Billy Corgan

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Billy Corgan

Post  Starman on Wed Jul 30, 2014 9:48 am



Voice type: Shitty Nasal Tenor
Vocal range: E2-C♯6

Significant High Notes:

  • C♯6 (''Heavy Metal Machine'' (live at Budokan))
  • C6 (''Godzilla'' (live 1993))
  • B5 (''Zero'' (live at Glastonbury 1997))
  • B♭5 (''Geek U.S.A.'' (live), ''X.Y.U'')
  • A5 (''Glass' Theme'' (live))
  • G♯5 (''Fuck You (An Ode To No One)'' (live))
  • G5 (''Sookie Sookie'' (live 1990), ''The Beautiful People'' (live with Marilyn Manson 1997))
  • F♯5 (''Pissant'')
  • F5 (''Zero'' (live At Glastonbury 1997), ''Fuck You (An Ode To No One)'' (live), ''Bullet With Butterfly Wings'' (live))
  • E♭5 (''Siamese Dream'' (Broadway Rehearsals Demo), ''Zero'' (live))
  • D5 (''Silverfuck'' (live))
  • C♯5 (''Siamese Dream'' (Broadway Rehearsals Demo))
  • C5 (''By Starlight'', ''Honeyspider'', ''Silverfuck'' (live), ''Fuck You (An Ode To No One)'' (live), ''X.Y.U'')
  • B4 (''Beautiful'', ''Siamese Dream'' (Broadway Rehearsals Demo))
  • B♭4 (''Bullet With Butterfly Wings'', ''Stumbleine'', ''Tales Of A Scorched Earth'', ''Today'', ''X.Y.U'')
  • A4 (''Beautiful'', ''Bullet With Butterfly Wings'', ''By Starlight'', ''Pulseczar'', ''Silverfuck''(live), ''Snail'', ''Soma'', ''Speed'')
  • G♯4 (''Bodies'', ''Bullet With Butterfly Wings'', ''Fuck You (An Ode To No One)'', ''Geek U.S.A'', ''In The Arms Of Sleep'', ''Jellybelly'', ''Jupiter's Lament'' (Barbershop version), ''Knuckles'' (outtake), ''Porcelina Of The Vast Oceans'', ''Quiet'', ''Rocket'', ''Siamese Dream'' (Broadway Rehearsals Demo), ''Tristessa'')
  • G4 (''Ache'' (demo), ''Autumn Nocturne'', "Daphne Descends", ''Disarm'', ''Drown'', ''Geek U.S.A'', ''Girl Named Sandoz'' (Peel Session), ''Here Is No Why'', ''Hummer'', ''I'm Going Crazy'', ''Love'', ''Mayonaise'', ''Pissant'', ''Rocket'', ''Siva'', ''Soma'', ''Spaceboy'', ''Starla'', ''Stumbleine'', ''Sweet Sweet'', ''Tales Of A Scorched Earth'', ''Today'', ''Where The Boys Fear To Tread'', ''We Only Come Out At Night'', ''Window Paine'', ''X.Y.U'', ''Zero'')
  • F♯4 (''Ache'' (demo), ''Beautiful'', ''Black Oblivion'', ''Bury Me'', ''Cherub Rock'', ''Disarm'', ''Drown'', "For Martha", ''Galapogos'', ''Geek U.S.A'', ''Godzilla'' (live 1993), ''Hello Kitty Kat'' (demo), ''Hummer'', ''Quiet'', ''I Am One'', ''Jupiter's Lament'' (Barbershop version), ''Lily (My One And Only)'', ''Luna'', ''Methusela'' (demo), ''Pissant'', ''Siamese Dream'' (Broadway Rehearsals Demo), ''Silverfuck'', ''Siva'', ''Snail'', ''Sookie Sookie'' (live 1990), ''Speed'', "Tear", ''Thirty-Three'', ''To Forgive'')

Significant Low Notes:

  • B2 ("Annie-Dog", "Behold! The Night Mare", ''Bodies'', ''By Starlight'', ''Cherub Rock'', ''Farewell And Goodnight'', ''Hummer'', ''Jesus Loves His Babies'', "Once Upon a Time", ''Pulseczar'', ''Siamese Dream'' (Broadway Rehearsals Demo), ''Smiley'' (Peel Session), ''Soma'', ''Sookie Sookie'' (live 1990), ''Sweet Sweet'', ''Tristessa'', ''Where The Boys Fear To Tread'', ''Window Paine'')
  • B♭2 (''1979'', "Appels + Oranjes", ''Bullet With Buttterfly Wings'', ''Cupid De Locke'', "Daphne Descends", ''Girl Named Sandoz'' (Peel Session), ''In The Arms Of Sleep'', ''La Dolly Vita'', ''Obscured'', ''Rotten Apples'', "Tear", ''Thru The Eyes Of Ruby'', ''To Forgive'', "To Sheila", ''Tonight Tonight'')
  • A2 (''Ache'' (demo), ''Beautiful'', ''By Starlight'', "Crestfallen", "For Martha", ''Girl Named Sandoz'' (Peel Session), ''Pennies'', "Perfect", ''Rhinoceros'', ''Silverfuck'', ''Soma'')
  • G♯2 (''Farewell And Goodnight'', ''Pennies'', "Shame", ''To Forgive'', "To Sheila")
  • G2 (''Autumn Nocturne'')
  • F♯2 (''Beautiful'', ''Jupiter's Lament'' (Barbershop version))
  • E2 (''Pulseczar'')

.......................................................
*Purple marks notes found in backing harmony or general backing vocal or obscured in the mix.
*Italics mark non-sung notes.


Vocal Description:
Lead Singer of The Smashing Pumpkins. A fine vocalist who in most live performances seems to shine a lot more than in the studio. Has a nice breathy/airy and nasally tone which many are put off by. Personally I think it suits his softer singing quite well. It's just too bad he didn't invest more time and money into vocal lesson and more practice because he had great potential to be regarded as a ''Great vocalist'', instead I think he's regarded as a pretty inconsistent singer who strains a lot.

I'm starting this from scratch because a lot of these pitches are incorrect. Adding an F♯4 section also seems to make sense.

Original Threads by hummerhummer and Timi. Research by hummerhummer


Last edited by Starman on Sun Sep 28, 2014 10:14 am; edited 8 times in total
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Re: Billy Corgan

Post  Pepe Forever on Fri Aug 01, 2014 5:42 pm

Damn, there's very few notes from Mellon Collie and the Infinite Sadness.
Here's what I found with a superficial (not in detail and with close attention) notewatching:

-Quiet C3s and falsetto G♯4s in "Jellybelly"
-Some really good G4s in the choruses of "Here is to Why"
-Pretty strong B♭2s in "Bullet With Butterfly Wings". Amazing how it got unnoticed being such a popular song from them.
-Background B♭2s and G♯2s in the choruses of "To Forgive", and F♯4s in the bridge
-F4s in the choruses "Fuck You (An Ode to No One)"
-Backing G4s in the choruses of "Love". Dunno if that's him or D'Arcy
-Spoken passage going down to at least B♭2 at the end of "Cupid de Locke". You guys decide if you wanna count that.
-F♯4s near the end of "Galapagos"
-F4s all over "Muzzle". He sounds really good here.
-F4s in the choruses of "Porcelina of the Vast Oceans", plus some really rough and pushed G♯4s on the last one.

-Some G♯4s and B2s in "Where Boys Fear to Tread"
-Lots of F4s and gritty and rough G♯4s in "Bodies". Also kinda chanted background B2s midway through the song.
-F♯4s in "Thirty-Three".
-Many B♭2s in "In the Arms of Sleep". Also F4s in the bridge.
-Can we make some good notes out of "Tales of A Scorched Earth" or we just consider it a bunch of aimless false-chordy screaming?
-B♭2s in "Thru the Eyes of Ruby" and sustained F4s (yeah, I know, there's too many of those) in the ending of it. ("the night has come to hold us young")
-Light falsetto F4s in "Stumbleine"
-What I said for "Tales of A Scorched Earth" applies for "X.Y.U." as well. There's a lot of high pitched "Ratata kaboom" sung-ish unsupported shouting here but I don't know if it's worth it. I'll get to pitch it properly later.
-C3s and falsetto G4s in "We Only Come Out at Night"
-C3s, B2s and weak A2s in "By Starlight". Also falsetto A4s with a C5
-B2s and weak G♯2s in "Farewell and Goodnight"

Not from Mellon Collie, but: C3s in the choruses of "The Everlasting Gaze"

Feel free to ask me for links/timestamps of any of these notes.

Also, small question. The thing I suck the most at when speaking English is probably prepositions. When I'm listing notes like this, do I say "this note ON, IN or AT (insert song name)"? It's been so long I don't contribute to threads I kinda forgot what I used to say so far Razz
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Re: Billy Corgan

Post  Starman on Fri Aug 01, 2014 10:26 pm

Thanks, I'm just on the Melon Collie and Infinite sadness album, i'm taking an album a day and putting the research up at the end. lol today is day 3 xD
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Re: Billy Corgan

Post  wabba_treads on Sat Aug 02, 2014 1:15 am



Cool performance here! LOL @ 7:19. I think Billy Corgan has a G5 @ 7:27! Probably the coolest note from that part of his range I've heard lately.

Marilyn actually nails his parts too here!
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Re: Billy Corgan

Post  Stoner on Sun Sep 28, 2014 10:29 am

that voice type Laughing
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Re: Billy Corgan

Post  Starman on Sun Sep 28, 2014 10:42 am

Stoner wrote:that voice type Laughing

haha, I prefer these ''make up your own prefix'' type ones to the other ones Very Happy They describe the voice better too! Very Happy
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Re: Billy Corgan

Post  Stoner on Sun Sep 28, 2014 11:44 pm

if i can add anything, i see a lot of high notes, a short-thought conclusion would be that Corgan is a great singer, but anything above G♯ sounds like strained shouting Very Happy
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Re: Billy Corgan

Post  Starman on Sun Sep 28, 2014 11:52 pm

Stoner wrote:if i can add anything, i see a lot of high notes, a short-thought conclusion would be that Corgan is a great singer, but anything above G♯ sounds like strained shouting Very Happy

Considering the volume of his work, the F♯4/G4 sections will be massive by the time the thread is eventually finished.
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Re: Billy Corgan

Post  INFINITE POTATO on Mon Sep 29, 2014 12:29 am

Starman wrote:
Voice type: Shitty Nasal Tenor

Because it is *does horrible James Hetfield impression* SAD BUT TRUE!!
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Re: Billy Corgan

Post  Stoner on Sun Oct 26, 2014 2:27 am

    






more drama plz
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Re: Billy Corgan

Post  Pepe Forever on Tue Sep 01, 2015 12:53 pm

Kinda overkill to add since it's basically the original played one semitone lower live, but



1:45 pretty strong (for him) G♯2
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Re: Billy Corgan

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