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Post by cassie on Sept 5, 2014 8:49:06 GMT -5
What was the best version of the sing-along? Please bring over the YT and make your comments. Thanks.
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Post by red panda on Sept 5, 2014 11:01:45 GMT -5
Thanks cassie, another great thread. The call and response mode is just fascinating to me, I've been trying to read up on it. Apparently, from what I can tell, Adam is doing a responsorial or leader/chorus style. Or in Cuba known as pregon.Found this entry, which defines the impact of various countries on the different regions of Africa, interesting reading. (scroll down to Music by regions). I was sort of concentrating on Africa as the country of origin, but hadn't expanded my mind to all the ways call and response is used in Christianity and Judiasm, and instrumental music, and by market vendors and in work songs all over the world actually. Even China.
All this to say that I am once again amazed at the underpinning of knowledge that Adam has to draw on. Is there anything that this boy can't do, and slay? His versatility is utterly mind boggling to me.
I don't like to compare and contrast singers, but this boy is not a one trick pony. Throw anything (it seems to me) at him, and he can do it, or learn it and conquer it. That, imo, is a rare trait in vocalists.
Or even having the balls (nuts  ) to attempt it. Like when Brian asked him if he wanted to do Love Kills. In my mind, his answer, "Fuck yeah!" was immediate. I don't think he had to pause and consider, "Hmmmm, can I do this, is it in my range, can I fully convey the emotional meaning?" How wonderful to have a skill so inherent and trained and so wide-ranging that you can feel that way. He has said that there are areas he doesn't feel confident in. Singing cannot be one of them. Lovely because to my mind his confidence supported by fact, and yet completely without arrogance. Gosh I love this boy.
And cassie, if you think it is appropriate to this thread, would love to hear a little from you about this genre.
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Post by cassie on Sept 5, 2014 12:18:07 GMT -5
I"m not a music historian. I don't know anything about the genre of call and response, but you are right, it appears in many cultures and rituals.
Now, my professional musician/performer sister actually had a class that discussed call and response and how it worked. After we saw the Chicago show, she was explaining that to be effective, it needs to be two or four beats, Longer than that, and the audience loses their way. It also must stay strictly within the beat or the audience will falter.
After she explained that to me, I have listened to the rest of the tour and paid attention to what Adam does, what works, what doesn't work. I am not saying I think he took a music theory class on call and response. But, he has said he is a hands-on learner, and you can see him get better and better throughout the tour.
Here are common examples of what he sings:
ALL YOUR LOVE TO NIGHT
one two three four
GIMME GIMME GIMME GIMMIE GIMMIE YOUR LOVE
one two three four
ALL YOUR LOVE YEAH YEAH
one two one two
Check it out and count with the video.
You will notice that Adam quickly establishes the beat by pounding on the railing. Then, Roger joins in with a basic click to keep the time going. Then, Adam sings on the ONE TWO and the audience responds on the THREE FOUR. Or, Adam sings the ONE TWO THREE FOUR and the audience responds ONE TWO THREE FOUR
Around 4:00 Adam sings an extended phrase "gimme that, gimme that......all your love tonight" for sixteen beats. When the audience responds they just pick up the last four beats: ALL YOUR LOVE TONIGHT.
There is also the time honored tradition of challenging one group to compete with the other, be it one side of the arena vs. the other, the front vs. the back, the gals vs. the guys, or Australia vs. Korea.
So, call and response, tho' it seems totally spontaneous, follows certain well established rules or traditions or perhaps structures hard-wired into the brain.
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Post by happycat14 on Sept 5, 2014 12:32:02 GMT -5
I like the Dallas one when the band joins in for the first time, the crowd sustains the singing, it gets funky and ends with Adam saying "cool!" like a dork. youtu.be/gz8ClcgK4Ho |
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Post by red panda on Sept 5, 2014 12:54:36 GMT -5
I love this part. I love to think that there is a very primal cause and effect in our response to all music.
Short story (I'll try my best to keep it short).
In Berkeley in the 60's (I think I may have referenced this before) the "people" took over a UC piece of land that was a parking lot off Telegraph. This street ends at the UC campus. We got kicked off after a National Guard intervention.
We started another people's park on a lot a few blocks away. The first night we had a bonfire and basic instruments, mostly drum type. We danced and sang and honestly, for a while I was living what it really felt like for our ancestors, who had so few distractions, who found warmth and solace and community in music and fire. My response just felt so intrinsic, so innate. Like from my lizard brain. Maybe some mind altering substances were involved. But I remember it as one of the most powerful moments of my life.
So what you said really resonated with me, cassie, though I'm expanding it beyond the call and response.
(disclaimer, not addressing any other issue, like property rights, just needed to use the event to set the stage.)
Also, thanks cassie, for that input on call and response.
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nikki
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Posts: 747
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Post by nikki on Sept 7, 2014 0:50:56 GMT -5
The call and response was my favourite part of the whole show.
It felt both intimate and universal to me. Intimate in the sense that it was a one-on-one direct interaction with Adam where the relationship he had established with the audience shone through very clearly. And universal, of course because of the power of thousands of people singing together, the electricity, the energy flow.
When it works well (as it did for my Sydney #1 concert, it is unforgettable).
I think the Montreal call and response was one of the loveliest. The crowd was responsive from the start, Adam could feel it straight away and signalled the band to give him a faster beat to match the audience potential. He was so loose and the joy on his face unmistakable. He obviously could tell that the crowd was in tune with him because he changed the rhythm and degree of difficulty back and forward. It also became quite funky and his dancing was very natural, and sexy at the end, his way I think of saying that the crowd was also turning him on with its responsiveness. Brian starts shredding the guitar at the end, an extra fine touch to the whole performance.
His witty comment, "Gimme that French/Canadian love" was hilarious (I love the audience laughter picked up in the video) and spontaneous. I simply looooooove spontaneous Adam in any form.
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Post by toramenor on Sept 7, 2014 3:41:21 GMT -5
Atlantic City--This one's pretty great too - Adam is very pleased with the audience and at the end sings "These guys know how to sing along, etc." www.youtube.com/watch?v=Xo0Q8FG4sboUncasville, Mohegan Sun--This one was on Brian's birthday, when at the end Brian and Adam did their own little call-and-response, with Brian's guitar providing the call and Adam doing the response. Adam managed to sneak in lines such as: "We're just making up some shit" and "It's Brian's birthday, birthday for Brian May". www.youtube.com/watch?v=HmoubCU84vQ |
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