non-verbal vocal utterances

[ps11932]

The recent discussion of misunderstood lyrics made me think of two Carpenters songs which include expressions that carry great impact, even though in both cases, as far as I know, the communication doesn't actually involve a word.

The first is "Ticket To Ride", from the C.D. by the same name (another version also in "Singles"), and it comes toward the end, after the last repeat of "I think I'm gonna be sad, I think it's today, the boy who's driving me mad is going away"; what follows is kind of a heartfelt sigh that is something like "HAUWWW". It seems to signify a concise but all-telling reflection of the emotion of a broken relationship that wasn't to be- yet the pain of the loss is rending and real. (I think this is a much more fitting rendition of the song than The Beatles version,which is pretty upbeat.)

Second, I'm thinking of the seldom-discussed but great song "Love Is Surrender", which is on "Close To You" and also on another collection called "20th Century Masters- Millennium Collection." In the second round of lyrics there is the line "But you can't cover up the past, just pretending will never last; without love you are nothing at all, nothing at all"- followed by an enthusiastic "HUUUAH" sound by Richard. It doesn't sound military but seems to give a vote of hearty approval- of the importance of the lyrics that have just been sounded and/or are about to come. Kind of a message reinforcement.

In neither case am I successful in even spelling the "word." I have also tried to imitate the sounds, and I can't! A further tribute, I guess, to the vocal talents of the group. Are there other examples that you are aware of in their music?

[wisejester7]

Good topic!

I think the 'ahs' and 'oo' s and 'ohs' are just as telling as the words in many cases. They carry emotion and deepen the meaning and message of the song. Boat To Sail with its 'ahs' is another example of conveyed emotion. I'm sure there are many, many more examples that exist and hold meaning to others.

;-)wisejester7

[Rick Henry]

"Boat To Sail" was the first song which came to my mind. I love the "ah's" in this song. It adds a feeling of a cool breeze blowing to the song.

[GoodOldDreams]

One thing that come to mind is "WAAHHH-AH-AH-AH-AHHH... close to you..." The harmonies are soft as a baby's hair and gentle as a baby's breath, enveloped in the warm embrace of a loved one.

I remember a music reviewer likening it to Sinatra's scat-singing "SHOO-BE-DOO-B-DOO" at the end of "Strangers in the Night."

[makapipi]

Near the end of "Slow Dance" there is "someone like youuuuu...ouaaaa then right after this
is "errrrhh" , maybe a vocal "brake" then the background vocal is heard.
It is very sutle.

[GoodOldDreams]

... How about some of the songs on the "Then" side of the "Now and Then" album, where the non-verbal vocal utterances evoke the sounds of rock oldies and the exuberance of teen love:

"Every SHA-LA-LA-LA
Every WO-WO-WO
Still shines
Every SHING-A-LING-A-LING
That they’re starting to sing's
So fine..."
— Yesterday Once More

"DA DOO RON RON DA DOO RON RON..."
— Da Doo Ron Ron (When He Walked Me Home)

"SHOO BE DOO BE DOO BAHT BAHT SHOO BE DOO BE DOO BAHT BAHT..."
— One Fine Day

[Rick Henry]

Some of Karen's best non-verbal vocal sounds are on her solo album.

I especially like the humming opening on the Russell Javors penned song "All Because Of You". In this part Karen's voice is part of the instruments. Javors said originally that line which Karen hums was a bass line which he played in his original recording.

Then on "Still In Love With You" (another Russell Javors written song) Karen makes all sort of interesting vocal sounds. Somewhere around 23 seconds she does a "ah-ha-ah" she almost sounds like one of the bass instruments. She does it again around 47 seconds. She makes this sound ever so smoothly and is very subtle. She also does a few "Woah-oh-oh's". There's several vocal sound effects in this song. Karen added much to this it to bring forth a different and new sound - which was quite effective. The vocal arrangements on her solo album all the way across were outstanding.

[GoodOldDreams]

admin said:

Some of Karen's best non-verbal vocal sounds are on her solo album...

How true! I just love the liberal sprinkling of "AH-YOO-AH" at the end of "If I Had You". It may be nonsensical, but the syllables sound great with the bouncing echo effects.

[makapipi]

I have to listen to that song again "Still in Love with You", i think i missed those subtle parts.

[smoothie2]

;)Very interestin ps11932!
I happened to think of on "When He Smiles"...even though the
sound doesn't come from R. or K., but from I think Danny Woodhams,...during one of singing of the chorus, it goes
"When he smiles, he makes the sun shine, he wouldn't think to make it rain, happiness runs in the family, he's a good old boy from the good earth, and the high treed forest, and he's just about the happiest boy that i ever knew"....then Richard starts on
the electric keyboard, and then I think Danny adds
"special effects" making the sound of one of those birds you
always hear in the jungle movies..."ooh ooh ah ee.."
or i think it may be a monkey...
Anyway, that adds a little spark of humor...the boy is from the "high treed forest"...

;D ;D ;D I really do know about those other non-verbal sounds
you folks have mentioned. I really don't care for Richard's
added effect as you mention on the Love is surrender. Not sure why.
::)On "Breaking Up s hard to do" at the last...all the cheering, clapping, perhaps a word actually said...as the song fades out.

[GoodOldDreams]

smoothie2 said:

...

::)On "Breaking Up s hard to do" at the last...all the cheering, clapping, perhaps a word actually said...as the song fades out.

Hi Smoothie,

Your mentioning of "Breaking Up is Hard to Do" reminds me of "Jambalaya" with the exhilarating exclamation of "HEEEEE-HAW", whooping, clucking and stylized guffaws like "WHOO-HA-HA-HA-HA" in the song, probably by one of the backup musicians.

[smoothie2]

goodolddreams said:

smoothie2 said:

...

::)On "Breaking Up s hard to do" at the last...all the cheering, clapping, perhaps a word actually said...as the song fades out.

Hi Smoothie,

Your mentioning of "Breaking Up is Hard to Do" reminds me of "Jambalaya" with the exhilarating exclamation of "HEEEEE-HAW", whooping, clucking and stylized guffaws like "WHOO-HA-HA-HA-HA" in the song, probably by one of the backup musicians.

hey hadn't thought about that one....yes, it's a fun song...and it surely would not be the same without those added sounds!

[YesterdayOnceMore]

Hey guys, some great banter and excellent thoughts going on in this thread. O.E., it's a great thought I'd never have been able to articulate.

It seems to me part of the "charm" if you will, of Carpenters, is this non-word singing - or utterances. I remember hearing, on Love is Surrender, the part where it says "without love you are nothing at all, nothing at all -WWWALLLL. It's just a continuation of the word all, but they did this quite often. On the Bachrach medley from Carpenters tan album, Karen sings San Jose -yay! Many times I remember hearing you-woo. And, there's "Don't tell me what it's all abow-wout, in I'll Never Fall In Love Again. So many of these.

And yes, Rick - you're absolutely right - Karen does many little subtle utterances in her solo CD. I love that when it happens.

There's another thing that someone commented to me about once when I sang that way - and as I have listened to Leo, HE, too, does this when singing......it's quite difficult to actually put into words - to describe....but it's a sort of gravel-sounding break in the voice, typically used as a lead in to a pharase. Leo, you ought to know exactly what I'm talking about here....it's a guttural sound, but it doesn't sound harsh - just adds, I think, to the overall sound of the song. Karen often uses this technique. I don't really know any other way to explain it. Let me know if you understand what I'm talking about here, and if someone can really explain it better - go for it. Perhaps the word "rhaspy" voiced would work as a description - but it doesn't last long - perhaps not even a quarter of a beat - it's just a lead-in sort of articulation.

Anyway - this is one of the things I have loved about Carpenters and their music for the entire time I've been listening to them. Some GREAT stuff here. Thanks for bring this to our attention, O.E.
Tim

[wisejester7]

I think of Karen's raspyness as a kind of gravelly-growl. It's sexy.

[wisejester7]

Sorry, didn't mean to hit enter.

As for the 'charm' factor, I think you are spot on, Tim. All of the vocals (not just the 'words') are what makes the Carps music what it is. Their utterances combined with the words adds multitudes of layers beyond the over dubbing. More for us to savor and appreciate!

;-)wisejester7

[GoodOldDreams]

yesterdayoncemore said:

Hey guys, some great banter and excellent thoughts going on in this thread. O.E., it's a great thought I'd never have been able to articulate.

It seems to me part of the "charm" if you will, of Carpenters, is this non-word singing - or utterances. I remember hearing, on Love is Surrender, the part where it says "without love you are nothing at all, nothing at all -WWWALLLL. It's just a continuation of the word all, but they did this quite often. On the Bachrach medley from Carpenters tan album, Karen sings San Jose -yay! Many times I remember hearing you-woo. And, there's "Don't tell me what it's all abow-wout, in I'll Never Fall In Love Again. So many of these.

And yes, Rick - you're absolutely right - Karen does many little subtle utterances in her solo CD. I love that when it happens.

There's another thing that someone commented to me about once when I sang that way - and as I have listened to Leo, HE, too, does this when singing......it's quite difficult to actually put into words - to describe....but it's a sort of gravel-sounding break in the voice, typically used as a lead in to a pharase. Leo, you ought to know exactly what I'm talking about here....it's a guttural sound, but it doesn't sound harsh - just adds, I think, to the overall sound of the song. Karen often uses this technique. I don't really know any other way to explain it. Let me know if you understand what I'm talking about here, and if someone can really explain it better - go for it. Perhaps the word "rhaspy" voiced would work as a description - but it doesn't last long - perhaps not even a quarter of a beat - it's just a lead-in sort of articulation.

Anyway - this is one of the things I have loved about Carpenters and their music for the entire time I've been listening to them. Some GREAT stuff here. Thanks for bring this to our attention, O.E.
Tim

Hi Tim,

I once read a music critic who used the phrase "vocal fry" for what you describe as "a sort of gravel-sounding break in the voice" or "raspy". I think all these metaphors are fairly apt and understandable, but they do have very different connotations. I like "vocal fry" for its generally positive association with "sizzling hot"!

The "vocal fry" can be can be used very effectively to convey a sense of longing and wistfulness, as in the way how Karen sings the words "and" and "I" in the first verse of "Superstar": ... AAAND oh so far away IIII fell in love with you..." The best example is in the refrain the first time around "... I love you IIII really do..."

[Prisoner_Walking]

goodolddreams said:

yesterdayoncemore said:

Hey guys, some great banter and excellent thoughts going on in this thread. O.E., it's a great thought I'd never have been able to articulate.

It seems to me part of the "charm" if you will, of Carpenters, is this non-word singing - or utterances. I remember hearing, on Love is Surrender, the part where it says "without love you are nothing at all, nothing at all -WWWALLLL. It's just a continuation of the word all, but they did this quite often. On the Bachrach medley from Carpenters tan album, Karen sings San Jose -yay! Many times I remember hearing you-woo. And, there's "Don't tell me what it's all abow-wout, in I'll Never Fall In Love Again. So many of these.

And yes, Rick - you're absolutely right - Karen does many little subtle utterances in her solo CD. I love that when it happens.

There's another thing that someone commented to me about once when I sang that way - and as I have listened to Leo, HE, too, does this when singing......it's quite difficult to actually put into words - to describe....but it's a sort of gravel-sounding break in the voice, typically used as a lead in to a pharase. Leo, you ought to know exactly what I'm talking about here....it's a guttural sound, but it doesn't sound harsh - just adds, I think, to the overall sound of the song. Karen often uses this technique. I don't really know any other way to explain it. Let me know if you understand what I'm talking about here, and if someone can really explain it better - go for it. Perhaps the word "rhaspy" voiced would work as a description - but it doesn't last long - perhaps not even a quarter of a beat - it's just a lead-in sort of articulation.

Anyway - this is one of the things I have loved about Carpenters and their music for the entire time I've been listening to them. Some GREAT stuff here. Thanks for bring this to our attention, O.E.
Tim

Hi Tim,

I once read a music critic who used the phrase "vocal fry" for what you describe as "a sort of gravel-sounding break in the voice" or "raspy". I think all these metaphors are fairly apt and understandable, but they do have very different connotations. I like "vocal fry" for its generally positive association with "sizzling hot"!

The "vocal fry" can be can be used very effectively to convey a sense of longing and wistfulness, as in the way how Karen sings the words "and" and "I" in the first verse of "Superstar": ... AAAND oh so far away IIII fell in love with you..." The best example is in the refrain the first time around "... I love you IIII really do..."

This is an interesting discussion guys. I too love the way Karen's voice is colored with these husky 'catches' or breaks. Sometimes it's just the occasional break, yet other times i.e. at the end of the first chorus of 'Tryin' To Get The Feeling' the whole note resonates with this same effect.
From my perspective, sometimes my 'vocal fry's' are deliberate & as a result of habit (and I honestly think that many more singers than we realise are influenced by Karen on this....I mean who made this sort of sound before her??? It's something we hear a lot of in modern pop music), but more often than not it is something which is built into the voice itself and is therefore involuntary. And if you listen to Karen speak, she also had this feature when she talked, so I believe with her it was just something that happened without too much thought.
And I find that this 'gravel' tends to happen more when singing or talking very quietly, and we all know that Karen sang quietly and close to the microphone so a) there was more chance of it happening and b) there was more chance of it being recorded clearly! Does that make any sense? HAHA!

[GoodOldDreams]

leo said:

goodolddreams said:

Hi Tim,

I once read a music critic who used the phrase "vocal fry" for what you describe as "a sort of gravel-sounding break in the voice" or "raspy". I think all these metaphors are fairly apt and understandable, but they do have very different connotations. I like "vocal fry" for its generally positive association with "sizzling hot"!

The "vocal fry" can be can be used very effectively to convey a sense of longing and wistfulness, as in the way how Karen sings the words "and" and "I" in the first verse of "Superstar": ... AAAND oh so far away IIII fell in love with you..." The best example is in the refrain the first time around "... I love you IIII really do..."

This is an interesting discussion guys. I too love the way Karen's voice is colored with these husky 'catches' or breaks. Sometimes it's just the occasional break, yet other times i.e. at the end of the first chorus of 'Tryin' To Get The Feeling' the whole note resonates with this same effect.
From my perspective, sometimes my 'vocal fry's' are deliberate & as a result of habit (and I honestly think that many more singers than we realise are influenced by Karen on this....I mean who made this sort of sound before her??? It's something we hear a lot of in modern pop music), but more often than not it is something which is built into the voice itself and is therefore involuntary. And if you listen to Karen speak, she also had this feature when she talked, so I believe with her it was just something that happened without too much thought.
And I find that this 'gravel' tends to happen more when singing or talking very quietly, and we all know that Karen sang quietly and close to the microphone so a) there was more chance of it happening and b) there was more chance of it being recorded clearly! Does that make any sense? HAHA!

Hi Leo,

I think your use of vocal fry on "Hijacked" helps to create an attitude that is appropriate to the lyrics, simultaneously "cool", provocative and tantalizing in an understated way!