Decline of Shane's singing voice on the albums

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Expand view Topic review: Decline of Shane's singing voice on the albums

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Post by Low D Fri Oct 08, 2010 12:53 am

RICHB wrote:Think this has been mentioned before. Didnt Lillywhite do it to hide the poor quality of shanes voice and obviously (well I think) they must have had to do it with the other ones as well or the album would have sounded strange. Think Phillip said later that Steve regreted doing it and should have just left it as it was


... Which was Joe Strummer's approach for Hell's Ditch, and I'd have to say it worked better.

Re: Decline of Shane's singing voice on the albums

Post by cagliostro Wed Oct 06, 2010 7:25 pm

In the "Haunted" duet with Sinead O'Connor he sounds particularly Muppety. I definitely prefer Cait's version, but I think it also counts against it as it sounds like Sinead and Dr. Teeth, or maybe Grover, or a strange blend of the two. But I still prefer his voice to the majority of singers out there without a little soul in their voices.

Re: Decline of Shane's singing voice on the albums

Post by mh2004 Wed Oct 06, 2010 7:13 pm

I think on the Lancaster County Prison album Shane sounds great, also on the song Plaistow Patricia and on I put a spell... so the more later recordings...
I think he sounds great on these, not good, but great and pure.
On the bootleg Gin lane, beer street his voice is also very rough and sounds like sigarettes and alcohol!

Re: Decline of Shane's singing voice on the albums

Post by dsweeney Wed Oct 06, 2010 2:42 pm

Actually, if you ask me, I think Shane's singing voice started to decline around the time of " Rum,...", if only slightly. On " Red roses .." he sounds like a bright and cocky young man, belting out the tunes at the top his voice. His diction is perfect. By " Grace..." he is still totally committed to the cause but his voice is defnitely on the wain. P&L, he doesn't even want to be there and barely blurts it out most of the time. By " Hells ditch " the voice is shot to bits but at least he sounds more into the songs I think, more at home with the material. " The snake " is a huge return to form, sounding a lot more like his old self. Unfortunately " Crock..." was a step backwards and he sounds exhuasted and not that interested.
Certainly his new teeth would help. I thought of writing a song called " The ballad of Sean MacGoohan" about a singer who carries his new false teeth around with him in a bag and pops them in on request of a recital.

Post by Doktor Avalanche Tue Nov 27, 2007 2:10 am

Low D wrote: explained as much by his continued loss of teeth as by anything else. my son was in a bit of a "shane" stage, missing some front teeth, some baby teeth, some adult teeth, and he had a hard time enunciating.


Teef are overradded.

Post by pogues24 Mon Nov 26, 2007 6:05 pm

Fr. McGreer wrote:
pogues24 wrote:
Simon Maguire wrote:I actually thought his voice sounded better on The Snake, whiched was released three years after Hell's Ditch.



True, however, you can tell the cracks were already starting to appear on Peace and Love. This may be due to the fact that Steve Lillywhite mixed Shane's vocals way down, but compared to the first three albums, you can tell Shane is in a more rejuvenated state. He seems more focused and his writing is more prolific.

Iain


Yeah, your bang on. Why are the vocals (not just Shane's) on P&L so low in the mix? You can hardly hear Terry on Gartloney Rats. Cotton Fields is my favourite but the damn mix ruins the vocals.


Couldn't agree with you more. If it wasn't for the lyric sheet inside the Peace and Love sleeve, I wouldn't have been able to understand any of Terry's lyrics, and Gartloney Rats is one of my favorite Pogues songs.

Iain

Post by Low D Mon Nov 26, 2007 4:20 am

RICHB wrote: Didnt Lillywhite do it to hide the poor quality of shanes voice and obviously (well I think) they must have had to do it with the other ones as well or the album would have sounded strange. Think Phillip said later that Steve regreted doing it and should have just left it as it was


i think this is in carol clarke's book, and i think it was Lillywhite what said he regretted the decision, and in retrospect it would have been better to just let shane's vocals stand as they were. i think hell's ditch is a brilliant record, miles ahead of p&l in terms of sound & arrangements (too busy on p&l). and i think shane sounds just fine.

more recently, his voice is different, but i think explained as much by his continued loss of teeth as by anything else. my son was in a bit of a "shane" stage, missing some front teeth, some baby teeth, some adult teeth, and he had a hard time enunciating.

Post by Fr. McGreer Sun Nov 25, 2007 11:31 pm

Thanks Richb, sounds logical.

Post by RICHB Sun Nov 25, 2007 1:29 pm

Fr. McGreer wrote:
pogues24 wrote:
Simon Maguire wrote:I actually thought his voice sounded better on The Snake, whiched was released three years after Hell's Ditch.



True, however, you can tell the cracks were already starting to appear on Peace and Love. This may be due to the fact that Steve Lillywhite mixed Shane's vocals way down, but compared to the first three albums, you can tell Shane is in a more rejuvenated state. He seems more focused and his writing is more prolific.

Iain


Yeah, your bang on. Why are the vocals (not just Shane's) on P&L so low in the mix? You can hardly hear Terry on Gartloney Rats. Cotton Fields is my favourite but the damn mix ruins the vocals.


Think this has been mentioned before. Didnt Lillywhite do it to hide the poor quality of shanes voice and obviously (well I think) they must have had to do it with the other ones as well or the album would have sounded strange. Think Phillip said later that Steve regreted doing it and should have just left it as it was

Post by Fr. McGreer Sat Nov 24, 2007 2:49 pm

pogues24 wrote:
Simon Maguire wrote:I actually thought his voice sounded better on The Snake, whiched was released three years after Hell's Ditch.



True, however, you can tell the cracks were already starting to appear on Peace and Love. This may be due to the fact that Steve Lillywhite mixed Shane's vocals way down, but compared to the first three albums, you can tell Shane is in a more rejuvenated state. He seems more focused and his writing is more prolific.

Iain


Yeah, your bang on. Why are the vocals (not just Shane's) on P&L so low in the mix? You can hardly hear Terry on Gartloney Rats. Cotton Fields is my favourite but the damn mix ruins the vocals.

Post by pogues24 Sat Nov 24, 2007 2:06 pm

Simon Maguire wrote:I actually thought his voice sounded better on The Snake, whiched was released three years after Hell's Ditch.



True, however, you can tell the cracks were already starting to appear on Peace and Love. This may be due to the fact that Steve Lillywhite mixed Shane's vocals way down, but compared to the first three albums, you can tell Shane is in a more rejuvenated state. He seems more focused and his writing is more prolific.

Iain

Post by Simon Maguire Sat Nov 24, 2007 11:23 am

I actually thought his voice sounded better on The Snake, which was released three years after Hell's Ditch.

Post by Scott Sat Nov 24, 2007 2:26 am

Interesting subject... much as I lov Mr. Mac, His voice seems to get progressivily worse with each release. Crock of gold he sounds bad at times, the songs he did with Lancaster County Prison he Sounds Terrible, That song tomorrow belongs to be was pretty bad as well... though those aren't official releases, he just doesn't sound like he cares that much about what he's singing on those tracks. (they do have a certain charm) but to a non Shane fan, I doubt those songs would help convert anyone.


scott

Post by Guest Fri Nov 23, 2007 6:44 pm

so can anyone confirm whether or not its being re-released? I for one would buy many a copy!

Post by Eric V Mon Nov 19, 2007 11:39 am

mats wrote:
philipchevron wrote:Shane never took miming very seriously.


I´ve seen that on some Top of the Pop performance of Fairytale. I think he was chewing gum while "singing"


The miming in the Fiesta video was classic as well. Though one can hardly notice, given the grand arm gestures.

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