Post by Perplexed on Sept 13, 2003 12:35:56 GMT
I listened closly to Uberkinder's site comparison of Yesterday, 1965 and 1983.
IN 1965, it seems that he sings,
"SOW-dn-lee, Aem not (h)off the mahn Ae yoost to bee.
Theh's uh shah-DOOH(swallowed) hang-in' o-vah mee...
Yes-tuh-day khcame SOW-dn-lee.
Very liverpool...........
In 1983, it seems like I hear:
"SUDD-en-lee, I'm not haph the mann Ie yewst (very North American "y", and a scoop in front) to bee.......
There's a sha-dow(very open) hanging over me.....
Yes-ter-day came (soft 'c') sudd-en-ly.
Both versions are terrific, really, but vowels have changed a bit.
Also, there is more scooping, in a typical pop way, in the latter version. A lot of American pop singers like Karen Carpenter (God rest her soul, I adored her) scooped frequently and to good effect. It is a bit sugary for some tastes.The tendency seems to approach the long last note of a phrase by a whole step slide. Early Paul solo recordings seem to hit the note dead on, and stay there in an open vowel without sliding about and almost no vibrato. I think of the Animals and House of the Rising Sun. Attack high notes dead on, and hang on straight! Then you have Moody Blues....Nights in White Satin...lots of "apportamento", or sliding between pitches. Not a critique-----classical singers employ it too sometimes, though not as frequently. They mainly slide down to pitches from above when "apportamento" is called for.
Now, about vowels...........
Was Paul trying to outgrow his NW England regional vowel phonemes? Did he want a more generic English dialect?
IN 1965, it seems that he sings,
"SOW-dn-lee, Aem not (h)off the mahn Ae yoost to bee.
Theh's uh shah-DOOH(swallowed) hang-in' o-vah mee...
Yes-tuh-day khcame SOW-dn-lee.
Very liverpool...........
In 1983, it seems like I hear:
"SUDD-en-lee, I'm not haph the mann Ie yewst (very North American "y", and a scoop in front) to bee.......
There's a sha-dow(very open) hanging over me.....
Yes-ter-day came (soft 'c') sudd-en-ly.
Both versions are terrific, really, but vowels have changed a bit.
Also, there is more scooping, in a typical pop way, in the latter version. A lot of American pop singers like Karen Carpenter (God rest her soul, I adored her) scooped frequently and to good effect. It is a bit sugary for some tastes.The tendency seems to approach the long last note of a phrase by a whole step slide. Early Paul solo recordings seem to hit the note dead on, and stay there in an open vowel without sliding about and almost no vibrato. I think of the Animals and House of the Rising Sun. Attack high notes dead on, and hang on straight! Then you have Moody Blues....Nights in White Satin...lots of "apportamento", or sliding between pitches. Not a critique-----classical singers employ it too sometimes, though not as frequently. They mainly slide down to pitches from above when "apportamento" is called for.
Now, about vowels...........
Was Paul trying to outgrow his NW England regional vowel phonemes? Did he want a more generic English dialect?