Red Mosquito

Very good song, Infallible.
It's not meant to be TC part 2.
It's entirely different and it's very, very good.

fishbob wrote:Verse is Em, D, C Bm
Prechorus is C, Am
Chorus is G, F, Em, D
Bridge is Em, Bm, Em, Bm, Em, Bm, D, Am then C, D

That's just from the top of my head so could be slightly wrong in places

Thats already awesome man! Thanks a lot!

Lounge Lizard wrote:Very good song, Infallible.
It's not meant to be TC part 2.
It's entirely different and it's very, very good.

Agreed.

fishbob wrote:Also they put it down 1/2 a step live, that was another part of the discussion

Are you sure they downtuned this one? I don't think so, it was MFS they downtuned.

They didn't.

fishbob wrote:The point was that he put it on a pedestal, sure me singing this is very rough but as I said I had no trouble attempting to sing it. There are loads of Cornell songs where I've thought it was obtainable but
Generally there aren't that many PJ songs that are completely unobtainable vocally, I'd say Dissident would be one of the harder tracks

Nice attempt. You sang it loud but not as high. Ed reaches B4 in the highest parts of the live version which I note checked, while the remaining verse was between A4 and B4. Your attempt sounds to be in the G4/A4 area. Listen, even I can attempt something and upload a file. I put it on a pedestal because it is extremely hard to sing it as well as Ed does. Anyone can attempt it. It's the execution of it that matters. Yes, he gets paid for it because he's good at it. And you have your own day job.

He reached a clean B4 in chest voice in that chorus, maybe higher (I checked only the live version, not studio yet). You don't get points for attempting it otherwise I've sung LROM and Say Hello To Heaven just as good as the originals. Until my wife told me I sucked at singing and then I realised it only sounded good in my head. Dissident is easier for Ed to sing because grittiness comes naturally to him. Only that last clean note (D5) is difficult and that is sung in head voice so it's not really comparable to the B4 here which is sung in chest. They are different registers. For a low baritone like Ed, singing clean with chest in upper fourth octave for an entire verse/chorus is extremely impressive. You don't need to take my word for it, ask a professional vocalist.

Cornell songs mostly utilise head voice in the fifth octave which is something non-singers don't use at all so of course it will sound un-obtainable. It is a skill which has to be learnt. However, singing in upper fourth octave in chest as Ed does here is a different challenge and something equally difficult for baritones. It's easier if they scream or shout it like Ed does in many other PJ songs. This is a difficult style for him to pull off and he hasn't really done it much before. Cornell is a vastly superior technician than Ed but even he blew his voice with Audioslave trying to constantly belt upper fourth octave notes on their albums/tours. He didn't have such issues when he was wailing in the fifth octave in head voice with SG in the early years. Point being, it's a difficult vocal for anyone but especially for Ed who happens to be a low baritone with a voice that rests naturally lower than yours anyway.

mike mentioned the chorus having a "motown" feel to it, specifically the vocals. glad im not the only one who thought that lol

fishbob wrote:Verse is Em, D, C Bm
Prechorus is C, Am
Chorus is G, F, Em, D
Bridge is Em, Bm, Em, Bm, Em, Bm, D, Am then C, D

That's just from the top of my head so could be slightly wrong in places

you should find someone who can sing it. id suggest a black dude, they have the best voices

I got to hear this one on my morning commute. It has been the best part of my morning

warehouse wrote:mike mentioned the chorus having a "motown" feel to it, specifically the vocals. glad im not the only one who thought that lol

Where did he say this? I'd like to hear more comments from the band about this song, specifically why they chose to go *there* on the chorus. As it stands, it's an oddity in the catalogue that I'm learning to accept.

harmless wrote:

warehouse wrote:mike mentioned the chorus having a "motown" feel to it, specifically the vocals. glad im not the only one who thought that lol

Where did he say this? I'd like to hear more comments from the band about this song, specifically why they chose to go *there* on the chorus. As it stands, it's an oddity in the catalogue that I'm learning to accept.

there's a thread w/ the band talking about the album track by track. its here somewhere lol

really like the line "how's the view from the fence?"

I think I've just remembered a comparable jarring chorus in the catalogue. Or rather, I thought it was at the time: "Smile." The way it goes from that crunchy-Neil grunge-blues verse into (what was at the time) a schmaltzy declaration of love, "I miss you already!", felt really weird to me for a long time.

Oh my God.

Can Doug of Getaway fame do the mouth music to go underneath fishbob's vocal?

I'll be happy forever.

Just listened to that Pittsburgh performance of this - even though it was a really bad recording, I think I prefer it without the synthesizers.

I kind of prefer this song in my head to on record.

I get it caught in my head and think "Hey, that's Infallible, Let's give it another listen!" and when I do I get bored. I like the song, I just think it's too long, don't like the way Ed attempts to go up an octave towards the end and also find going back to the first verse really drawn out and pointless.

But I like the song. I think.

I think returning to the intro in the outro pretty much snatches this song from the jaws of defeat.

harmless wrote:I think returning to the intro in the outro pretty much snatches this song from the jaws of defeat.

Really? I think going back to the intro musically really helps it, just think Ed needs to keep quiet there.

Release_Me wrote:

fishbob wrote:The point was that he put it on a pedestal, sure me singing this is very rough but as I said I had no trouble attempting to sing it. There are loads of Cornell songs where I've thought it was obtainable but
Generally there aren't that many PJ songs that are completely unobtainable vocally, I'd say Dissident would be one of the harder tracks

Nice attempt. You sang it loud but not as high. Ed reaches B4 in the highest parts of the live version which I note checked, while the remaining verse was between A4 and B4. Your attempt sounds to be in the G4/A4 area. Listen, even I can attempt something and upload a file. I put it on a pedestal because it is extremely hard to sing it as well as Ed does. Anyone can attempt it. It's the execution of it that matters. Yes, he gets paid for it because he's good at it. And you have your own day job.

He reached a clean B4 in chest voice in that chorus, maybe higher (I checked only the live version, not studio yet). You don't get points for attempting it otherwise I've sung LROM and Say Hello To Heaven just as good as the originals. Until my wife told me I sucked at singing and then I realised it only sounded good in my head. Dissident is easier for Ed to sing because grittiness comes naturally to him. Only that last clean note (D5) is difficult and that is sung in head voice so it's not really comparable to the B4 here which is sung in chest. They are different registers. For a low baritone like Ed, singing clean with chest in upper fourth octave for an entire verse/chorus is extremely impressive. You don't need to take my word for it, ask a professional vocalist.

Cornell songs mostly utilise head voice in the fifth octave which is something non-singers don't use at all so of course it will sound un-obtainable. It is a skill which has to be learnt. However, singing in upper fourth octave in chest as Ed does here is a different challenge and something equally difficult for baritones. It's easier if they scream or shout it like Ed does in many other PJ songs. This is a difficult style for him to pull off and he hasn't really done it much before. Cornell is a vastly superior technician than Ed but even he blew his voice with Audioslave trying to constantly belt upper fourth octave notes on their albums/tours. He didn't have such issues when he was wailing in the fifth octave in head voice with SG in the early years. Point being, it's a difficult vocal for anyone but especially for Ed who happens to be a low baritone with a voice that rests naturally lower than yours anyway.

I like this post. It's interesting how misunderstood singing is in general. High notes get a lot of attention yet the lower are a much bigger challenge to master. I think that even with female singers a low note can be as or even more dramatic than a high one.
Your post about Ed's range made reminded me how little a vocal range often means on paper. If you go by youtube videos tracking vocal ranges of various singers you'd think every big name pop singer has a wider range than a big name opera singer because on paper they often do. Yet it's a completely different thing because those opera singers' skills and consistency in their 2-3 octave ranges far surpasses those with 4/5 ranges in pop. It may sound an irrelevant comparison but it isn't because the skills in question are the same. It's always about control/range/dynamics/smooth transitions between registers etc.