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Old 08-15-2013, 11:58 AM   #461
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I love Pink Rabbits as a lyric and piano piece, but I think Matt struggles a bit with whatever register it is he is singing in. This is especially apparent in live versions.
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Old 08-15-2013, 12:09 PM   #462
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His voice is fine in the studio version. Still my favourite song from the record, the ending is out of this world.
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Old 08-15-2013, 12:35 PM   #463
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His voice is fine in the studio version. Still my favourite song from the record, the ending is out of this world.
Sounds like I just need to keep listening...

Sometimes, the last song I "get" becomes the next To Here Know When.
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Old 08-15-2013, 03:04 PM   #464
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I thought (and still somewhat do, although I'm coming around) it was pretty lackluster and entirely too long/repetitive on the album. Whereas a live version where Matt doesn't sound like he's singing in the right key at all is far more appealing to me.
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Old 08-15-2013, 04:23 PM   #465
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Originally Posted by djerdap View Post
His voice is fine in the studio version.
I agree. Definitely one of my favs. I liked it a lot when they played it here, but agree with iYup that his voice has sounded a bit off on versions of it I've seen on Youtube. Maybe he sounded like that here, but I was too happy to notice. Maybe not. I don't know.
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Old 08-15-2013, 08:35 PM   #466
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Well, he is an awful singer
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Old 08-15-2013, 10:56 PM   #467
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The biggest problem he has is that, as with most people with lower registers, he doesn't project well. Which means he spends much of his live performances trying to amp up the volume on his voice, which both lessens the texture of his baritone and wears his voice out so that his voice is mostly gone by two-thirds of the way through the concert. There are almost no good live versions of Mr. November vocally because his voice is usually shot by the time they play it in a typical set.

Watching the Graceless they played on Kimmel the other night is a particularly good example. Compare that to, say, the Graceless they did on the Barclays bootleg. He's just straining so much more on the latter because he's been fighting it for 16 or 17 songs at that point.

The funny thing is that both approaches, the tough but haunted baritone of the records and the exhausted, shattered baritone live both make sense with the songs. They're slightly different angles, but they're clearly the same narrator.
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Old 08-15-2013, 11:32 PM   #468
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The biggest problem he has is that, as with most people with lower registers, he doesn't project well. Which means he spends much of his live performances trying to amp up the volume on his voice, which both lessens the texture of his baritone and wears his voice out so that his voice is mostly gone by two-thirds of the way through the concert. There are almost no good live versions of Mr. November vocally because his voice is usually shot by the time they play it in a typical set.

Watching the Graceless they played on Kimmel the other night is a particularly good example. Compare that to, say, the Graceless they did on the Barclays bootleg. He's just straining so much more on the latter because he's been fighting it for 16 or 17 songs at that point.

The funny thing is that both approaches, the tough but haunted baritone of the records and the exhausted, shattered baritone live both make sense with the songs. They're slightly different angles, but they're clearly the same narrator.
:likebutton:

A couple songs about halfway through the bootleg I thought the vocals were intentional, until it got to somewhere about graceless. It does work, and I enjoy a song like pink rabbits more when it has a worn-out ragged vocal, the album just kind of sounds bored to me. But it's not so great that it's because he's beaten up his voice by that point in a set list.
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Old 08-15-2013, 11:46 PM   #469
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The intensity of the screaming can't be healthy for his voice either.
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Old 08-16-2013, 10:53 AM   #470
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Old 08-16-2013, 02:32 PM   #471
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They make it seem so effortless...
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Old 08-16-2013, 09:36 PM   #472
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Originally Posted by PhilsFan View Post
The biggest problem he has is that, as with most people with lower registers, he doesn't project well. Which means he spends much of his live performances trying to amp up the volume on his voice, which both lessens the texture of his baritone and wears his voice out so that his voice is mostly gone by two-thirds of the way through the concert. There are almost no good live versions of Mr. November vocally because his voice is usually shot by the time they play it in a typical set.

Watching the Graceless they played on Kimmel the other night is a particularly good example. Compare that to, say, the Graceless they did on the Barclays bootleg. He's just straining so much more on the latter because he's been fighting it for 16 or 17 songs at that point.

The funny thing is that both approaches, the tough but haunted baritone of the records and the exhausted, shattered baritone live both make sense with the songs. They're slightly different angles, but they're clearly the same narrator.
I raised something along these lines a while back, based on my limited observations, and everyone said they noticed nothing of the sort, I was completely wrong, etc etc.
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Old 08-17-2013, 03:24 AM   #473
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I raised something along these lines a while back, based on my limited observations, and everyone said they noticed nothing of the sort, I was completely wrong, etc etc.
Right now it seems The National has done everyting right. They've made 4 fantastic albums in a row and have had just enough commercial success to sustain a career - without sacrificing their souls to become radio darlings (if that is possible with them).

They know their audience - and they seem to know how far they can stretch and still be true to who they are. If I were in a band - I would want to be exactly where they are - perfectly balancing their artistic integrity with semi-popular success. That being said - I hope they go away for awhile and "dream it all up again" for the next record.
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Old 08-17-2013, 03:52 AM   #474
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Oh I've no quibble with their integrity, I was only referring to the thing about Matt's vocals not really projecting in the live setting (which as noted by others isn't some awful failing of his, it's just the way it rolls).

I'm not sure that they will be around for that many more years though. The odd interviews leave the impression that it might be one more record and bye-bye, just based on how they're feeling themselves.
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Old 08-17-2013, 04:03 AM   #475
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I'm not sure that they will be around for that many more years though. The odd interviews leave the impression that it might be one more record and bye-bye, just based on how they're feeling themselves.
I would rather they quit at their peak than have a decade long decline. They've cemented their legacy.
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Old 08-17-2013, 04:44 AM   #476
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For sure.
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Old 08-17-2013, 07:50 PM   #477
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Someone pass along the Barclays bootleg to me so I can see for myself this ragged vocal of his
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Old 08-17-2013, 08:30 PM   #478
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Can't figure out how to do so from my phone.
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Old 08-17-2013, 09:33 PM   #479
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I raised something along these lines a while back, based on my limited observations, and everyone said they noticed nothing of the sort, I was completely wrong, etc etc.
You said something about how Matt "wasn't there" live. My post, while nothing the vocal differences, quite clearly says that both his live voice and studio voice are quite effective at getting the songs across.
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Old 08-18-2013, 03:13 AM   #480
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I raised something along these lines a while back, based on my limited observations, and everyone said they noticed nothing of the sort, I was completely wrong, etc etc.
Eh? Read it again dude. I've acknowledged he has weaker vocal performances and that he has his ups and downs. Nobody told you "you were completely wrong".
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