We set up our classroom to resemble the stage, using the draft layout we created the previous day. I then began warming up my voice independently using the same video I used on the 21st as it is not only effective but quick.
We then warmed up as a group - me, Crystal, Serena, Tamara and Elica - as the other guys were uninterested. Crystal started by playing the piano and then I led the exercises.
We began rehearsing "Golden Brown". Kian changed the backing vocal arrangement on the second verse as it was near identical to that which is on "Pride". He also asked that I harmonise the lead with him on the verses, so I will need to learn those lyrics.
I thought it would be more interesting if I harmonise a third below Kian on the first verse and then a third above on the second to add tension to the arrangement.
The arrangement for "Golden Brown" is as follows:
Intro
Verse
Chorus
Verse
Instrumental/Outro
After spending an hour on "Golden Brown" we moved on to the Silver Tongue Bandoliers' "Pride" which Crystal and Kian (as it is his band's song) have performed live at STB's debut music video launch.
Kian and Crystal led the song whilst me and Serena sang the backing vocals normally sang by the other band members. We sang through most of the song so that Stefan, Elica and Tamara could become more familiar with the song and the harmonies in particular. Kian then allocated harmonies to them and we ran through the song with everyone singing this time.
The arrangement for "Pride" is as follows:
Intro
Verse
Chorus
Verse
Chorus
Instrumental break with backing vocals/harmonies
Chorus
Kian, Crystal and Dylan had to leave and as Luke wasn't present we then had no instrumentalists. Regardless, we set group objectives and personal objectives to ensure we made the most of our time.
We showcased our solos and gave critique on each. In doing this, we also decided to change the set list; Tamara changed Jessie J's "I Miss Her" for Hayden Panettiere's "Consider Me" and I swapped Gabrielle's "Dreams" for Michelle Williams' "Fire" - which I performed at the Talent Show fundraiser.
Tamara gave an acapella performance of "Consider Me" which I preferred to her rendition of "I Miss Her" from a few weeks ago. The lower pitch and the softer tone that the song song requires for an effective delivery suits Tamara's voice much better. She also seemed much more comfortable singing it which will translate into a better performance on the night - an uncomfortable performer results in an uncomfortable audience.
We devised a draft lighting/projector plan which we can present in our meeting with MKCC (our venue) and ask if it is possible to bring our ideas to fruition with the facilities available and if not adapt our plans accordingly.
For example for mine and Tamara's duet "Say Something", Tamara suggested we have dim lighting whilst I suggested we be set apart on stage, looking out into the audience with two spotlights set on us. The two ideas could coincide as a spotlight could be very dim at the beginning of the song as Tamara plays the piano and then a spotlight illuminates me once I begin singing. As the climax builds so could the spotlights and we could possibly add some coloured lighting at this point - but not anything garish which would detract from the sentiement and sensitivity of the performance.
Friday 25 April 2014
Wednesday 23 April 2014
23 April, 2014: Staging Ideas
We briefly discussed how we intend to stage the event and made a draft layout using chairs and with the aid of tables to represent sofas.
It was suggested that we use stools as the higher seating position encourages much better posture for singing than slouching in a sofa would.
It was suggested that we use stools as the higher seating position encourages much better posture for singing than slouching in a sofa would.
Here is a picture of the draft layout we created:
Furthermore, we discussed arranging a meeting with staff at the venue approximately a week before the show date - as Serena informed us that the venue hire includes help from the staff there to set up - so that we can present in detail how we want the venue to be set up. This will eleviate much of the stress and time of setting up and give us more time to focus on soundchecking and rehearsing in the venue before showtime.
Monday 21 April 2014
21 April, 2014: First Rehearsal at My House
I arranged this session to be held at my house from 13:00 for 2-3 hours. Kian had stayed over the night before and brought over an electric guitar, as his small amplifier was already at my house. We decided we'd start by running through all the group songs we've covered already and work on improving and developing those performances.
By 13:30 only half of the group was present - myself, Kian, Crystal and Serena - , by which point I did a brief vocal warm-up and invited others to do the same. Stefan arrived at 13:37. I tried numerous times to get the rehearsal started and under way but by 13:47 we still had not started and as Elica was very close to arriving we waited for her. Elica arrived at 13:51 and we FINALLY started rehearsal with Bob Marley's "Time Will Tell".
The video focuses on lip trills which are my favourite way to begin any singing session. When sung in scales, the excercise gently warms up the voice from bottom to top, giving me compelete access to my vocal range and also reducing a lot of tension and the risk of strain.
Progress was slower than previous rehearsals but we ran "Time Will Tell" and "Can You Get to That" before taking a break not long after 15:00. We attempted to run "Golden Brown" whilst Kian was saying goodbye to Crystal - who had to leave after 3 - but it's more of a solo by Kian with backing vocals from all of us so we moved on to "Kiss From a Rose" using a karoake track. I missed my solo cue in the first verse as well as in the first chorus as we have not rehearsed the song in months. I will most definately be more proactive in listening to all of the group songs to make sure I know them "inside out" for when we congregate to rehearse.
Kian returned and we continued to use the karoake track so that we could focus on developing our vocals. We also changed the arrangement slightly assigning the last verse to Stefan as he expressed interest in singing it solo. Also on the first and last chorus we decided to split the main melody/lead vocal line between myself and Kian so that he leads the first half of those choruses and I the second.
The arrangement is now as follows:
Key
Solo: Serena
Solo: Me
Solo: Kian
Solo: Dylan
Solo: Tamara
Solo: Stefan
Ensemble
LYRICS
Verse 1
There used to be a graying tower alone on the sea.
You became the light on the dark side of me.
Love remained a drug that's the high and not the pill.
But did you know,
That when it snows,
My eyes become large and
The light that you shine can be seen.
Chorus
Baby,
I compare you to a kiss from a rose on the gray.
Ooh,
The more I get of you,
The stranger it feels, yeah.
And now that your rose is in bloom.
A light hits the gloom on the gray.
Verse 2
There is so much a man can tell you,
So much he can say.
You remain,
My power, my pleasure, my pain, baby
To me you're like a growing addiction that I can't deny.
Won't you tell me is that healthy, baby?
But did you know,
That when it snows,
My eyes become large and the light that you shine can be seen.
Chorus
Baby,
I compare you to a kiss from a rose on the gray.
Ooh, the more I get of you
The stranger it feels, yeah
Now that your rose is in bloom.
A light hits the gloom on the gray,
Bridge
I've been kissed by a rose on the gray,
I've been kissed by a rose
I've been kissed by a rose on the gray,
...And if I should fall along the way
I've been kissed by a rose
...been kissed by a rose on the gray.
Verse 3
There is so much a man can tell you,
So much he can say.
You remain
My power, my pleasure, my pain.
To me you're like a growing addiction that I can't deny, yeah
Won't you tell me is that healthy, baby.
But did you know,
That when it snows,
My eyes become large and the light that you shine can be seen.
Chorus
Baby,
I compare you to a kiss from a rose on the gray.
Ooh, the more I get of you
The stranger it feels, yeah
Now that your rose is in bloom,
A light hits the gloom on the gray.
Yes I compare you to a kiss from a rose on the gray
Ooh, the more I get of you
The stranger it feels, yeah
And now that your rose is in bloom
A light hits the gloom on the gray
By 13:30 only half of the group was present - myself, Kian, Crystal and Serena - , by which point I did a brief vocal warm-up and invited others to do the same. Stefan arrived at 13:37. I tried numerous times to get the rehearsal started and under way but by 13:47 we still had not started and as Elica was very close to arriving we waited for her. Elica arrived at 13:51 and we FINALLY started rehearsal with Bob Marley's "Time Will Tell".
Here is the video I used to warm up:
The video focuses on lip trills which are my favourite way to begin any singing session. When sung in scales, the excercise gently warms up the voice from bottom to top, giving me compelete access to my vocal range and also reducing a lot of tension and the risk of strain.
Progress was slower than previous rehearsals but we ran "Time Will Tell" and "Can You Get to That" before taking a break not long after 15:00. We attempted to run "Golden Brown" whilst Kian was saying goodbye to Crystal - who had to leave after 3 - but it's more of a solo by Kian with backing vocals from all of us so we moved on to "Kiss From a Rose" using a karoake track. I missed my solo cue in the first verse as well as in the first chorus as we have not rehearsed the song in months. I will most definately be more proactive in listening to all of the group songs to make sure I know them "inside out" for when we congregate to rehearse.
Here is the karoake track we used:
Kian returned and we continued to use the karoake track so that we could focus on developing our vocals. We also changed the arrangement slightly assigning the last verse to Stefan as he expressed interest in singing it solo. Also on the first and last chorus we decided to split the main melody/lead vocal line between myself and Kian so that he leads the first half of those choruses and I the second.
The arrangement is now as follows:
Key
Solo: Serena
Solo: Me
Solo: Kian
Solo: Dylan
Solo: Tamara
Solo: Stefan
Ensemble
LYRICS
Verse 1
There used to be a graying tower alone on the sea.
You became the light on the dark side of me.
Love remained a drug that's the high and not the pill.
But did you know,
That when it snows,
My eyes become large and
The light that you shine can be seen.
Chorus
Baby,
I compare you to a kiss from a rose on the gray.
Ooh,
The more I get of you,
The stranger it feels, yeah.
And now that your rose is in bloom.
A light hits the gloom on the gray.
Verse 2
There is so much a man can tell you,
So much he can say.
You remain,
My power, my pleasure, my pain, baby
To me you're like a growing addiction that I can't deny.
Won't you tell me is that healthy, baby?
But did you know,
That when it snows,
My eyes become large and the light that you shine can be seen.
Chorus
Baby,
I compare you to a kiss from a rose on the gray.
Ooh, the more I get of you
The stranger it feels, yeah
Now that your rose is in bloom.
A light hits the gloom on the gray,
Bridge
I've been kissed by a rose on the gray,
I've been kissed by a rose
I've been kissed by a rose on the gray,
...And if I should fall along the way
I've been kissed by a rose
...been kissed by a rose on the gray.
Verse 3
There is so much a man can tell you,
So much he can say.
You remain
My power, my pleasure, my pain.
To me you're like a growing addiction that I can't deny, yeah
Won't you tell me is that healthy, baby.
But did you know,
That when it snows,
My eyes become large and the light that you shine can be seen.
Chorus
Baby,
I compare you to a kiss from a rose on the gray.
Ooh, the more I get of you
The stranger it feels, yeah
Now that your rose is in bloom,
A light hits the gloom on the gray.
Yes I compare you to a kiss from a rose on the gray
Ooh, the more I get of you
The stranger it feels, yeah
And now that your rose is in bloom
A light hits the gloom on the gray
Video of rehearsal highlights:
Upon editing, uploading and reviewing the rehearsal footage it is evident that we need to start working on the performance aspects just as much as the musical and vocal arrangements. Maybe some artistic direction in the form of light choreography will add some much-needed visual appeal to our performances.
Thursday 10 April 2014
31 March, 2014: Worst Attendance Yet
This session I was feeling unwell and informed the others via the Facebook group message (which we use to communicate when we're not together) and text that I'd be late.
When I arrived, only Tamara and Elica were rehearsing and though Stefan was in the building he only came into rehearse once I got to the premises.
Regardless, I suggested we showcase our solo performances as we hadn't in a few weeks. Tamara started proceedings with a powerful cover of Cher's "You Haven't Seen the Last of Me" from the Burlesque soundtrack. It was evident that she has been rehearsing the song in her own time as she sounded the best that I've heard her - confident, emotive and sincere. She also performed the big ballad with the aid of hand gestures and facial expressions.
Elica then performed Leona Lewis' stunning arrangement of Snow Patrol's 2004 hit single "Run". She started well but became visibly more nervous as the song progressed. We gave feedback and I said that she should be fearless in rehearsal and not so self-conscious as our rehearsals are the perfect opportunity to go above and beyond - even if that results in mistakes being made - so that when it's showtime we are confident enough in our abilities to give our best performance possible.
As we were talking Elica suggested we rehearse at her house during the Easter holidays so we can see the equipment she has at her disposal and can contribute to the show. I think this would also be great for team morale and help us to bond further as a group.
Stefan then performed "Gotta Make It" by Trey Songz but stopped halfway through as he too was not in best health. Despite this it was obvious that he knows and loves the song, which came through in his performance.
In addition to solo performances, we discussed our next fundraiser (quiz night) as the most recent one (easter egg net sale) only made a measly £1.50 profit.
I then attempted to perform a solo which I had never performed for the group previously - Gabrielle's debut and signature hit, "Dreams" - but my voice was in poor shape and I was also unfamiliar with some of the lyrics. I will definately be working on this independently so that I am much better prepared to showcase it in future for the group. I also intend to have Kian accompany me on guitar but want to ensure that I am fully confident in my ability to perform it before requesting that he learnt it for me.
Following my dismal showing, Tamara returned to the floor to sing Jessie J's "I Miss Her". She connected to the emotional lyrical content and sang with passion whilst hitting many of the high notes recorded in the original song. However, it's a very challenging song to sing and she had some issues with the last chorus which she also expressed after her performance. Regardless, I think her two ballads will be really poignant moments in the show.
In closing, Stefan performed another Trey Songz song titled "Cheat on You" and Tamara ad-libbed over the top at points which was a nice moment as their voices complimented one another.
When I arrived, only Tamara and Elica were rehearsing and though Stefan was in the building he only came into rehearse once I got to the premises.
Regardless, I suggested we showcase our solo performances as we hadn't in a few weeks. Tamara started proceedings with a powerful cover of Cher's "You Haven't Seen the Last of Me" from the Burlesque soundtrack. It was evident that she has been rehearsing the song in her own time as she sounded the best that I've heard her - confident, emotive and sincere. She also performed the big ballad with the aid of hand gestures and facial expressions.
Cher "You Haven't Seen the Last of Me" (from the soundtrack album Burlesque)
Elica then performed Leona Lewis' stunning arrangement of Snow Patrol's 2004 hit single "Run". She started well but became visibly more nervous as the song progressed. We gave feedback and I said that she should be fearless in rehearsal and not so self-conscious as our rehearsals are the perfect opportunity to go above and beyond - even if that results in mistakes being made - so that when it's showtime we are confident enough in our abilities to give our best performance possible.
Leona Lewis "Run" (from the album Spirit [Deluxe Edition])
As we were talking Elica suggested we rehearse at her house during the Easter holidays so we can see the equipment she has at her disposal and can contribute to the show. I think this would also be great for team morale and help us to bond further as a group.
Stefan then performed "Gotta Make It" by Trey Songz but stopped halfway through as he too was not in best health. Despite this it was obvious that he knows and loves the song, which came through in his performance.
Trey Songz (feat. Twista) "Gotta Make It" (from the album I Gotta Make It)
In addition to solo performances, we discussed our next fundraiser (quiz night) as the most recent one (easter egg net sale) only made a measly £1.50 profit.
I then attempted to perform a solo which I had never performed for the group previously - Gabrielle's debut and signature hit, "Dreams" - but my voice was in poor shape and I was also unfamiliar with some of the lyrics. I will definately be working on this independently so that I am much better prepared to showcase it in future for the group. I also intend to have Kian accompany me on guitar but want to ensure that I am fully confident in my ability to perform it before requesting that he learnt it for me.
Gabrielle "Dreams" (from the album Find Your Way)
Following my dismal showing, Tamara returned to the floor to sing Jessie J's "I Miss Her". She connected to the emotional lyrical content and sang with passion whilst hitting many of the high notes recorded in the original song. However, it's a very challenging song to sing and she had some issues with the last chorus which she also expressed after her performance. Regardless, I think her two ballads will be really poignant moments in the show.
Jessie J "I Miss Her" (from the album Alive)
In closing, Stefan performed another Trey Songz song titled "Cheat on You" and Tamara ad-libbed over the top at points which was a nice moment as their voices complimented one another.
Trey Songz "Cheat on You" (from the album I Gotta Make It)
25 March, 2014: Rehashing Covered Territory - "Can You Get to That"
Everyone was present this session, which we spent rehashing all that we did the day before for those who weren't there, which I found frustrating but didn't express at the time to keep a positive atmosphere so that we could work most efficiently.
The song sounded a lot better with the addition of further accompaniment from Dylan on bass guitar, Luke on percussion and Stefan on acoustic guitar. Dylan also assisted me on my solo parts which are pitched an octave lower than the main melody line, very much in the bass tessitura and being a tenor it was difficult to project these parts on my own over a total of 3 guitars, percussion and other vocalists.
Crystal set up a keyboard to play but opted not to as she was unfamiliar with the song. She also chose not to sing this session, which created some tension between her and project manager Kian who was teaching the song over again.
As great as it sounds with everyone, I most definately feel we could have reached this point the day before had the entire group been present and then used this session to instead either run through all the group songs we've already done, showcase solos or move on to another group song as the Live Lounge event date is closing in on us and there is still a lot to cover.
The song sounded a lot better with the addition of further accompaniment from Dylan on bass guitar, Luke on percussion and Stefan on acoustic guitar. Dylan also assisted me on my solo parts which are pitched an octave lower than the main melody line, very much in the bass tessitura and being a tenor it was difficult to project these parts on my own over a total of 3 guitars, percussion and other vocalists.
Crystal set up a keyboard to play but opted not to as she was unfamiliar with the song. She also chose not to sing this session, which created some tension between her and project manager Kian who was teaching the song over again.
Here is a recording I made of how the song sounded with everyone participating:
As great as it sounds with everyone, I most definately feel we could have reached this point the day before had the entire group been present and then used this session to instead either run through all the group songs we've already done, showcase solos or move on to another group song as the Live Lounge event date is closing in on us and there is still a lot to cover.
24 March, 2014: Introduction to "Can You Get to That"
Attendance was poor this session with only myself, Kian, Elica, Tamara and Serena (half of the group) being present.
Despite this we started on a new group song, Mavis Staples' 2013 cover of Funkadelic's "Can You Get to That" from their critically-acclaimed 1971 studio album, Maggot Brain, which Rolling Stone ranked at number 479 on its list of The 500 Greatest Albums of All Time.
Despite this we started on a new group song, Mavis Staples' 2013 cover of Funkadelic's "Can You Get to That" from their critically-acclaimed 1971 studio album, Maggot Brain, which Rolling Stone ranked at number 479 on its list of The 500 Greatest Albums of All Time.
Funkadelic "Can You Get to That" (1971)
Mavis Staples "Can You Get to That" (2013)
Progress was refreshingly swift, following on from the new trend set in our previous session where we learnt Bob Marley's "Time Will Tell".
We stuck to the arrangement as performed by Mavis and unlike our other group songs which are primarily split into solo sections, we sing "Can You Get to That" as shown below:
Key
Solo: Me
Solo: Kian
Ensemble
Key
Solo: Me
Solo: Kian
Ensemble
LYRICS
Verse 1
Verse 1
I once had a life, or rather life had me
I was one among the many
Or at least I seemed to be
Well, I read an old quotation in a book just yesterday
Said "You gonna reap just what you sow,
The debts you make you have to pay."
Chorus
Can you get to that?
Can you get (I wanna know)
I wanna know if you can get to that
Can you get (well I wanna know)
I wanna know if you can get to that
Verse 2
I recollect with a-mixed emotions
All the good times we used to have
But you were making preparations
For the coming separation
And you blew everything we had
Pre-Chorus
When you base your life on credit
And your loving days are done
Checks you signed with a-love and kisses
Later come back signed "insufficient funds"
Chorus
Can you get to that?
Can you get (I wanna know)
I wanna know if you can get to that
Can you get (well I wanna know)
I wanna know if you can get to that
Can you get (I wanna know)
I wanna know if you can get to that
Can you get (well I wanna know)
I wanna know if you can get to that
Pre-Chorus
When you base your life on credit
And your loving days are done
Checks you signed with love and kisses
Later come back signed "insufficient funds"
Chorus
Now can you get to that y'all
Can you get (I wanna know)
I wanna know if you can get to that
Can you get (I wanna know)
I wanna know if you can get to that
Can you get (I wanna know)
I wanna know if you can get to that
Can you get (I wanna know)
I wanna know if you can get to that
The first verse is sang in unison whilst the choruses are harmonised, apart from my solo sections. Also, the first (and only) pre-chorus sang as an ensemble is only sang by myself, Serena, Elica and Tamara in a 3 part harmony in which I sing the tenor part. Furthermore, when I sing the pre-chorus as a solo, I sing it as - arranged in the Mavis Staples cover - in the bass range, an octave below how it is pitched earlier in the song.
As Kian was the only instrumentalist present that day, he accompanied on guitar whilst singing and once we settled the arragement we rehearsed it over with the full song playing beneath before recording just ourselves. Though far from perfect - we forgot certain parts; Kian's solo verse and my pre-chorus - which is evident from the recording we made, it was useful as it provided us an opportunity to listen to and critique our performance so that we could improve and develop it further in the session.
After a few more run throughs, we made a recording standing up, which was certainly better due to the song being better rehearsed and also the improvement in posture (standing up as oposed to sitting down) which allowed for better breath support and thus more powerful and resonant vocals.
I was very pleased with the progress made in this session and just wish that everyone in the group could have been there to share it.
I was one among the many
Or at least I seemed to be
Well, I read an old quotation in a book just yesterday
Said "You gonna reap just what you sow,
The debts you make you have to pay."
Chorus
Can you get to that?
Can you get (I wanna know)
I wanna know if you can get to that
Can you get (well I wanna know)
I wanna know if you can get to that
Verse 2
I recollect with a-mixed emotions
All the good times we used to have
But you were making preparations
For the coming separation
And you blew everything we had
Pre-Chorus
When you base your life on credit
And your loving days are done
Checks you signed with a-love and kisses
Later come back signed "insufficient funds"
Chorus
Can you get to that?
Can you get (I wanna know)
I wanna know if you can get to that
Can you get (well I wanna know)
I wanna know if you can get to that
Can you get (I wanna know)
I wanna know if you can get to that
Can you get (well I wanna know)
I wanna know if you can get to that
Pre-Chorus
When you base your life on credit
And your loving days are done
Checks you signed with love and kisses
Later come back signed "insufficient funds"
Chorus
Now can you get to that y'all
Can you get (I wanna know)
I wanna know if you can get to that
Can you get (I wanna know)
I wanna know if you can get to that
Can you get (I wanna know)
I wanna know if you can get to that
Can you get (I wanna know)
I wanna know if you can get to that
The first verse is sang in unison whilst the choruses are harmonised, apart from my solo sections. Also, the first (and only) pre-chorus sang as an ensemble is only sang by myself, Serena, Elica and Tamara in a 3 part harmony in which I sing the tenor part. Furthermore, when I sing the pre-chorus as a solo, I sing it as - arranged in the Mavis Staples cover - in the bass range, an octave below how it is pitched earlier in the song.
As Kian was the only instrumentalist present that day, he accompanied on guitar whilst singing and once we settled the arragement we rehearsed it over with the full song playing beneath before recording just ourselves. Though far from perfect - we forgot certain parts; Kian's solo verse and my pre-chorus - which is evident from the recording we made, it was useful as it provided us an opportunity to listen to and critique our performance so that we could improve and develop it further in the session.
First recording of "Can You Get to That" (Audio)
After a few more run throughs, we made a recording standing up, which was certainly better due to the song being better rehearsed and also the improvement in posture (standing up as oposed to sitting down) which allowed for better breath support and thus more powerful and resonant vocals.
I was very pleased with the progress made in this session and just wish that everyone in the group could have been there to share it.
17 March, 2014: Introduction to "Time Will Tell"
In the past month, progress has slowed considerably and whilst our
first group song, "Kiss From a Rose", is nearing completion we haven't
set and acheived any fundraising targets and thus I feel we've been
falling behind.
However, today marked a change as we had a very productive session. The atmosphere was initially rather tense as there were disagreements within the group as to what group song to rehearse. We settled on Bob Marley's "Time Will Tell" from his 1978 album Kaya) which some of us had performed previously as an ensemble, however 2 of those who had were not present for this rehearsal.
Pressing on regardless, we arranged the instruments as such:
Guitar: Kian, Stefan
Bass: Dylan
Cajon/Percussion: Luke
Whilst the guys rehearsed on their instruments, I took charge of teaching Tamara and Elica the song as they were unfamiliar with it. Whilst Kian suggested we harmonised the verses, differing from the original recording, I suggested that on the chorus we switch it up by having a call and response featuring a lead vocalist - a role which would alternate - and the rest of the group. I think these changes will make our performance of the song unique, better suited to the number of performers we have and give everyone a chance to showcase their ability in performing reggae music.
We arranged the song; instrumental intro, first verse, chorus, second verse, chorus, first verse, instrumental outro
Here is a copy of the lyrics in our arrangement, which I've color-coded to differentiate between solo lines and harmony lines.
Color Key:
Solo: Kian
Solo: Me
Solo: Serena
Harmonised
LYRICS: "Time Will Tell"
Verse 1
Jah would never give the power to a baldhead
Run come crucify the Dread.
Chorus
Time alone - oh, time will tell:
Think you're in heaven, but ya living in hell;
Think you're in heaven, but ya living in hell;
Think you're in heaven, but ya living in hell.
Time alone - oh, time will tell:
Ya think you're in heaven, but ya living in hell.
Verse 2
Lock them up; oh, not the brothers,
But the ones who sets 'em up.
Chorus
Time alone - oh, time will tell:
Think you're in heaven, but ya living in hell;
Think you're in heaven, but ya living in hell;
Think you're in heaven, but ya living in hell.
Time alone - oh, time will tell:
Ya think you're in heaven, but ya living in hell.
Jah would never give the power to a baldhead
Run come crucify the Dread.
The
performance still needs development; as the harmonies were not always
right with some people singing an octave above lower parts rather than
harmonising with them whilst I kept singing into Kian's solo "time will
tell" after the "oh" in the chorus. Furthermore, I feel we could slow
the tempo some more as it's considerably faster than the original and
robs the song of much of its laidback groove - which is a definitive
element of many reggae classics.
However, I'm really pleased we got through one song in limited time. If we consistently make progress this swiftly then the likelihood of our event being a success will increase tenfold.
However, today marked a change as we had a very productive session. The atmosphere was initially rather tense as there were disagreements within the group as to what group song to rehearse. We settled on Bob Marley's "Time Will Tell" from his 1978 album Kaya) which some of us had performed previously as an ensemble, however 2 of those who had were not present for this rehearsal.
Pressing on regardless, we arranged the instruments as such:
Guitar: Kian, Stefan
Bass: Dylan
Cajon/Percussion: Luke
Whilst the guys rehearsed on their instruments, I took charge of teaching Tamara and Elica the song as they were unfamiliar with it. Whilst Kian suggested we harmonised the verses, differing from the original recording, I suggested that on the chorus we switch it up by having a call and response featuring a lead vocalist - a role which would alternate - and the rest of the group. I think these changes will make our performance of the song unique, better suited to the number of performers we have and give everyone a chance to showcase their ability in performing reggae music.
We arranged the song; instrumental intro, first verse, chorus, second verse, chorus, first verse, instrumental outro
Here is a copy of the lyrics in our arrangement, which I've color-coded to differentiate between solo lines and harmony lines.
Color Key:
Solo: Kian
Solo: Me
Solo: Serena
Harmonised
LYRICS: "Time Will Tell"
Verse 1
Jah would never give the power to a baldhead
Run come crucify the Dread.
Chorus
Time alone - oh, time will tell:
Think you're in heaven, but ya living in hell;
Think you're in heaven, but ya living in hell;
Think you're in heaven, but ya living in hell.
Time alone - oh, time will tell:
Ya think you're in heaven, but ya living in hell.
Verse 2
Lock them up; oh, not the brothers,
But the ones who sets 'em up.
Chorus
Time alone - oh, time will tell:
Think you're in heaven, but ya living in hell;
Think you're in heaven, but ya living in hell;
Think you're in heaven, but ya living in hell.
Time alone - oh, time will tell:
Ya think you're in heaven, but ya living in hell.
Jah would never give the power to a baldhead
Run come crucify the Dread.
Bob Marley "Time Will Tell"
Our version - by the end of the rehearsal
However, I'm really pleased we got through one song in limited time. If we consistently make progress this swiftly then the likelihood of our event being a success will increase tenfold.
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