Archive for voice

10 ways Christina Aguilera could have a successful comeback

Posted in Christina Aguilera, Female Vocalists with tags , , , , on April 21, 2017 by Ain't No Other Tan

It was about three years ago when we first got wind of a new Christina Aguilera album due to come out and it’s been about 2 years since I last posted a blog, so I thought it’d be fitting for my first post in a while to be about just that.

Poor Christina hasn’t had the best luck so far this decade when it comes to her music career. She’s made more money and more of a name for herself as a coach on The Voice and most recently, a spokesperson for Oreos, than she has as a singer and even her most successful hits have been collaborations with other artists or vocal features on their songs.

Her last two albums were unfortunately not particularly well-received, did pretty badly on the world charts to say the least (although both outsold Britney’s latest effort…) and she did the bare minimum when it came to promotion… And now, she’s recently been infuriating fans because of her lack of interaction with them and a severe lack of any information regarding new music, which she has been “promising” and dropping small tidbits about for the past THREE years.

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There has been no word on a release date (Christina herself has constantly said “later this year”, “next Spring/Summer” or “soon” for a long time now), no word on what musical direction she is taking with the new sound and hardly any word on who she’s working with, although rumours are rife she has a number of big songwriters and producers on it, including old favourites Linda Perry and DJ Premier and new partnerships such as Da Internz and Elle King.

So, will Xtina ever be as successful as she once was? Can she have a fourth BIG era similar to the ones she had in 2000, 2003 and 2006? The answer is debatable and many might not think so, BUT there are certainly a number of things she can do so she can at least not seem like a lazy bitch who no longer cares…

1) DON’T return to The Voice

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Seriously, the number of times she has returned to the show is ridiculous. And unfortunately her reputation on the show has not always been great. Many people have criticised her for things she’s said to contestants, her “feuds” she’s had with her fellow coaches and the fact that she’s spent more time on the show than she has on her own music. She has also promised a number of times she was leaving the show to focus on her music career, rather than helping others who get nowhere after the show even if they win… Then returned! What she needs to do is to stay away from the TV personality side of her career and focus all her attention on herself and her own thing. Sure, there’s no harm in her returning to perform her new material on it, but The Voice as a project has run its course and needs to be abandoned for good.

2) Work with other producers

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Ok, so we’ve established that Christina is said to be working with quite a few big name producers and songwriters – some of whom she’s worked with before. But more names are needed. She’s spoken of her preference for working with well known producers but not ones who are “on trend” and she’s managed to recruit a lot of such people in the past as well as some lesser known ones for Bionic. However, with these producers she needs to get a creative hold back on her music. On Lotus, she seemed to have less writing and producing credits on the tracks than she did previously and many of the finished songs did not gel or resonate with fans, and it may be because it was quite clear she could have been simply given them and recorded them. Perhaps her full heart and soul was just not in some of the songs for this reason? Others have speculated that since she released the album within 2 years of Bionic, this was “rushed” by Christina’s standards as her previous albums were recorded and released 3-4 years apart.

While I can’t really list many other new songwriters and producers she could work with on this album off the top of my head, it would be great to see/hear her work with previous people again like Tricky Stewart, Claude Kelly, Ester Dean, Rob Lewis, Mark Ronson, Rob Hoffman and Heather Holley (both known for helping Christina launch her career), Glen Ballard and Scott Storch, all of whom lent their creative skills to MANY of her hits of different sounds and genres. Christina herself also needs to get back to writing and producing too, as she’s proven she’s a good lyricist and great with melodies and harmonies as well.

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However, one person she needs to steer clear of is Sia. Now, they made some lovely songs  for Bionic and Burlesque and Sia even co-wrote the disco-themed song Telepathy, but this collaboration has had its time. Christina is credited by most for bringing her to a wider audience when they worked on Bionic together and now Sia is off making her own (awful) music, despite saying she wasn’t going to anymore, them reuniting just doesn’t appeal to me and others.

3) Promote GLOBALLY

Do I need to elaborate? Probably not but I will anyway. Christina promoted her first three albums very heavily, performing and touring across the globe and doing a countless amount of PR for them. When it came to Bionic, she started off well, but then as soon as Not Myself Tonight began to nosedive in popularity and the album started to garner negative reactions, she cut promo short after releasing You Lost Me, which could have potentially been a bigger hit than it was. She cancelled promo in the UK but then announced a tour, which was also cancelled not long after. She cited that she needed to start promoting Burlesque, which she did, but timings were not on her side… Or was it because she knew there was no saving it?

Then when it came to Lotus she was STILL on The Voice again, and beyond a couple of “big” performances, most of her appearances were kept to being on The Voice. Her looks and live vocals gained more attention – and none of it positive either – than the music itself and she very quickly gave zero fucks about promoting the album; the lead single didn’t even get a proper performance except for this mediocre mess.

So this time, she really needs to up her game. Many fans blame her record label for not pushing her out there more, and while they may be right to an extent, Christina herself is also to blame. As I said, sure she can go on The Voice and promote her new stuff but that’s it. I’m sure many shows would love to have her on them to interview her and allow her to perform; she has appeared on most US talk shows since then but none for the reason of promoting any new music. And then she needs to reach out to the world as well. Christina is (or was) very popular in the UK, many parts of Europe, South America and Australia and New Zealand but her abandonment of these territories means she is missing big opportunities to reinstate her one glorious status as a global pop star.

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4) Interact with fans

As well as actually putting herself out there promoting her new shit, Christina also needs to rectify the major backlash she faces from fans who hate that she doesn’t interact with them; just take a look at the comments on her Facebook page and replies to her tweets to see how angry people are that she prefers to pointlessly promote Oreo ads than her music. While granted Christina has never been one to like having a strong online presence, her shying away from the outside world doesn’t do her image any good. Nobody is asking her to suddenly sit down and reply to her fans’ comments like so many other celebrities do but if she kept up and did it every so often, there wouldn’t be so many negative comments for her to face in the first place. And it’s unfortunately quite sad that the last time she “spoke” to fans was through a very short “Q&A” when she “promoted” Lotus and it’s a shame that the only times she has ever posted so much is when she told people to vote for her team on The Voice, shared her looks from the show and most recently, posted a bunch of photos from her birthday party.

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Come on, Chrissie, a little more effort for your fans is all they ask!

5) ECLECTIC is the keyword

One big thing Christina has above her own idols, her peers and those who came after her is that she is eclectic. Her versatility as an artist has transcended a vast number of musical genres and sub-genres, including: pop, R&B, hip hop, Latin, jazz, blues, soul, funk, gospel, rock, electro-pop, dance, power ballads, even reggae and most recently disco and country. The likes of Whitney, Mariah, Céline, Beyoncé, P!nk, Britney, Miley, Demi or Ariana have never, with probably Madonna being the only one who has.

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On Stripped, she touched on a number of those genres in her songs and then on Back To Basics and Bionic she focused on a specific group of genres/sub-genres that made up “concept” albums. Back To Basics was praised for its completely new direction and one no other artist was taking at the time, while Bionic was a big risk for her that didn’t quite take off but was appreciated by some.

Some have pondered whether this next album will be more “urban” (due to Pharrell Williams, DJ Premier and Da Internz being involved), which is a sound Christina has done well before and while she has always maintained that she doesn’t repeat things or sounds, there is no harm in revisiting some of them for an album that showcases what she is capable of music-wise. And knowing how long she takes to release an album these days, she may as well cram as much in one as possible – and dedicate a whole album to Latin/Spanish music as she has also promised.

6) Non-sexualised first single

Let’s look back at the past four lead singles from her previous albums: Dirrty from Stripped may now be a club banger classic, but it was extremely controversial (even in the UK where it was a hit) and flopped on the US chart; Not Myself Tonight from Bionic caused a stir for its sexualisation and of course, alleged “copying” of other artists and only had moderate success; and Your Body from Lotus was yet another song about sex and barely made any impact whatsoever. BUT Ain’t No Other Man from Back To Basics was Christina’s first single to reach platinum status in the US since Genie in a Bottle, charted within the top 10 in more countries than the others, received more critical acclaim than them and won her a Grammy. And that’s without it being a sexual song.

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Moral of the story? Don’t try too hard. Christina attempted to justify her reasoning behind Dirrty, which is all quite understandable, but it was clearly too much for some people and by 2010 it was no longer a shocker, nor original. What Christina needs as a first single is one that really puts her back on the map and it doesn’t even have to necessarily be a club banger. A song with more depth and meaning than sex and partying, clever or interesting lyrics, a memorable melody, good beat, great vocals and of course clever marketing are the main ingredients she needs – she just needs to stay clear of sexualisation (but that does not mean she should eliminate this side of her in other songs on the album) and controversy for the sake of making a statement with her return to the scene.

7) Collab with other artists

Christina has recently worked with A Great Big World, Pitbull and Maroon 5 on massive hit songs and also re-recorded a Lady Gaga song with her. Now, these are big names and the results were well received, but what Christina needs this time is others collaborating with her on HER material and the list of possibilities is quite endless: Ed Sheeran (had as a guest mentor on The Voice), Cher (missed a major opportunity in Burlesque), Celine Dion (she wrote a tribute to Christina for Time magazine), Justin Timberlake (old friends), Missy Elliott (again), Demi Lovato (a big fan), Shakira (a fellow Latina who could help with the promotion of her new Spanish album), Ricky Martin (again, and a similar reason as Shak), Gwen Stefani, Miley Cyrus, Alicia Keys (again, but this time a proper collaboration) and Jennifer Hudson (has mentioned a number of times she’d love to).

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With any of these very different artists who are each well respected and/or successful in their own way and with the right songs, things could only be good for both, especially with Christina’s “waning” status – even if her name and vocals did help others recently. It would also help cement her aforementioned reputation for versatility since all the above artists come from various musical backgrounds.

8) Take care of her voice

She’s been known for having a beautiful, big voice since 1999 but the change and decline as well as ups and downs have been quite prominent over recent years. Some have noted that she has the natural vocal beauty and talent but lacks discipline when it comes to keeping a consistently healthy vocal technique, although have also commented that she must have some extra special vocal cords, because there has been no damage to her voice akin to Whitney (dramatic deterioration), Mariah (nodules) or Adele (needed surgery). Now, as she nears 40, she needs to take good care of her voice.

Above: decent vocals, even if supposedly lipped

Hopefully the past few years of little performing has meant she has been able to get some good vocal rest and help, but then again, some performances show little improvement, or if they did once, the following time she seemed to take a step back. Old habits may die hard but with good coaching and putting her own knowledge of how to sing properly (which she’s shown a number of times before that she does know and can), she can at least prevent any further decline or lasting damage.

On top of this, her new material needs to be less vocally demanding and stuff that she can pull off live without the need to lip sync or dodge certain parts (Candyman high note or the bridge in Fighter, anyone?) and will not, in the long run – especially when touring – wear her voice out as her last two tours were cut short due to “illness” and Back To Basics was meant to be a great vocal era for her. This also includes reworking old songs that fit her current vocal state and range, again without needing to resort to lipping and dodging, while keeping them recognisable as well as fresh and exciting.

9) EXPLORE her voice

Even with the above advice on taking care of her vocals, Christina can still explore and experiment with her sound as she has done so before. Her current big vocal pluses are a gorgeous, rich lower register and a pretty, agile falsetto, both of which she does not use to their full potential. In recent performances she has shown off what she can do in these areas, but putting them to good use on new material would be amazing. She’s done it with some songs before so she can do it again. These are also two areas of her voice that get a lot of positive reactions, as her belting is often considered very marmite, which is not helped by her tendency to push the notes or go overboard with them. Her lows and falsettos, however should undoubtedly remain strong and in tact.

Above: great, controlled low notes

Above: nice falsetto runs

It’s also really nice to hear Christina restraining herself on songs. A number of popular fan favourites from albums have been songs that require little to no belting, soft and straight singing that isn’t marred by her growls and excessive runs. And in Bionic she pleasantly surprised many by using auto-tune creatively to change up her trademark style.

10) Get a new hair colour

Christina used to be known for changing her hair more often that she changed her shoes, having had some pretty wacky hairstyles and colours in the past. She recently dyed (or used a wig/extensions), her hair red which went down a fiery storm with fans, but it didn’t last long as she soon when back to platinum blonde, which has been her signature shade since about 2006. She has played about with different looks whilst on The Voice but again, these barely lasted a week and didn’t exactly promise anything long lasting. Auburn/red actually really suits Christina and is something we hope she’ll bring back again for a new record because she has always talked about being someone who loves to reinvent herself, but when there’s no new music, reinventing oneself in a big red chair doesn’t speak any volumes. So she really needs to embrace this era style-wise just as she last did (sort of) for Bionic and definitely did for Stripped and Back To Basics.

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So Chrissie, let’s have it! Have you got what it takes to ensure a comeback that puts you back on the radar AND the charts? Who knows, but third time lucky and hopefully 100% effort will be displayed this time. Let me know your thoughts on what Christina needs to do to get back on top!

Vocal Spotlight: Have Yourself a Merry Little Christmas by Christina Aguilera

Posted in Christina Aguilera, Songs, Vocal Spotlight with tags , , , , , , on December 18, 2013 by Ain't No Other Tan

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To celebrate both Christina Aguilera’s 33rd birthday and Christmas next week, this Vocal Spotlight focuses on her blues-inspired version of “Have Yourself a Merry Little Christmas” which she recorded for her “My Kind of Christmas” album in 2000. Christina performed this holiday standard – written by Ralph Blane and Hugh Martin and first introduced by Judy Garland in 1944 – a lot during her time promoting her Christmas album. On the majority of the album she shows off her vocal ability a great deal more than she did on her début and her tone throughout is light and pure and it is very much so on this song, in which we hear her voice span 3 octaves (Eb3-Eb6).

A lot of people criticised Christina for oversinging a lot on this album (or just in general really) but her vocals here are relatively restrained and controlled with minimal unnecessary inflections or runs. In 2000, she performed the song live with R&B singer-songwriter Brian McKnight, which made for a very beautiful and soulful duet between the both (though perhaps vocals are quite a bit more over-the-top than in the recorded version).

Christina also performed the song again just over a decade later in 2011 at Disneyland where her vocals are back to being more restrained and controlled than before (she was reportedly having vocal coach lessons around this time) and singing techniques showed signs of improvement, making it one of her best live vocal performances in recent years.

Vocal Spotlight: Dreamlover by Mariah Carey (20th anniversary)

Posted in Mariah Carey, Songs, Vocal Spotlight with tags , , , , , , on July 27, 2013 by Ain't No Other Tan

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20 years ago, one of Mariah Carey’s most popular and biggest hits, “Dreamlover” (her 7th No.1 single in the US) was released. It was the first single from her third album, “Music Box”, which went on to sell an estimated 30 million copies worldwide, making it her most successful album to date. “Dreamlover” – which is more “pop” than any of her other singles she had released before, with a bit of soft soul and R&B elements – showcases Mariah’s softer, more carefree and less showy vocals but at the same time still manages to showcase her wide range (over 3 octaves), unique tone and great technique.

The song may not be a huge vocal challenge for Mariah herself, but her soaring, sweeping voice rides along nicely with the instrumentation and is still enough to make you feel in awe of her talent. Mariah is known for adding in the use of her adept whistle register in practically every other song, but on this one she doesn’t overdo it and reins it in tastefully, only doing it at the beginning and along with the hook at the end of the chorus. She performed it many a time live during promotion of the single and album and has done since then, but rarely added in most of the whistles. I tried to find a good live version of the song to post but since some were dubbed over, I instead chose the David Morales Def Club Radio Edit Mix because I really like it. Mariah re-recorded another version of the song and made it more upbeat, funkier and more vocally aggressive for this dance remix, which although has no whistle notes, it does give her the chance to show off her brilliant use of melisma (without going overboard again). It’s a shame she never performed a live version of this song!

Vocal Spotlight: Come As You Are by Beverley Knight

Posted in Female Vocalists, Live Performances, Music, Songs with tags , , , , , , , , , on July 11, 2013 by Ain't No Other Tan

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Beverley Knight has always been one of my favourite female vocalists with her amazing voice that could put the likes of Adele and Leona in their seats and a strong gospel-influenced sound and soulful flavour to her music. It’s always baffled me at how she is still so underrated and relatively unknown throughout even the UK, let alone the world, compared to them and others.

Of her many songs that feature elements of pop, gospel, soul, funk, jazz and blues music, 2004’s “Come As You Are” (no, not the Nirvana song) – from the album “Affirmation” – is one of my favourites and is probably her biggest hit to date (it peaked at No.9 in the UK) alongside “Shoulda Woulda Coulda”, “Keep This Fire Burning” and her version of Erma Franklin’s “Piece Of My Heart”. This upbeat, rock-tinged soul and funk song, co-written by Robbie Williams’ right-hand man Guy Chambers, is reminiscent of old-school James Brown, with a more modern feel to it that fitted well, commercially speaking. When you listen to the song you can’t help but want to sing, clap and tap your feet along with it, particularly the middle eight, which has gospel shouts that hark back to Knight’s roots, and she really gets into it and gives it her all when she performs it live (see below). “Summer’s begun” the lyrics say, and yes, it really is a brilliant, soulful summer track. However, it’s her vocals that really shine throughout and prove her prowess and talent as one of Britain’s best – I mean, check out the G#5 she belts out with perfect technique, a great tone, as well as clarity, resonance and a lot of power that even Jessie J would be in awe of, for proof of her abilities.

And lastly, check out this amazing remix with a new vocals that she did and hits an effortless A5. Need I say or show you more?

Vocal Spotlight: Can’t We Just Sit Down (And Talk It Over) by Donna Summer

Posted in Female Vocalists, Live Performances, Music, Songs, Vocal Spotlight with tags , , , , , , on June 2, 2013 by Ain't No Other Tan

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Donna Summer was not only the Queen of Disco, but during the 70s she was one of the best vocalists around (in fact, ever, really) – she had a beautiful tone, great technique, and was very versatile too. Disco songs don’t necessarily need singers with big voices but when Donna sang them, she not only cemented the title of the ultimate “Disco Diva” but also managed to bring an element of both sexiness and soulfulness to them that others couldn’t. One of her lesser known songs, but one that proved how great, yet underrated a vocalist she really was is “Can’t We Just Sit Down (And Talk It Over), which was released along with the bigger hit “I Feel Love”. Even though “I Feel Love”‘s popularity overshadowed this slow jam ballad and was of course amazing too, this song shouldn’t be forgotten about, so here I am to bring your attention to it if you’ve never heard it before.


The lyrics speak of not wanting a relationship to end and Summer asks her lover to, well, as the title suggests, sit down and talk it over. Her vocals are smooth, warm and full of emotion as she croons and pleads with all her heart, soaring effortlessly as she hits each and every note, both high and low, with ease. Vocally it may not be a hard song to sing but to pull it off in the same, soulful yet not “overdone” way Donna did it, is a tough thing to do. She rarely performed it live but below is a video of one time when she did and had the audition watching her in silent awe.

Vocal Spotlight: Higher Love by Whitney Houston

Posted in Live Performances, Music, Songs, Vocal Spotlight, Whitney Houston with tags , , , , , , on May 31, 2013 by Ain't No Other Tan

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“Higher Love” is probably the most famous song of Steve Winwood’s career; released in 1986, the song was an award-winning hit worldwide. There have been a few covers of the song since, but what many people (including myself, surprisingly) don’t know is that Whitney Houston recorded a version of it for her 1990 album “I’m Your Baby Tonight”. Unfortunately, the song was cut from the final track list but was included as a bonus track on the Japanese version of the album. Why? I have no idea. Since hearing the song I have come to the conclusion that it is one of her finest vocal performances, especially on an uptempo number. Her version incorporates the dance-pop genre she was delving into in the early 90s (as heard perfectly clear on the album’s lead single “I’m Your Baby Tonight”) as well as harks back to her gospel roots with a choir singing backing vocals, which is quite fitting for the song’s title and lyrical content. Musically, the song is reminiscent of the gospel-influenced “How Will I Know” but with that definite typical 90s post-disco sound.

A lot of covers Whitney has done in the past (“I Will Always Love You”, “I’m Every Woman” and “Step By Step”, for example) have always at least matched or even surpassed the original and “Higher Love” is no exception. I really like the original of this song by Steve (with accompanying vocals by Chaka Khan), but of course Houston’s crisp, well-delivered vocals, immaculate tone and pure soul speaks (or sings, as the case may be here) to me more; you can feel the spirit of the song taking over her as she gets further into it and is singing along with the gospel choir. It is quite clear from this song and the album that Whitney was in her vocal prime at this time, before the toll of working too much (and other problems) began during “The Bodyguard” tour as she effortlessly belts notes higher and more consistently than she has done on other records. Houston also performed the song live on tour around the same time and in the video below, although she wasn’t 100% well (reportedly had a cold), she still puts in 100% effort and sounds great.