Critic of Music

Range: A2 - C#5 - F5
Vocal Type: Light-Lyric Baritone (2 octaves, 4 notes and a semitone)
Vocal Rating: C
Recommended Listenings: As Long As You Love Me, Love Yourself

Positives: A light, smoky and warm tone throughout each register.
Agile voice, capable of melismas and seamless transitions from chest voice to falsetto. A confident vocalist.

Bieber tends to use his lower register sparingly, choosing to opt for softer passages as opposed to ones that require more projection. However, he has shown the capacity to project down to B2.

As he ascends, his voice gains a much lighter and warmer texture, while still maintaining the same smoky texture seen in the lower register. Significant ease in the tenor tessitura, showing almost no effort on notes up to F4. A light head voice mix brings his chest voice up to B4 in Love Yourself.

A light, and sweet falsetto, that has been gaining endurance over time. The head voice is light with a slight feminine edge.

Negatives: Overall the voice lacks power and resonance, becoming nasally and whiny above E4. The lower register is breathy, and upper belts are also forced in some instances as well. His melismas and runs lack musicality, often breaking from what is reasonable for the music. Inconsistent intonation in live settings. Finally, his current use of (smoke) based drugs is causing his voice to lose colors and thin out.

Okay, so if you haven't figured it out by now, I love this woman to death. The vocals, the goofball personality, the vocals. She is kind of perfect. And her performance of her sure fire hit "People Like Us" was just one example of her outrageous perfection. People Like Us isn't my favorite Kelly track, to be honest, I found it quite generic. Until this performance.
She did something she's never done before, she dressed up in glowing neon. Eyeliner, dress, earrings, every part of her was glowing, along with her band, even the audience and judges got glowsticks. All of that, combined with a dance floor smasher just merged to create a euphoric, fantastic performance. Her vocals were on point as always, though that note after the bridge did not sound healthy. A blemish compared to the rest of the glory.

After it was all over, Ryan gave Kelly the chance to meet her idol, Mariah Carey. The two had a funny conversation, as is any conversation with Miss Clarkson. "I'm so glad you're not mean," laughed a bubbly Kelly.

America, this is your queen. Embrace her.

Paramore makes their long-awaited comeback to the Alt-Rock world, after a 4 year album hiatus following their No.2 album Brand New Eyes. It's their first album since two founding members left the group to leave room for a trio. The set is poised for a No.1 debut on Billboard, with 110,000 copies.

Fast In My Car: After epic album openers "Careful" and "For a Pessimest, I'm Pretty Optimistic," this song had some high expectations to fulfill. And sadly, it just went under the bar for album opener status. It didn't have the epic chorus of guitars like "Pessimest," or "Careful's" swagger. It's understood why it was chosen for the opener however, lyrically it discusses the Farro brothers leaving the band. "Been through the ringer a couple times / I came out callous and cruel." Ouch. Lyrically, its right there for album opener, but the instrumentation still feels slightly lackluster. A-

Now: Something about "Now" just feels empty. It doesn't really go anywhere, the only unexpected thing about it is the hollow chorus. Probably the albums worst, which is still pretty good. And Hayley, were you showing off some whistles in the bridge? B-

Grow Up: Funky, engaging and instant sing along. The chorus is pretty simple, but so catchy, and so good. Choice lyrics? "Some of us have to grow up some times / And if I have too, I'm gonna leave you behind." A

Daydreaming: This should have been the album opener. The instrumentation and the lyrics just scream for the position. It's a roller coaster, starting off fast, slowing in the verses, before erupting in the chorus. The drum crescendo is just an added bonus. A-

Interlude: Moving On: Don't expect much from the interludes. This one, just like the rest, relies purely on a ukelele and Hayley's vocals. Its relaxing, but uninteresting. B-

Ain't It Fun: A lost track from the second half of Brand New Eyes, Ain't It Fun musters what Paramore does best: Euphoria. This super catchy jam describes a rookie in the "real world," "Ain't it Fun? / Living in the real world?" Well if this song is what the real world is all about, it sure seems damn fun. A+

Part II: The true album stand out right here folks (also another candidate for album opener). The sequel to Paramore's first true rock song, Let The Flames Begin, Part II hits the highest mark on every aspect. The chorus is a blast of energy, with the same energy its predecessor produces. Hayley slays the vocals on here as well, even with that god awful key its in. The lyrics are eerily similar to Flames, which is why it has become a fan staple. "What a shame, what a shame we all remain such fragile broken things / A beauty has betrayed / Butterflies with punctured wings." Hayley, why are you still broken? A++

Last Hope: Ah the first ballad arrives. Its more of a slow jam, but hey, same concept. The lyrics here are some of the best, and most iconic they've ever produced.

So I previously reviewed the studio version of Demi's latest single, and I liked a lot. Its been very successful, and is shaping up to be her next Top 10 hit. But this performance of the song on Jimmy Kimmel was not what the song needed.
While it was far from an abysmal performance, it definitely wasn't one of Demetria's best. She struggled with the pitch, falling flat on the last big note and starting off shouty; but it still had its good moments, for example she nailed the very big note after the bridge. Her vibrato also sounds much more prominent, its becoming a plus for her (though some may say its way too wide, I still like it). Overall, I'd give the performance a very mixed review.

Am I crazy? The like to dislike ratio sure does, so watch, comment and tell me what you think!

Chances are, you have heard of the legendary vocal trinity, comprised of Mariah Carey, Celine Dion and Whitney Houston. But this ladies have seen their reigns fall significantly since the 90's, so who should take their places to form this generations vocal trinity? The nominees are:

Beyoncé
Beyoncé has been a game changer in the music biz since the original trinity was wrapping up. Beyoncé is consistently noted as one of this generations best, and has proven herself time and time again to deserve that kind of recognition. The coloratura melismas, the breath control, the vibrato, it just seems like she's got it all. However, does Beyoncé have enough strength to take on the trinity?

Christina Aguilera
Christina is also an iconic vocalist who has been a vocal powerhouse since Genie in A Bottle. Rolling Stone even gave her a spot on the 100 Greatest Vocalists of All Time list. She has a sprawling range, lengthy melismas and that little thing called soul. But Christina's technique is under constant ridicule, can X-Tina face off with the technical queens like Mariah?

Jennifer Hudson
J. Hud may not have won American Idol, but don't let that fool you. Its not every day you see someone belt a Soprano C with her kind of consistency. Even though our gospel queen has the chest voice of a goddess, that towering high larynx of hers might hold her back.

Jessie J
Jessie rivals Beyonce and Mariah with her incredibly fluid runs and unique vibrato. She has the powerhouse belts and unforced low notes. Her voice has earned her a position on The Voice UK. But Jessie does have a tendency to become shrill, will that be what does her in?

Kelly Clarkson
The original American Idol has already proven herself to be a true Texas sized vocalist by beating thousands of others in one of the first singing contests. She won over america by taking on the queens of soul, Aretha, Etta and even Madonna. Esquire gave her the nifty title of "the best voice in the history of pop music." Industry mogul Simon Cowell already said that he sees her in the league of the trinity, but do you think so?

Leona Lewis
Another singing show champ, Leona has often been placed with the vocal trinity since her debut. The unreal control of her vibrato is now a trademark, her lengthy belts and stunning head voice all make her a true heavy weight. But like our girl Christina, Leona is noted for not having the healthiest technique, is Leona truely a Trinity level vocalist?

(Personally, my Trinity consists of Kelly, Beyonce, and maybe Jessie J or J. Hud.) Any other Tributes you wish to nominate? Who's in your Vocal Trinity? Comment away!