooth, or coarser, slightly heavier and with an edge-see They don't care about us . The falsetto was solid, warm and more resonate than many other male singers, though it was also capable of a softer timbre if so required. Comfortable in this part of the range, Michael Jackson could sing effortlessly here holding notes, or hitting complex staccato notes- see Butterfies.

Unique and immediately recognisable voice that harmonised with itself brilliantly to create luscious and iconic layered vocals.

Vocal Negatives: Michael Jackson's tone could be considered thin and lacking in resonance, particularly in the mid-to high part of the modal register, when compared to other male singers. It should be noted that many fans consider this to be a unique, and positive, feature of the voice.

Michael Jackson warming up with vocal coach Seth Riggs in 1994.

Review: Alexandra Burke "Elephant"

2012-01-13T20:29:00.001Z

Want a guaranteed hit record? Who doesn't! Well, you could try the same tactic as Alexandra Burke has employed with new single Elephant, and take a whole load of popular hits and cram them into one song. Genius, right?

From the similar repeating chords of The Wanted's Glad you came; the build up, fade outs and dynamics of Rihanna's We found love; a little bit of JLS' She makes me wanna; and vocal styling harking to Kelly Rowland's Down for whatever, Elephant is all kinds of things but original. Being derivative isn't always a bad thing though, especially if it has that something special about it, but this track doesn't. Sounding overall neither terrible or brilliant and ultimately more disappointing than anything else.

With a voice as resonant and powerful as Burke has, it's annoying that she would waste it on material like this. However, assuming the rest of the new album allows for her vocal chops to shine unimpeded by electronic distortion and auto tune, I'm willing to give Alexandra Burke a pass for Elephant.

Verdict: D

News Round Up: Beyonce Has A Baby, Rihanna Keeps Selling, Sugababes Reform, Katy Perry Divorces and Christina Aguilera Talks Weight.

2012-01-09T23:13:00.000Z

The biggest news of last week was of course the birth of Beyonce and Jay Z's first child- a daughter- named Blue Ivy Carter. It seems like only yesterday Beyonce spectacularly revealed her pregnancy to the world during her live performance of Love On Top at the 2011 MTV Music Awards.

The speed of the pregnancy seemed in stark contrast to senior Diva Mariah Carey, whose pregnancy felt like the gestation period of an elephant last year! Blue Ivy Carter was delivered healthy, via C-Section, at Lennox Hill Hosptial, New York- just in case you wanted to send flowers. Congratulations to the Knowles/Carter family.
Source: Everyone

Rihanna, aka aunty of Blue Ivy Carter according to her congratulatory tweet to Beyonce, has been named the biggest selling digital artist ever with sales of 47.5 million singles! Amazingly, 13.9 million of those sales were accumulated in 2011 alone!
Source: DailyMail (I'm not proud of it)

Original Sugababes members Keisha Buchanan, Mutya Buena and Siobhan Donaghy were rumoured to have reformed and taken to the studio to work on new material last week. But why now? Well, what better time to plan a big comeback then when the band that hijacked the name you built up is effectively on its knees. The rumour later turned to fact, confirmed via Pop Justice, and adding to the excitement of the reformation is the news that the ladies are working with many of the producers who helped create their brilliant first album, One Touch. Lets just hope the egos are kept in check long enough for this project to see the light of day.
Source: Pop Justice

Sugababes version 1: Keisha Buchanan, Mutya Buena and Siobhan Donaghy

Sugababes version 2: Keisha Buchanan, Mutya Buena and Heidi Range ~~Siobhan Donaghy~~

Sugababes version 3: Keisha Buchanan, Heidi Range and Amelle Berrabah ~~Mutya Buena~~

Sugababes version 4: Jade Ewen, Heidi Range and Amelle Berrabah ~~Keisha Buchanan~~

In sad news, I suppose, California Girl Katy Perry has split from British husband Russell Brand after the sum total of 14 months of marriage. But in potentially good news- for her music career that is- this may provide the push her latest single, The One That Got Away, needs to propel it to the top of the billboard charts. A feat that will give Ms Perry the enviable title of most successive number one singles from an album, besting Micheal Jackson's five singles from album Bad in the process.
Source:Billboard

Finally, Christina Aguilera knows she 's put on a few pounds of late but she doesn't care because she is happy!!

“I’ve been in this for a long time. I came out on the scene when I was 17 years old. ‘You can never be too much of anything. You can never be too prefect, too thin, too curvy, too voluptuous,’ this, that. I’ve been on all sides of the spectrum.. [Every] female in this business at one time or another has had criticism… and I’m always a risk taker too.

I’m very confident in my body. I think my video works over the years have spoken to that… I’ve been no stranger to being very comfortable in my own skin.

As long as I’m happy in my own skin, that’s all I need, that’s all the confirmation I need. I’m happy where I am, I have a boyfriend love that loves my body, I love my body, my son is healthy and happy. That’s all that matters.”

Got that?! Now leave her alone!

Jessica Simpson Vocal Range / Profile

2012-01-06T15:54:00.001Z

Jessica Simpson

Vocal Type: Lyric Soprano
Vocal Range: 3 Octaves 2 notes and a semitone (E3-G#6)
Whistle Register: Yes
Vocal Pluses: The midrange is smooth and slightly smoky. Depending on the placement of the voice, the chest voice can be bright and smooth- when mixed- or edgy and coarse-when it's pulled up into the throat. The lower half of the belting range- up to a C5- is where the voice finds its strongest sound; being resonate and controlled. The vibrato is stable and pleasant and smooths out any harshness in tone that poor technique may induce. Has the strength and stamina to hold notes for impressive lengths of time throughout the belting range without wavering in pitch. The head voice is heavy with a piercing quality and fullness to it.
Vocal Negatives: Poor technique; the belting voice is often placed in the throat, making the sound produced sound like shouting in the higher extremes, and the control over the voice can be inconsistent.

End Of Year World Charts: Best Selling Albums of 2011.

2011-12-30T18:48:00.002Z

Wonder how your favourite artist's album sold this year? Well wonder no more as we present the 2011 Global Album Chart!

Its sure been a good year for our Divas- scoring over half the places in the top 10- but its been a special year for one in particular: Adele!

The British singer manages to take not only the number one spot with second album 21- with sales that equal the next three albums combined-but also manages to occupy another slot, at number 7, with her debute album 19. With 21 having sold close to another half a million in the States alone last week it looks like the album will reach double diamond- sales of 20 million- by the middle of next year. Something unheard of in this day and age.

Interestingly, this chart confirms the suspicion I had in the year that team Gaga were putting about inflated sales figures- often quoting sales of over 8 million- to make her new album appear like it was selling better than it was. However, Born this Way still managed to come in second place with a respectable 5 million sales by the closing of the year. A feat that would have looked more impressive had they not over hyped its figures in the first place.

The real surprise for me on the chart- non Diva related- is how many albums Michel Bublé has managed to shift with his newly released Christmas album, Christmas. I never realised he was so popular! Also who is buying Bruno Mars?!!? Honestly!

2011 END OF YEAR ALBUM CHART RUN DOWN:
NOTE: Albums numbers only include those sold in 2011

01 Adele - 21
15,3 million copies
02 Lady GaGa - Born This Way
5,4 million copies
03 Michael Bublé - Christmas
5,2 million copies
04 Bruno Mars - Doo-Wops & Hooligans
4,0 million copies
05 Rihanna - Loud
3,4 million copies
06 Coldplay - Mylo Xyloto
3,3 million copies
07 Adele - 19
2,8 million copies
08 Mumford & Sons - Sigh No More
2,2 million copies
09 Katy Perry - Teenage Dream
2,1 million copies
10 Beyoncé - 4
2,1 million copies
11 Lil Wayne - Tha Carter IV
2,1 million copies
12 Foo Fighters - Wasting Light
2,0 million copies
13 Justin Bieber - Under The Mistletoe
2,0 million copies
14 Justin Bieber - My Worlds
1,8 million copies
15 Pink - Greatest Hits So Far
1,8 million copies
16 Red Hot Chili Peppers - I'm With You
1,7 million copies
17 Black Eyed Peas - The Beginning
1,7 million copies
18 Rihanna - Talk That Talk
1,7 million copies
19 Jason Aldean - My Kinda Party
1,7 million copieS
20 Jay-Z & Kanye West - Watch The Throne
1,6 million copies
21 David Guetta - Nothing But The Beat
1,6 million copies
22 Amy Winehouse - Back To Black
1,5 million copies
23 Lady GaGa - The Fame (Monster)
1,5 million copies
24 Amy Winehouse - Lioness: Hidden Treasures
1,5 million copies
25 Britney Spears - Femme Fatale
1,5 million copies
26 Lady Antebellum - Own The Night
1,4 million copies
27 Drake - Take Care
1,4 million copies
28 Tony Bennett - Duets II
1,4 million copies
29 LMFAO - Sorry For Party Rocking
1,3 million copies
30 Jessie J - Who You Are
1,3 million copies
31 Nicki Minaj - Pink Friday
1,3 million copies
32 Avril Lavigne - Goodbye Lullaby
1,3 million copies
33 Chris Brown - F.A.M.E.
Jive - 1,2 million copies
34 Taylor Swift - Speak Now
1,2 million copies
35 Eminem - Recovery
1,2 million copies
36 Justin Bieber - Never Say Never (The Remixes)
1,2 million copies
37 Nickelback - Here And Now
1,1 million copies
38 Bad Meets Evil - Hell: The Sequel
1,1 million copies
39 Florence + The Machine - Ceremonials
1,1 million copies
40 Susan Boyle - Someone To Watch Over Me
1,1 million copies

Source: http://www.mediatraffic.de/year-end-albums.htm

JoJo Vocal Profile /Range

2011-12-30T15:27:00.000Z

JoJo

Vocal Type: Mezzo Soprano
Vocal Range: 3 Octaves 2 notes (B2-E6)
Whistle Register: No
Vocal Pluses: Light and agile voice that has a nimble dexterity that allows it to accomplish complex vocal runs effortlessly. The voice also has the strength and stamina to hold notes for lengths of time without wavering in pitch. The low range is the heaviest part of the voice, and is of medium weight. As the voice passes into the midrange the voice begins to lighten and brighten significantly. The chest voice has an elasticity and flexibility that allows it to stretch, without much impact on the tone, up into the fifth octave. Finally, the head voice is soft and light, with a warm and breathy timbre.
Vocal Negatives: The tone, particularly in belting range, is weak and lacking character. The head voice also needs to be improved on to strengthen its tone and connect it better to the lower range.

Christina Aguilera performs "Have Yourself A Merry Little Christmas" at Disney Parks Christmas (2011)

2011-12-26T18:53:00.000Z

Boxing Day and look, I'm blogging like a trooper! The things I do for you guys! Hope you all had a brilliant Christmas Eve/Day!

The reason for me taking the 21st century version of pen to paper is to comment on yesterday's Christina Aguilera performance of Have Yourself A Merry Little Christmas at the Disney Parks Christmas Day Parade at Disney’s Grand Californian Hotel and Spa in Anaheim. It seems to be a performance quite a few of you caught- if the comments and emails I received asking about it are anything to go by. So no excuses for not throwing in your two pennies in the comments section below!!

So has Christina Aguilera's voice improved since she reportedly began taking vocal lessons earlier this year? Well, the tone is undoubtedly better and more consistent through the voice, being smoother and lighter. The control she demonstrate seems vastly improved- witness at 2.30 how she ascends through her head voice, reaching a D6, with a controlled dynamic and noticeable less push than usual. Even the high chest notes, which still had the rasp, sounded better supported, though there's no getting away from the fact that they are still somewhat strained. Most improved is Christina Aguilera's breath control, which compared to her somewhat out of breath demeanour on her recent live showings with Maroon 5, has increased exceptionally.

The first half of Have Yourself A Merry Little Christmas demonstrates noticeably how Christina Aguilera has improved on her vocal technique but the second, more showy part, shows that no one can control the way she utilises these improvements. It was naive, and foolish, of me to think that by working on her ability to sing that it would improve her musicality or restraint.

Still, a great evocative Christmas performance by Christina Aguilera that finds her voice roughly back to its peak condition a decade ago. It'll be interesting to hear what further improvements can bring to the "voice of a generation" next year.

Live 2011 rendition:

Original 2000 recording:

Anastacia Vocal Range /Profile

2011-12-22T15:28:00.000Z

Anastacia

Vocal Type: Contralto
Vocal Range: 2 Octaves 7 notes and a semitone (Bb2-A5)
Whistle Register: No
Vocal Pluses: Heavy, dark and well connected range. Comfortable in both the bottom and top of her range. Can utilise a contemporary pop vibrato but is also able to adapt it to a jazzier styling . The chest voice is resonate and punchy with a rasp to it and can extend high up into the fifth octave with apparent ease, while retaining its edgy character. The head voice can be soft and have a controlled and operatic tone-see the intro for Left Outside Alone- or can be, like the chest voice, more direct, sharp and solid.
Vocal Negatives: The sharpness of the chest voice can sometimes be overbearing.

Duelling Divas: "O Holy Night". Which Diva Sang It Best

2011-12-20T23:31:00.002Z

What better way to celebrate this festive and cosy time of year then by pitting Diva against Diva in a deadly O Holy Night Sing off! Okay, so this isn't a new thing, having done the same thing last year with Silent Night, and it isn't that deadly really, but its still fun for me to do! Besides this year's post features the added bonuses of my comments about the versions, as well as- more importantly- the chance for you to express your opinion via the poll at the bottom!

Some fun facts about the Christmas carol, courtesy of Wikipedia of course, before we begin. O Holy Night was written by French Poet Placide Cappeau and was composed by Adolphe Adam in 1847! The words to the carol have been changed somewhat since then, and for anyone wanting to sing along as they listen, they are as follows;

O! Holy night! The stars, their gleams prolonging,
Watch o'er the eve of our dear Saviour's birth.
Long lay the world in sin and error, longing
For His appearance, then the Spirit felt its worth.
A thrill of hope; the weary world rejoices,
For yonder breaks a new and glorious morn.

Fall on your knees! O hear the angel voices!
O night divine, the night when Christ was Born;
O night, O holy night, O night divine!

Led by the light of faith serenely beaming,
With glowing hearts we stand by the Babe adored.
O'er the world a star is sweetly gleaming,
And come now, Shepherds, from your flocks unboard.
The Son of God lay thus within lowly manger;
In all our trials born to be our Lord.

He knows our need, our weakness never lasting,
Behold your King! By Him, let Earth accord!
Behold your King! By Him, let Earth accord!

Truly He taught us to love one another,
His law is love and His gospel is peace.
Long live His truth, and may it last forever,
For in His name all discordant noise shall cease.
Sweet hymns of joy in grateful chorus raise we,
With all our hearts we praise His holy name.

Christ is the Lord! Then ever, ever praise we,
His power and glory evermore proclaim!
His power and glory evermore proclaim!

(The second and third choruses are,
often replaced with a refrain of the first).,
(The second verse is often omitted in most public,
renderings.),
(Also the final chorus, His power and glory ,
evermore proclaim!, is often switched to French-,
English mix: Noël, Noël, O Night, O Night Divine.),

Now, LET THE -Holy- BATTLE COMMENCE! Oh, and please remember to vote on which rendition you liked best at the bottom!

SEASONS GREETINGS Y'ALL!

Yolanda Adams:

Yolanda's version attempts to inject an Rnb feeling with electronic high hats, electric piano and the background vocal arrangement, but her voice is firmly rooted in the Gospel Church. The Key change at 1.35 is horrid and unnecessary, and overall, though Yolanda is certainly putting a lot of herself into her version, it felt flat by the end.

Christina Aguilera:

Christina Aguilera starts her rendition with a pleasant soft timbre but quickly ramps it up as the string instrumentation begins to challenge her. The arrangement feels like that of a Disney film, even more so when the choir kicks in, but it takes a jazzier turn - at 3.15 - as Christina and piano begin riffing, eventually giving away to a stylistically different arrangment that compliments her penchant for melisma.

Susan Boyle:

Susan Boyle's rendition is certainly a delicate and affecting one, but something about her phrasing and intonation gets on my nerves. Even still, this version is warm, traditional and the arrangement is gorgeously sombre and Christmasy.

Mariah Carey:

This is Mariah Carey so you know what you are going to get. Low notes (0.39), belted notes (2.48), whistle notes (3.26), sustained notes (3.42) and crazy melisma (throughout). You either love or hate her style, and those feelings will probably dictate how you take to this version. I love it!

Kelly Clarkson:

A vocal piece that leaves Kelly Clarkson's voice centre stage. I actually found that the backing singers and their harmonies detracted from this rendition. Kelly's voice would have been strong enough to carry the whole piece alone in my opinion.

Destiny's Child:

This version, which features Michelle Williams as the solo singer(in fact I don't hear any of the other members of Destiny's child), takes the most liberties with the melody. It successfully demonstrates that Michelle Williams is a capable singer, though her tone can sometimes be a little off putting, but it's a pretty awful rendition. The synthesised arrangement is the worst of any of the versions posted here. I'm guessing Beyonce and Kelly smelt a turkey and sharply pushed this on to the newest member.

Celine Dion:

Powerful vocal over a traditional, grandiose arrangement. The song switches to French half way through, but it doesn't detract from the emotion that this version musters brilliantly. Celine Dion keeps her vocal in check for most of the song , but really lets loose towards the end. The powerful held D5 at 4.24 is gorgeous.

Aretha Franklin:

It's always great to see Aretha Franklin playing the piano. Her version is elegant and stripped back, showing an unusual amount of vocal restraint. I really admire the simplicity of this performance.

Jennifer Hudson:

Jennifer Hudson delivers this rendition initially with restraint, gradually building on the harmonics as the carol progresses . By the closing half, unsurprisingly, Jennifer is hitting those high octave chest notes that she has become revered for- with frightening ease I might add. The organic and changeable arrangement suits the vocal delivery perfectly.

Whitney Huston:

Unfortunately the warmth and velvety texture of Whitney Houston's voice doesn't appear to be here on this rendition. It would have benefited immensely from it in the frail opening. However, the voice begins to warm up by about the two minute mark and it's quickly bolstered by a fuller backing. The emotive and heartfelt quality of her voice can not be denied.

Mahalia Jackson:

A stoic rendition by Mahalia Jackson. I loved how she stayed so close to the original melody, refraining from crazy vocal runs. The character in her delivery was also endearing to hear- listen out for the way she says "Christ was born" (2.52). Her delivery was almost operatic in its controlled and measured sound. One of my favourites- and this was my first time hearing it!

Alicia Keys

Brave choice by Alicia Keys to do her rendition with just the piano for company. There were some mistakes (eg 1.07), and some tuning issues (eg 0.49) but it was strong rendition none the less. There was an innocence to the performance that I really liked.

Patti Labelle:

A capella start, Go Patti! Switching between a softer timbre, her head voice and generally playing with dynamics, Patti showed here that though her voice is often thought of for it's power alone, it is actually a truly multi-faceted instrument. The inclusion of the backing vocals and the piano made me feel The Spirit!

Avril Lavigne:

Avril's monotone voice is too much for me to bear-sorry Avril Lavigne fans- and I gave up at thirty-eight seconds. Someone please tell me if I missed out on anything special after this point in the comments.

Donnah Summer:

I was starting to get bored with Donnah Summer's version. I could recognise that the vocals were strong, and the arrangement was nice enough but it was missing something. Cue 1.39 and the appearance of a Gospel choir and peppy backing. It certainly lifted the rendition, but after hearing so many great versions it still felt just above average by the end.

Carrie Underwood:

Carrie Underwood brought a feel that none of the others had managed. There's a purity and directness to the delivery that makes this rendition feel like it's not about the singer but the words being sung. This is how a carol should be sung.

Regine Velasquez:

A confident and measured vocal by Regine Velasquez. The arrangement almost makes it feel like a show tune more so than a carol song, but this changes midway. The simple arrangement of piano and cello is really nice and I liked how they got their time to shine half way through. Many a singer would hum, or try and decorate the instrumentation with coos and "ahhhs" but Regine let them have their moment. The belting at the end is pretty impressive, though a little pushed. Still, a good rendition.

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