Голоса Битлов

Тьфу, черт! У меня что-то с мозгами. Я хотел сказать: "у Ринго со слухом слабовато, но голос приятный."

Laewsky
До меня не сразу дошло :))
Как это, у Ринго слух лучше чем у Пола?

Мне близка позиция Пескаря. Более того, на номерных дисках не было бы такого вокала, если бы не Мартин. Просто сравните концертные выступления и студийные. Это, ессно, касается, периода Битлз, а никак не сольных времен. Там особо.
Хм!))) В конце 80-х у меня был период всплеска интереса к Битлам. Я везде таскался с переносным кассетником и пугал народ на улицах и в транспорте. А летом поехал в дом отдыха с мафоном и кучей кассет. Познакомился с двумя певцами из филармонии. Один из них, после очередной рюмки, вслушиваясь в очередную песню, печально сказал: у нас любая хористка лучше споет, однако ее никто не знает и не узнает, а эти... И грустно выпил очередную.

СизиF
Ну сравнил:-)))

Любая хористка возможно правильнее споет (с т.з. филармониста!), но лучше - большой вопрос!

Mr.Moonlight, ну не надо так серьезно!:-)

Мунлайт и bk!!!:))) Вы упустили ключевую фразу в рассказе Сизифа, позволю себе ее процитировать "после очередной рюмки..." :)))

Dimon
:-))))

Джон классно рок-н-роллы пел - Slow Down, Dizzy Miss LizzY, Bad boy! По-моему, оригинальнее и заводнее, чем это получалось у Пола.

Warm Gun***
Что может быть заводнее,чем Long Tall Sally или I'm Down :-)

о, согласна с папаном :-))) Полли, мне каэтца, заводнее поёт %)))

papan
"Что может быть заводнее,чем Long Tall Sally?"

Short Fat Fannie!
Жаль, не в битловском исполнении:-)

Э нет, Леннон более заводной, "bad Boy" просто супер !
А чего стоит "Hey Buldog" ! По своим воспоминаниям о первом впечатлении о прослушаных дисков, Джон рулит !
О! Я придумал. У Макартни самый забойный голос, а у Леннона самый заводной ! Вот. :)

Макка всю жизнь пел рок-н-роллы играя и лицедействуя, а Леннон - отдавался им с полной искренностью (см. и сл. альбом Rock-n-Roll в сравнении с Снова в СССР). Отдавался так же, как Пол - своим нежнейшим балладам.

Вот, как я вижу.
Джордж - амаретто, Пол - мармелад в сахарной пудре (местами, мое мнение готово измениться), Ричард - кофе капучино, Джон - зефир в шоколаде на синем бархате.
Вот некоторые цитаты из многим ненавистного Голдмана (простите, но превести это сложно):

"Mother" - The piano utters but one chord at a time, allowing the notes to decay and fade with the melancholy resonance of an empty room. The voice is just as bleak and dreary, like a prisoner in a dungeon or a lunatic in an attic. Though the voice cries in protest, there is no passion in its note. It sounds more like a man repeating an ideefixe or reciting a verse from a psychotic nursery rhyme.

"Money" - He presents himself in song exactly as he did in life: as a hard case with a demand on his lips and a threat in his throat that make it perfectly clear that when he says "money, " he means exactly what he says - and will do whatever it takes to get that little girl out there on the hook where she can cop the cash he craves. There's no sexual heat in this guy and no congregational fervor around him. He's a mack man, lean and mean, with a voice like a knife made of cold-rolled steel.

"Any Time at All" - Triggered by a pistol-like drum shot, the record fires Lennon's voice at the listener like a bullet. Every repetition of this bopping figure crepitates with the same excitement, which makes John Lennon sound like an ecstatic dancing about in the flames, like Little Richard or James Brown. Lennon's fires are cold flames because he stems from a cooler culture, but the self-intoxicated thrust of his voice bums with the real gospel frenzy… No sooner does John get to the bridge, however, than he suddenly abandons his macho image and jumps back into his good-guy disguise, assuring the girl …His solemn tone, better suited to a school anthem than a love song, is just a "line" because Lennon often employs this rhetoric when he is being terribly sincere with a girl (as in his first attempt to write a sentimental ballad, "If I Fell," with its portentous block-like tones so full of the earnestness of insincerity). But once John gets past the bridge of "Any Time at All," he snaps back into focus with a voice that cracks like a rawhide whip and whizzes like a lariat. Once again he is experiencing the ecstasy of dancing in the flames.

"A Day In The Life" - Then, out of nowhere, comes sailing in, like a ghost ship with an ice-encrusted bowsprit, the bleak, despairing, yet resigned voice of John Lennon, sounding the eternal note of sadness and offering a view of ordinary life, culled from that day's Mornirlg Mail… The song's bridge, a fragment fished out of-Paul's song bag, offers a hectic glimpse of another ordinary citizen of Pepperland rushing to catch the morning bus to work. This breathless bit of footage, resembling a TV commercial, crosses John's tragic strain with as little logic as the succession of items on the newspaper page… [The next time Lennon's sweeping theme returns, it leads on to the insinuating phrase about turning on, which then whirls away like a wheel spinning off its axle. Transformed into the ominous sound of a dynamo being brought up to speed, the infernal machine reaches through its vertiginous rotation a terrifying climax when, finally, it explodes. The last chord, struck by many hands on a piano, is allowed to resound, decay, and float away, like a puff of smoke. It resolves into an E major chord employed traditionally in Western music to symbolize heaven.]

"I Am The Walrus" - sound - harshly distorted by the lousy movie theater sound system. Then the Lennon voice strikes in with hammer like force, that cold, flinty, quarry man's voice that was John's most compelling vocal tone, chanting rather than singing because he didn't give a damn about the tune when he had words that were this strong.
Lennon's delivery is imbued with his master passion, rage, which he inflects across the entire infrared range from mocking and cursing to jeering and sneering. In no other recording does he strike such a perfect balance between language as speech and language as action.

"Imagine" - suffers from a piano accompaniment as monotonous as a student in a practice room and a vocal delivery with a hook-shoulder turn as feeble as a hymn sung in a Quaker parlor…. Sustained by this steady, measured tramping out of the gripes of wrath, John Lennon comes on in his most laid-back, drink-in-hand, back-against-the-bar, size-'em-up and put-'em-down tone of voice. Sad to say, after this tremendous buildup, the sensational climax of the composition was aborted.

"Serve Yerself" - …Suddenly he began trailing the strings with a fast, hard, "urgent beat, the same beat he had spent his youth churning out as the rhythm guitar of the Beatles. Lifting up his long, lean face, flushed with fresh color, he opened his mouth, and out flew the voice of a gruff, tough Liverpool sailor. Biting off each word and spitting it out, Lennon improvised a wicked parody of Bob Dylan's bom-again tract "You Gotta Serve Somebody."

2Mr.Kite. Ну, Пол тоже всё-таки иногда искренне пел, Long Tall Sally мне очень нравиться!:))))
2alley cat. Насчёт Джорджа и Ринго готов согласиться, а вот Пол не такой уж сладкий, может он и мармеладный, но внутри мармелада - орех.Ну а Джон - и зефир в шоколаде?!!! Если и сравнивать с чем-то сладким, то только с мороженым в вискаре!! и ещё пива туда :)))
2 Аll Как насчёт голоса Пола на концерте? ИМХО класс! Я даже не ожидал, что он так споёт Helter Skelter, I've Gotta Feeling!!