QAL I Was Born To Love You Analysis

I can't explain it and I don't even have the right word for it but this song gives me "feels".
I can't wait to read the impressions from our vocal experts.  (Where are you?  I need you!)
There is something kind of magical happening here.

As I said in the concert thread...It was a...nice version...a bit too nice. I think the band's being unsure on it was evident...especially with Adam. He seemed a bit uncomfortable. Being a real professional he soldiered on and still delivered a great vocal...but I think a few more run throughs and it will be better. It should be a bit more cocky and assured...a real anthem...and while of course they could choose a different delivery - I feel that this one was less choice and more about a slight lack of confidence.

I am totally unfamiliar with this song, so I had no expectations of how it was SUPPOSED to sound. I found it to be absolutely joyous and sparkling. Part of this is the key: G major is a very "happy" sounding key. There is no angst or darkness in the chords or the harmonies. No introspection. Just a celebratory romp. The time signature is a jaunty, upbeat 4/4.

Adam also sings it with a joyous tone. He starts with a delicious, rich, milk chocolate low register all the way down to a D3, which is toward the bottom of his performance range. He really expands his chest to get the full resonance of those lower harmonic frequencies. Then he quickly pops up to his mid range, singing with a bright, light, clear pop-y tone without any grit or rasp and without adding much of a metallic twang. This is probably what I love and what the more heavy rock aficionados dislike about Adam's version. Too much pop and not enough oomph. Freddie's version has a lot more grit and roughness to his tone, particularly at the top.


With the tone Adam employs here the song could easily drift from pop into musical theater. However, he keeps Freddie's phrasing, singing short, almost staccato phrases rather than the longer lyrical lines he is known for. But, being Adam, he cannot resist just a touch of his signature sustained notes: the first B4 on "every single DAAAAAAAAAAAAAAY" and then later on when he embellishes the melody by soaring up to a D5 that was not in the original score on "DAAAAAYYY OF MY LIFE" at the end of the bridge. At the end, he stretches out the final downward run of "DAAAAAAAAY of my life", adding a ritardando (gradual slowing if a musical phrase or rhythm), and then a complete stop. He does love to add those dramatic pauses, doesn't he?

The range on the first night was from D3 to B4, not even really stretching Adam's range in the slightest. Osaka he added that fifth octave D5 one time, but the rest stayed within the third and fourth octave, and that, coupled with the short phrases that allow for plenty of intakes of breath, make this one of the simpler songs to sing. It still has more interesting melody lines than most of today's pop tunes. The melody moves quickly from note to note and up and down the scale, so the singer needs to be precise and accurate with the notes. The tendency would be to slur some of the movements or to sing them unevenly depending on the singer's natural breaks in their voice.  But Adam ain't got no breaks, right? 

I will be interested to see how this song develops if they continue to play it in the set.