(03-18-2013, 11:30 PM)Babbs234 Wrote: IMO, Haley has a lot more, I don't know how to say it musically, texture, and variety in her voice, along with that power, which makes her very appealing to listen to, for me.

(03-18-2013, 11:06 PM)Tusk Wrote: Everything really fell into place in S10 starting with Simon leaving (he was bored and didn't care in S9...so I've heard, didn't watch it) AND Steven Tyler came aboard to give her that much needed support from the Judge's corner.

BTW...I didn't care or watch S9... I get that Siobhan was quirky, and different from the 'ballad' type singers usually on AI, but this hubub about Haley stealing HOTRS a capella beginning?

I finally got to watch Siobhan's HOTRS, and, yes I'm Very biased, but....it doesn't come close at all in magnitude, power or finesse compared to Haley's HOTRS... Not even a fair comparison IMO





IMO Siobhan did a cover of the Animal's HOTRS
Haley on the other hand, tore that song down and build it to climax ...compare their endings? She re invented it, just like she re invented BATJ.

(03-21-2013, 02:39 PM)cherelann Wrote: ^^Very brave analysis, Tom. However, you did make me listen to both versions again. I do think that Siobhan was coming from a more personal place with her version. However, I enjoy Haley's tone more so Haley's version hits my sweet spot.

Music is subjective on so many different levels but I am impressed that you had the guts to give an opinion that isn't Haley positive...different points of view help us reexamine our perspectives.

ETA: And sometimes we do change our minds...

Quote:Origin and early versions

Like many classic folk ballads, the authorship of "The House of the Rising Sun" is uncertain. Musicologists say that it is based on the tradition of broadside ballads such as the Unfortunate Rake of the 18th century and that English emigrants took the song to America where it was adapted to its later New Orleans setting. Alan Price of The Animals has even claimed that the song was originally a sixteenth-century English folk song about a Soho brothel.[1]
The oldest known existing recording is by Appalachian artists Clarence "Tom" Ashley and Gwen Foster, who recorded it for Vocalion Records in 1934.[2] Ashley said he had learned it from his grandfather, Enoch Ashley.
The song was among those collected by folklorist Alan Lomax, who, along with his father, was a curator of the Archive of American Folk Song for the Library of Congress. On an expedition with his wife to eastern Kentucky, Lomax set up his recording equipment in Middlesborough, Kentucky, in the house of a singer and activist called Tilman Cadle. In 1937 he recorded a performance by Georgia Turner, the 16-year-old daughter of a local miner. He called it "The Rising Sun Blues."[2] Lomax later recorded a different version sung by Bert Martin and a third sung by Daw Henson, both eastern Kentucky singers. In his 1941 songbook Our Singing Country, Lomax credits the lyrics to Turner,[2] with reference to Martin's version. According to his later writing, the melody bears similarities to the traditional English ballad "Matty Groves."[3][4]

Quote:The Animals version


An interview with Eric Burdon revealed that he first heard the song in a club in Newcastle, England, where it was sung by the Northumbrian folk singer Johnny Handle. The Animals were on tour with Chuck Berry and chose it because they wanted something distinctive to sing.[3] This interview denies assertions that the inspiration for their arrangement came from Bob Dylan. The band enjoyed a huge hit with the song, much to Dylan's chagrin when his version was referred to as a cover—the irony of which was not lost on Van Ronk, who said the whole issue was a "tempest in a teapot", and that Dylan stopped playing the song after The Animals' hit because fans accused Dylan of plagiarism. Dylan has said he first heard The Animals' version on his car radio and "jumped out of his car seat" because he liked it so much.

Dave Marsh described The Animals' take on "The House of the Rising Sun" as "the first folk-rock hit", sounding "as if they'd connected the ancient tune to a live wire",[6] while writer Ralph McLean of the BBC agreed that "it was arguably the first folk rock tune", calling it "a revolutionary single" after which "the face of modern music was changed forever."[7] Dave Van Ronk claims that this version was based on his arrangement of the song.[8]
The Animals' version transposes the narrative of the song from the point of view of a woman led into a life of degradation, to that of a male, whose father was now a gambler and drunkard, as opposed to the sweetheart in earlier versions.