So, can I take some of the drums and beats and stuff from CGH, and move it over to WTTS, pretty, pretty please....lol?
I love the more grovely vocals, kind of like in After Hours, love Adam's lower register and have always wanted to hear more of it, and now he is giving us that. I love it. But the rhythmic/electronic section is overwhelming for me. Meanwhile on WTTS, I am waiting for some great remixes, which I am sure are on the way. Isn't that weird?
Adam gives us some of his lower and some of his upper register, without packing it all into one song. I think that's great. He also targets completely different markets, in many ways, with the two songs.
To me, range was always only one of the many things that made me listen up, there was so much more. Just talking vocals here, and leaving all other topics aside, for me, Adam's interpretive skills, his ability to impress mood on every note, by picking the style in which he sings that note, has always caught my attention way more, than just range. But I know for others, range is the mark of greatness. Never was for me.
But two other thing were always a key element of Adam's vocals, and that is the long, interpretive lines he creates and the clarity and purity with which he sings. His usual clear and sharp pronunciation has been dropped before, to sound a bit more contemporary pop, just like he does here in CGH, but in WTTS the clarity and purity was back, and so I thought it to be a great gift. I see, that for CGH, he is back to slurring his enunciation again, but now he also blends the vocals. Lands somewhere between two low notes, and clearly does so for interpretative reasons. It's not like Adam has trouble finding a note, lol. He does it to express that -no home - feeling. If the voice is not at home, resting on a specific note, then the voice feels like it is wandering or torn between places. So, I totally understand that it is a stylistic element here, to sing between keys...but every time I listen, I have this knee-jerk reaction and want to yell, watch your pitch, and then I have to stop myself, because of course I know he is doing it to create that element of unease. Well, he succeeds.
In many ways, I feel like a visitor to a gallery, about 150 years ago, and seeing the first impressionist pictures, and saying, but you don't paint what we see. No Monet does not paint what he or we see, even though he could. But Monet paints what we feel.
And Adam does the same with his vocals. He does not sing the note that is written or intended, he sings the feeling of not being able to go home. It is impressive what he does (pun fully intended), the question is, when the world will begin to understand all this about Adam.
I get the sense, that people at large are beginning to turn around when it comes to him. He is starting to get more respect, and whether that is just because he is not going away in this business, where others are disappearing, but rather seems stronger than ever, 7 years on; or whether it is the fact that money talks, and 10 million earned garners a certain respect, whether you understand it or not, or whether it is just that the press is done yapping about the gay, gay...and with that bit of peace, the actual career can come more into the foreground again, and people go
Queen
Own album and tour
Acting
Media presence
Charitable work
Huge talent
Solid fanbase...
...all adds up to respect. I don't know, how it happens, but it clearly does happen. Adam is winning by being himself.
But the second part, to people really understanding what he is doing, when he sings, this whole interpretive talent that he is laying out for us, I think that people just don't seem to see that yet.
I don't know, where it will come from, but I know that Adam is hard at work, developing these unique, interpretive skills within himself.