What is Christina Aguilera's next move going to be? Sure, she can keep collecting those massive checks from The Voice USA while sitting grandly (and richly) upon her swivelling throne. But this is a singer who has often proclaimed the importance of using her gift, so she can't be satisfied with this strategy, long-term.
So with this in mind, how can Christina continue with the music, stay relevant and not risk another a flop- like back-to-back bombs Bionic and Lotus? Well she could keep doing what she is now: featuring on other people's tracks- à la successful collabs with Pitbull and Maroon 5- while periodically tossing us original material via soundtracks- as she has just done with her contribution to the The Hunger Games: Catching Fire OST. It's not an idea situation, but it sure feels sweeter to me (see what I did there?- only the die hard fans will get that) than a prolonged Christina Aguilera famine.
Her contribution to the aforementioned soundtrack, We Remain, is actually a beautiful one. It not only benefits from the Diva's capable pipes, but she also had a hand in composing the uplifting lyrics. This may be the reason why the vocal on the Ryan Tedder-produced cut sounds like one of Aguilera's most emotive to date.
The delivery is altogether a mellower one, with an emphasis on melody rather than showy melisma or big notes. And though the raspy tone is also out in force, it's not painful to listen to- as was the case at some points on Lotus- complementing the airy, soft-rock production perfectly. Being that it sounds to be more within the Diva's natural range, I'm already excited to hear this tackled live.
We Remain is another song for Christina to add to her catalogue of inspiring anthems. However as much as I enjoyed it, it's just missing that something for me to put it up there with other classics like Hurt, Lift Me Up, and The Voice Within. Perhaps hearing/seeing this performed live will tick that last box to make me fall Disney-style in love with it.
Rating: B+
Thoughts?
two thumbs up for the producers cause im really liking the sound, Xtina's really toned down here and she's really conveyed/interpreted the message of the song right. but her voice deterioration has really shown here....... anyway what was "something" that is missing DD? the throaty belts?
ReplyDeleteHer voice sounds the worst it's ever sounded here. She is straining/there is bucketloads of tension on MID FOURTH OCTAVE notes. It's not just throaty placement. It sounds tight, squeezed and painful. What has this woman done to her bloody pipes?
ReplyDeleteIt's Mitch/mitchyp93 btw, my phone won't let me sign in. Eh.
I have, no joke, been checking your blog daily to see when you'd finally review this song. I agree that I felt it was missing something...that powerhouse moment...that tiny bit of diva attitude.
ReplyDeleteEither way, I think it's a beautiful song - if on the bland side -, and I'm glad you've given it a positive review. Now let's all pray that she doesn't ignore this opportunity and shirks any public performances. If she's smart, this will be a contestant collaboration song on The Voice, a few morning show performances (GMA, Today, etc.) to get ready for the film's release. Maybe even attend a few premieres with that banging new bod and some tasteful dresses to keep the public in the mindset for a real, actual comeback.
But, she also hasn't had much success with soundtracks in the past... Remember her single for the Mulan soundtrack? Didn't generate anything near what Disney was hoping for. Let's hope it's different this time around...
That being said, here's me trying really, really hard to sing this song and not suck :) https://soundcloud.com/fire-lyte-rioter/we-remain-christina-aguilera-a
This is literally the first time that I've listened to Christina's voice and didn't feel the urge to turn the volume DOWN. Her vocals, for once, are soft and emotive; and this might be the first song she's done, to my knowledge, that she didn't go through a series of vocal runs every 5 seconds. I might actually put this one on my iPod.
ReplyDeletehttp://www.youtube.com/watch?v=GWVF469OLUo please watch this christina aguilera vs true dramatic big voiced soprano
ReplyDeleteInteresting... your range is impressive and enviable, I'm planning on purchasing a vocal coaching software (ss, ken tamplin and what not) since I never really had any proper vocal coaching, I kinda picked it all up from different singers and this blog also helped me develop my voice but still that doesnt fully count, so my question is do you have any experience whatsoever in that territory?
ReplyDeleteMind you, I'm no vocal expert at all. I have only done extensive research, and learned how to apply these vocal lessons through trial and error. But, some exercises work best on particular voice types and since you say you are a spinto, there is one I learned that helps. Either the mamma scale or this interesting nasal scale that seems to help home in on squillo notes.
ReplyDeleteWell, my range is actually pretty ridiculous - I am of the rare breed who feels comfortable both as a baritone and as a countertenor. If I had to define, then I would be a Kavalier like yourself - a warm tone that can become metallic and slicing when applying lots of squillo, and as for range...erm...C2 is my last "reliable" note, but I can sometimes go an octave lower for whatever reason. As for highs...E6/F6 is the top where I feel completely secure in the notes, but when mixed belting, I'd say B4 is my comfortable top. I'm sure a lot of people after hearing how loud I sing would call me a dramatic, but I'm really not.
ReplyDeleteA Verdi? No - not quite a spinto. A Verdi baritone is more like a really low tenor, a really high baritone, or just a plain baritenor with a capable, pliant, warm tone that has some power but not terribly much. The closest more common equivalent would be the term 'full-lyric'. A spinto baritone, basically, is a Kavalier baritone - larger production, and a slicing, metallic tone when reaching at the top of the chest-dominant range, that can be replaced with sheer volume and a massive, warm tone if necessary, but not entirely comfortable for long periods of time. A Kavalier is the baritonal equivalent of a spinto soprano, more or less.
ReplyDeleteHey, I need help :( I'm a singer too, I don't know my vocal range, I never had a vocal coach, and I don't know my type of voice
ReplyDeleteWow I tried it, it works wonders, thank you :)
ReplyDeleteI found a not lesser interesting warm up, but i saw some controversy going on about its effect (it promises full resonance), the teacher is eastern european i think, it's called the crystal skull :)
http://www.youtube.com/watch?v=SvD07TmHtX8
I loved the very ending where you sang 'we remain' so softly, however I think you could add more of your own style because right now it has just this big Christina stamp on it and idk maybe a Fire Lyte stamp could also look pretty on it :D
ReplyDeleteYou could be right, but live performances seem to indicate differently.
ReplyDeleteWell, do you have skype?
ReplyDeleteGod no! No throaty belts for me, thanks. Someone above said it best when they called it slightly "bland". I think that might be what it is.
ReplyDeleteLol I never knew it was produced by him. No wonder it was awfully familiar but I couldn't wrap my head around it.
ReplyDeleteThank you DD for reviewing this (sorry for my annoying email). First of all the lyrics of the song are very true to the book. As HG fan myself I can appreciate the effort they put into the song especially the chorus which is killer. Next vocally Chrisssy rasp came and it finally did its job. Her rasp added another emotional layer especially when she rasped on the word 'saint' in the last chrous......which defintiely sent shivers up my spine. I also loved Ryan Tedders background vocals on the song which gave it that soft rock feel. I loved enough said!!
ReplyDeletehttp://25.media.tumblr.com/b088c97c3499c8031d95bf39b3951c5a/tumblr_msj018p9bw1riml7wo1_500.gif
Well shes earning millions of dollars so all of this vocal decline dosen't matter
ReplyDeleteI don't know, I have to confess that from time to time, I pop on 'Hurt' or 'Fighter' because she really does sing the shit out of her voice on those songs. And sounds good doing it.
ReplyDeleteBut it's like if she chooses to strain or rasp notes in studio, why would she not choose to do the same thing live?, lol. I have seen her live and she'll strain notes or whatever, but she really doesn't have too. She just doesn't think or put enough effort into doing those notes correctly, but she could very well do so if she wanted to. She's shown that time and time again if you watch her closely.
ReplyDeleteummm, yeah
ReplyDeleteI have a recording (homemade) in Soundcloud, you an hear it :) and give an opinion
ReplyDeleteP.D: English is not my first language
https://soundcloud.com/jos-aguilera-1/christina-aguilera-bound-to
This other Christina song may be also appropiate for your liking ^^ http://www.youtube.com/watch?v=HYxmS4UNrWY
ReplyDeleteOk, I'm a bit surprised. I seldom hear untrained singers who have a decent mix but you definitely have one which is very nice. However, on the low notes you were pushing your larynx down and dropped resonance a bit. You gotta keep those lows, free and open. Tonally though, you are nice and stringy, which makes me guess you're a lyric tenor of some kind. Also, as you stated, just work on your enunciation and phrasing. And you have some nice agility, but again it is lost and garbled behind your phrasing and enunciation. Still though, very good just keep up the practice...
ReplyDeleteThanks! technically, did you heard me strained or something?
ReplyDeleteNot much, but you sounded mostly at ease. Just practice keeping a neutral larynx and that enunciation.
ReplyDeleteBut just a few weeks b4 this single came, she san I love rock and roll live and hit notes higher than the notes on this single...
ReplyDeleteSo overall i think live performance proves she can go above what specific song might be current of hers.
being strained still does not determine ones vocal classification...
ReplyDeleteIn the world of pop there is no rules to how you can reach the notes, bec it is an artistic choice.
A soprano can very well strain on her range, and a mezzo, and a contralto if they are not properly trained.
Voice classification means it is the capability of ones voice, but that does not mean every singer under these certain voice classification can properly utilize every aspect of vocal science.
Miss Aguilera never loose the capability of high Falsetto, but her tone is going deeper than before (Low-Baritione-like-me can hit all the notes in "We Remain")..... N I believe she sing the way she wants to, Whether it's dramatically, strain, lyrics, softly , falsetto, or maybe with whistle (I guess)...
ReplyDeleteFor me, it's rarely happen for the deep-tone-singer to using falsetto efforlesly. Watch 2:00, n you'll have no doubt for that ....
http://www.youtube.com/watch?v=j_M98m6b9Xo
http://www.youtube.com/watch?v=jGl4GiW6ffw
ReplyDeleteSee this video, Christina hits C#5 with pretty ease (I LOVE Rock 'n' Roll)
She doesn't strain in We Remain, it's an artistic choice
That's a dang LIE! She's belted COUNTLESS notes over C5 that are NOT strained.
ReplyDeleteIt did sound like she strained to me...
ReplyDeletePS: Adam Levine was amazing with that guitar solo o_O
In the video, or in We remain? xDDD
ReplyDeleteAnd yeah, Adam is pretty amazing :)
ReplyDeleteBoth actually ^^U
ReplyDeleteThankew!
ReplyDeleteI agree and disagree. I do think she has strains on the higher notes, but also she chooses to do it when it's low for artistic choice.
ReplyDeleteI used to be a 'Spinto- Tenor', with much more 'Dramatic- leanings', before puberty hit me like an iron wall and I matured into a 'Spinto- Baritone'. Nonetheless, I adore my 'Noble/Masculine' voice. LOL.
ReplyDeleteWell, I am a "Kavalier- Baritone" (That is the 'correct' term) - possessing a, naturally, low tonal quality with, a warm/thick yet metallic tonal colouring that grows large in production when belting at the top of my chest (dominant) range becoming very robust and voluminous.
Many people, including myself from time-to-time, have classified me, and still continue to, as a 'Dramatic- Baritone', in relation to the sheer power, volume and resonance at the top of my voice. However, after careful study, I came to realise that my tone, although dark, isn't quite harsh enough to qualify as such (my voice still encompasses 'lyric' traits, as do most 'Spinto's', when singing softly/sweetly) albeit there is no doubt in my mind that I will, indeed, mature into one by the time I reach my 30's or, possibly, 40's. My vocal weight is, of course, 'medium-sized'; full and heavy but not THAT heavy.
Do you think you'll mature into a 'Dramatic'?
Sweet. IDK if I'd ever evolve into a Dramatic because my color changes from dark and haunting in my lower register to warm and thick in my middle to just out of nowhere, bright and weighty as I get closer to the 5th octave. My vocal weight really doesn't disappear even when I lighten and mix my voice (Its been this way for about a month and a few days now IDk if it'll stay like this because generally I had to put a little effort into carrying up vocal weight). My falsetto is very round and steely...but I don't have the most masculine sound...just a strange metallic bight as I ascend the scale. And since I don't sound the most masculine when belting, I go for more chest dominance on the notes like A4/B4/C5 because that close to the highest I can carry a true chesty tone.
ReplyDeleteIts just so strange because my singing voice is so different from my talking voice. Generally through out the day, I talk around G#3-F5 (I scream and yell a lot) but my singing tessitura is C#3-D5. By listening to my talking voice, one would be inclined to beleive I'm much higher tenor than what I am. Crack a listen at Luke James. His voice is even higher than mine, but I talk higher than him. LOL.
[FYI: Listen to "Sammy Davis J.R's Live Performance of - What Kind Of Fool Am I" in order to garner a better understanding of what a 'Kavalier-Baritone' in popular/contemporary music sounds like according to his site - http://www.youtube.com/watch?v=7Jg7wFHWXT4 - He's one of my inspirations]
ReplyDeleteOh, I understand what you're saying. I tend to love more 'Mature- sounding Tenors' (full/low- Lyrics/Dramatic's/Heldon's) as opposed to 'Falsetto- based, Lighter- Lyrics' ala. Chris Brown, Miguel, J.T etc. who voices I disdain. LOL.
My voice, however, consists of a 'rich, noble and masculine' timbre overall. As a 20 year old, my 'speaking voice' resembles that of a Man who is, at least, in their mid-30's and this sound encompasses my 'singing voice' also. The only effeminate tuning my voice can produce are in that of my 'falsetto' and even then they sound so 'thick and man- ly'. LOL.
In terms of 'Range': my full- chest/modal register lies within that of 'G2 - B4'. However, in terms of 'tessitura', I feel the most comfortable singing/belting between 'A2 - A4' with 'Bb4 & B4' being the last two notes I can sustain in full voice but not for a very long time - 5+ seconds at best before they thin out and become mixed notes, but I am working on it.
What about you?
I don't know what modern Tenor has a a voice similar to mine. And that dude's belts are so slicy. Basically my voice sounds like his, but warmer, with a more significant rasp, and a thicker, slower vibrato. And that last big note he hit (Sounded like G#4, is where my voice starts to gets marginally brighter but not quite as bright as my A#4 and above.) The only Tenor that has a timbre similar to mine is Bob Marley but I carry so much more weight up than he does.
ReplyDeleteBut generally I can choose whether I want to sound masculine or feminine. I can emulate Lauryn Hill nearly perfectly. I have tons of ease in the 5th octave and my modal range is generally B1/C2-G#5/A5 on a very good day but I don't ever go for a high chest note above F5 because then I'm really pushing my limits. As far as low notes, I can shoot down to F1/G1 in a strongly supported fry, but B1 is my limit without fry.
Most of the time, I belting between A3-A4 because I'm quite sparing when I go into the 5th octave. The reason why is because I have an issue that I'll end up going too high and I'll run out of notes so I have to pace my self.
But I'll link you to my voice if you'd like.
Yes, my vocals resemble's this man's voice near- perfectly also albeit my voice, obviously, withholds it's own individual characteristics and, just like you, I possess a slow and thick vibrato also. Nevertheless, both he and I are what you would call 'Kavalier (Spinto) Baritones'.
ReplyDeleteWell, I have always been more of a 'Soul/Jazz/Blues/Soft-Rock/Easy-Listening/Traditional-Pop/Adult-Contemporary'- oriented Balladeer - in the vain of 'Frank Sinatra/Michael Bolton & Anita Baker/Celine Dion' musically speaking as well as that of more 'Eccentric- Rock/Indie/Alternative' vocalist ala. 'David Bowie/Annie Lennox/Florence Welch'. My voice does not suit 'Contemporary Pop/R&B/Urban/Dance/Electronica' at all. I like the music, of course, but I know what music would fit my voice best.
Is Bob Marley a 'Tenor'? I always thought he was a 'Light- Lyric (Baryton') Baritone'? I never knew that.
I don't want to sound conceded but I generally can mold my voice to any genre I see fit, but I'm a Rock, Heavy Soul, and and anything that requires me to sing at the top of my lungs with near Banshee-like agression type of singer. Belting is my strong suit but I still have a very round falsetto that I can switch to headvoice all the way up to C#6.
ReplyDeleteI do have quite a malleable belting register and I can sing with plenty of tonal diversity, in a chest dominated mix or in a more nuetral mix. I also can make my timbre slice in that "spinto" like fashion or just sing with 100% vocal weight. Also, these demos are very half baked and half recorded so bare with them. LOL
https://soundcloud.com/black-robin
LOL.
ReplyDeleteWell, In terms of 'Contemporary R&B/Urban' music etc. - it's the heavy use of 'melisma' and 'vocal acrobatics' that seriously do irritate me. That is why I am not that much a fan of many modern singers in the genre but it is purely from a vocal standpoint however - why does every word/phrase require a run, riff or trill? LOL. But I have my exceptions, like Brandy etc. I, personally, prefer to sing in the more 'Straight-Singing'- Soul Traditions'.
Dude... Where are your 'Al Green/Marvin Gaye/Donny Hathaway & 'Anita Baker/Lauryn Hill/Jazmine Sullivan' covers?Your voice would be a PERFECT. Hell, even 'Terrence Trent Darby & El DeBarge'. Now, I think I see why you're such a fan of J.S - you share a similar creamy, raspy/husky, tonal texture especially in your low notes and, yes, I do here that 'Bob Marley'- esque tonal colouring also. By the way, "Hypocrisy to Sin" reminded me of a 'Fugees' song. LOL. Great. :-D
P.S: As soon as I've uploaded my videos, I will send them to you.
http://www.youtube.com/watch?v=1muDhmlBPcU
ReplyDeleteBest Christina Aguilera Impression
I'm not quite sure the Mulan thing was meant to be a huge hit, she wasn't even known by anyone back then and that's not the best example to give when other songs she's done for soundtracks have done well - Lady Marmalade, for example? She really did own that. Car Wash was a moderate success (well, in the UK it was popular anyway) and Burlesque did pretty well.
ReplyDeleteDefinitely. A lot of people seem to be confused about the fine line between rasp and strain - I understand it's hard to differentiate sometimes, especially with X but it is a bit over-the-top of some people to keep harping on like she's "destroyed" her voice.
ReplyDeleteIt's a bit of an over-exaggeration to say they're completely destroyed in every single way - some parts are weaker, yes, but nothing is "destroyed" otherwise she wouldn't be able to sing at all. And I'm sorry but if you're going "give up on her" just because her voice has deteriorated, then you obviously weren't much of a true fan in the first place. Surely her actual music and her as person are just as, if not even more important than her voice? And she does have musicianship - clips of her coaching on The Voice prove that as well as prove that she doesn't strain as much as you think.
ReplyDeleteIt was an Eb6.
ReplyDeleteIt was an Eb6
ReplyDeleteThere is nothing dramatic about her voice. And I highly doubt she'd ever become a contralto.
ReplyDeleteBoth Etta James and James Brown's vocal techniques and stylings were questionable as to how healthy they were yet they still managed to sing well into their later years, so who knows - it could work for X in the end...
ReplyDeleteMaybe in the past few years but there are a few times she hasn't and this is usually when she actually mixes properly.
ReplyDeleteI agree. And still so many lambs think she copies Mariah when in fact she hasn't "tried to sound like her" since about 2001.
ReplyDeleteHer natural tone is still there, just a little darker than before but most people's natural timbres do darken as the they get older. With Chris it's a bit hard to tell though as sometimes she does force it a little bit, but not to the full extent of where she goes all out on Fighter for example. Since We Remain has a more soft-rock sound to it, maybe the slightly deepening over of her tone and the rasp is intentional and done for stylistic purposes, whereas on Blank Page it's a bit more pure.
ReplyDeleteThank you for schooling me too.. I don't know shit about baritones and this little bit of info sparks my interests.
ReplyDeleteFirst of all, I'm a huge Christina fan since 2000 and I know what I'm talking about. When she sings anything C5 and above, she sounds strained and coerced. Sometimes she even chockes and goes off-key. That's a fact.
ReplyDeleteThere is not a single live C5+ she hasn't strained in the past 2 years....
ReplyDeleteI can't believe how stupid some people are being..while I do agree Christina has had a vocal decline within recent years it's like so many people are trying to point out every reason they can find to say that "she cannot sing anymore" or "she's straining and is terrible now" and so on
ReplyDeleteI honestly think the raspiness in the high notes she did intentionally and it's not a natural sign of her straining...she placed those notes in her throat because she wanted to represent the intensity with the words she was singing, and as usual Christina chooses to be a more emotive singer which I love..how can we say that she's straining on Ab4 while just a little earlier this year she was singing those notes with ease (eg. Hoy Tengo Ganas De Ti and Feel This Moment)..it's obvious the rasp in on purpse
What happened to her voice? :O
ReplyDeleteThis is my future wedding song...
ReplyDeleteNo not saying she strained, I'm just saying when she strains it does not determine vocal decline or inability to reach higher because she has shown she has... Her voice is unpredictable...
ReplyDeleteIt could be mine, but the place has already been taken by this one http://www.youtube.com/watch?v=Ie9VxRF7ucM The guy's also supposed to be the fiance, but that's a bit more difficult xD
ReplyDeleteOh wow the song is very romantic... I got goos pimples...
ReplyDeleteExcept that Janis was perfectly capable of belting out without any raspiness or grit, she did it when singing broadway songs...has Christina ever been able to belt out without pushing/sounding like she's struggling?
ReplyDeleteBecause vocal ability is measured by how much money you're making, right?
ReplyDeleteThe health of a voice is not measured by its falsetto, but by the evenness and smoothness of its middle voice.
ReplyDeleteHave you ever actually listened to Etta James? Etta James never sounded like she was being choked the way Christina does.
ReplyDeleteActually, a mezzo-soprano should be able to sing between F3-C6, and especially between D4-F5 without any kind of trouble. That's a standard.
ReplyDeleteShow me a single belted F5 by her in the last 10 years that's not strained, held with vibrato, stable low larynx and plenty of resonance.
ReplyDeleteNope, there is no standard method in the POP genre, classifying pop voices is very controversial. And I know this renowned opera teacher who told me this.
ReplyDeleteShe is not a contralto, or a dramatic voice for sure. Her natural unforced voice is a light lyric or coloratura Mezzo or Soprano, (but you cannot actually prove this) Since she has not actually gone to a voice peg. To fully utilize what her voice MIGHT be fully capable of doing due to bad habits and techniques.
With proper training in opera LETS JUST SAY she could very well be a different voice classification to her POP voice. She does tend to sing in mezzo, but have heard her actually sound like a lyric soprano in many songs.
Etta could actually control what she was doing, Etta also had a solid lower register and mid.
ReplyDeleteAnd she had proven that her middle range is just fine on Say Something. Period.
ReplyDelete"COLEMAN" IS A FAKE! LOOL ! (yourSoSad)
ReplyDeleteLEONARDO TAIWO IS A GREAT FRIEND OF MINE
NOTHING SAID BY THIS CREEP ABOUT LEONARDO IS TRUE! (SoFunny) LOL
HE DOES NOT HAVE AN ACCOUNT ON THIS SITE
FEEL FREE TO CONTACT THE REAL HIM ON TUMBLR
http://leonardospage.tumblr.com/
XXXx MWAH X!
complete bullshit.
ReplyDeletedickhead
ReplyDelete