split from the "Happy for Haley" thread

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Quote: ‏@ToneyChilds 52m

I aint NEVA heard no white woman squall like Haley Reinhart. That's a bad muthafucka. #iGoUp

You Are A Fool Not To Watch “American Idol”

Quote:Now, all right: Adele is a righteous talent on her own. Yes. But I’m telling you the first time I realized she was a bankable talent was when I heard Haley Reinhart wail “Rolling in the Deep” and revitalize her entire season 11 arc. When a contestant can find urgency and a sense of self within a new pop song, it proves he/she isn’t merely a trained pageant singer with a recycled repertoire; it proves we’re witnessing (forgive me) the potential for true artistry

They still get Haley's season wrong, but what a wonderful write up about Haley, that performance was the first time I heard that song, and I felt much the same way

That was the first time I had ever heard Rolling in the Deep too! After Haley sung it on Idol, I got on the internet, and looked up to see who Adele was. I have always loved Haley's spunked up version of the song.

Wail??? This writer considers Haley's rendition of RITD wailing? Hmmm... he must be operating on a different definition of "wail" than I do. (Merriam Webster definition link: http://www.merriam-webster.com/dictionary/wail )

Unlike Tusk and Babbs, I had heard Adele's recording before -- or part of it. The summer before Haley was on AI, I'd been listening to a local radio station that, at that time, played jazz, albeit a "modified" (smooth) jazz (so smooth, it was close to not being jazz). On that station, I'd heard the song Till You Come to Me by Spencer Day. (I've mentioned him on this site a couple of times, one very recently.) Because I loved the song, I bought the CD it was on (Vagabond) and started delving into this guy, including his Facebook account -- or a public Facebook account that he has.

Just before we began seeing/hearing of Haley, Spencer was performing in a club in London with a group of women who, as best I can figure out, were doing retro-burlesque shows. He was there for several weeks, but while there, in his Facebook page, he had posted a link to this Adele song (RITD) that had been the rage in London at the time.

I remember that at the time, I couldn't listen to more than a few measures because, to me, it was hugely repetitious.

And we all know the result of that Adele album.... I believe that Haley will have her Adele moment/year/....????

(02-01-2014, 07:21 PM)My Alter Ego Wrote: Wail??? This writer considers Haley's rendition of RITD wailing? Hmmm... he must be operating on a different definition of "wail" than I do. (Merriam Webster definition link: http://www.merriam-webster.com/dictionary/wail )

LOL MAE. Websters lists the following synonyms for wail:
"beef, bellyache, bitch, bleat, carp, caterwaul, crab, croak, fuss, gripe, grizzle, grouch, grouse, growl, grumble, grump, holler, inveigh, keen, kick, kvetch, maunder [chiefly British], moan, murmur, mutter, nag, repine, scream, squawk, squeal, complain, whimper, whine, whinge [British], yammer, yawp (or yaup), yowl."

I think there are better words to describe Haley's rendition of the song. Haley's version was the first I heard, and it sent me scampering to listen to Adele.

So, does Haley "squall"?

(02-01-2014, 09:19 PM)john Wrote: So, does Haley "squall"?

Personally, I thinks Haley "sings" the song. Is "singing" that foreign a concept?

(02-01-2014, 05:59 PM)Babbs234 Wrote: That was the first time I had ever heard Rolling in the Deep [/b]too! After Haley sung it on Idol, I got on the internet, and looked up to see who Adele was. I have always loved Haley's spunked up version of the song.

BABBS:That not was only you,almost 1M peoples like you never
heard nothing about Adele before Haley's performance including
me(I still prefer Haley's version)

Funny thing is, every time I've heard Rolling in the Deep on the radio, (only rarely these days) I always think it's Haley. First it's OMG, Haley's on the radio....then I come to reality and remember it's Adele.

Haley has a way of making every song she sings, HER SONG! That's one of the reasons we love her!

(02-01-2014, 09:19 PM)john Wrote: So, does Haley "squall"?

"Squalling" has ties to Aretha Franklin and her father.

Various sources on the Internet say:

Quote:Squall singing is when you make high-pitched, whiny noises while you are singing. Aretha Franklin's singing is often referred to as squalling.

Quote:No such thing as squall, It's actually called Pitch Break. Breaking the pitch with forced air. Only an adult or fully mature larynx can do this safely and only in the singers mid range. It cannot be done successfully in your high range or low range.

Quote:Bobby Blue Bland was the singer’s singer. One of the biggest black hitmakers of the ’60s, he had little crossover success but influenced countless other vocalists. He personified the sturdiest bridge in the transition from blues to soul music.

...Bland didn’t truly come into his own until he added a device that was more of his own making. In the late 1950s, Bobby, like most black Americans, listened regularly to the sermons of Rev. C.L. Franklin of New Bethel Baptist Church in Detroit, who was Aretha’s father and probably the most influential preacher within black America (by then, Franklin’s friend and civil rights ally Dr. Martin Luther King was well known outside the ghetto). Franklin was so popular that Chess Records released his sermons as albums; “The Eagle Stirreth Her Nest” was said to have sold gold several times over, though the label never submitted its sales figures for RIAA certification.



While listening to that landmark sermon, Bobby focused on a guttural, gargling sound Franklin utilized to emphasize his points, and adapted it to his own voice and needs. Thus was born The Squall, as he called it. He’d always used his swooping and soaring falsetto to dramatic effect, but The Squall provided an equally powerful, and more singular, tool.

The Squall first appeared on the 1958 hit “Little Boy Blue.” Bland’s first R&B chart record, the classic Texas shuffle “Farther on Up the Road,” which is still performed regularly by seemingly every blues-based band in the state...



...The casually vindictive “Cry, Cry, Cry,” one of Bland’s best-ever performances, feeds his fine and mellow voice on the verses into hair-raising gospel squalls on the bridge...

http://www.emusic.com/music-news/spotlig...rs-singer/

Bobby passed away last June. From the NYT obit:

Quote: His vocals, punctuated by the occasional squalling shout, were restrained, exhibiting a crooner’s delicacy of phrasing and a kind of intimate pleading. He influenced everyone from the soul singers Otis Redding and Wilson Pickett to rock groups like the Allman Brothers and The Band. The rapper Jay-Z sampled Mr. Bland’s 1974 single “Ain’t No Love in the Heart of the City” on his 2001 album, “The Blueprint.”

Mr. Bland’s signature mix of blues, jazz, pop, gospel and country music was a good decade in the making. His first recordings, made in the early 1950s, found him working in the lean, unvarnished style of Mr. King, even to the point of employing falsetto vocal leaps patterned after Mr. King’s. Mr. Bland’s mid-’50s singles were more accomplished; hits like “It’s My Life, Baby” and “Farther Up the Road” are now regarded as hard-blues classics, but they still featured the driving rhythms and stinging electric guitar favored by Mr. King and others. It wasn’t until 1958’s “Little Boy Blue,” a record inspired by the homiletic delivery of the Rev. C. L. Franklin, that Mr. Bland arrived at his trademark vocal technique.

“That’s where I got my squall from,” Mr. Bland said, referring to the sermons of Mr. Franklin — “Aretha’s daddy,” as he called him — in a 1979 interview with the author Peter Guralnick. “After I had that I lost the high falsetto. I had to get some other kind of gimmick, you know, to be identified with.”

The corresponding softness in Mr. Bland’s voice, a refinement matched by the elegant formal wear in which he appeared onstage, came from listening to records by pop crooners like Nat King Cole, Tony Bennett and Perry Como.

Just as crucial to the evolution of Mr. Bland’s sound was his affiliation with the trumpet player and arranger Joe Scott, for years the director of artists and repertory for Duke Records in Houston. Given to dramatic, brass-rich arrangements, Mr. Scott, who died in 1979, supplied Mr. Bland with intricate musical backdrops that set his supple baritone in vivid relief.

The two men accounted for more than 30 Top 20 rhythm-and-blues singles for Duke from 1958 to 1968, including the No. 1 hits “I Pity the Fool” and “That’s the Way Love Is.”

...Though only four of his singles from these years — “Turn On Your Love Light,” “Call on Me,” “That’s the Way Love Is” and “Ain’t Nothing You Can Do” — crossed over to the pop Top 40, Mr. Bland’s recordings resonated with the era’s blues-leaning rock acts. The Grateful Dead made “Love Light” a staple of their live shows. The Band recorded his 1964 single “Share Your Love With Me” for their 1973 album, “Moondog Matinee.” Van Morrison included a version of “Ain’t Nothing You Can Do” on his 1974 live set, “It’s Too Late to Stop Now.”



Mr. Bland himself broke through to pop audiences in the mid-’70s with “His California Album” and its more middle-of-the-road follow-up, “Dreamer.”



But his greatest success always came in the rhythm-and-blues market, where he placed a total of 63 singles on the charts from 1957 to 1985. He signed with the Mississippi-based Malaco label in 1985 and made a series of well-received albums that appealed largely to fans of traditional blues and soul music.

Mr. Bland was inducted into the Rock and Roll Hall of Fame in 1992 and received a Grammy Award for lifetime achievement in 1997.

http://www.nytimes.com/2013/06/25/arts/m...d=all&_r=0

So by squalling they're pretty much talking about the growl?

A "wail" is just a term used for a belt. Jacquie Lee's belting was often referred to (in the best way) as a Banshee Wail, by Michael Slezak. Haley's "wailing" in ROITD was during the bridge. (Which was so awesome..and I really wish she had recorded it that way.)