Vocal Cry

[Igotstung]

One of the signature post comeback Elvis vocal techniques is the ' Cry'. Paired with his rich deep voice and shimmery vibrato, 1969 onwards, Elvis used it to achieve the emotional depth that gives his post Comeback career a definitive sound.

'Cry', as the name suggests, are notes sung to express the intense emotions of the act of crying, be it whimper, sob, full bawling, cracking, choking, breathless swallowing. Usually comprised of a few notes, as a technique, it is often used to transition to high notes. The desired effect is to express vulnerability, empathy, emotional connection, melancholia.

While several of Elvis' 50s ballads had prominent high pitched, youthful wailing ( think Anyway You Want Me, First in Line, Love Me and so on)- it is different from the 'cry' employed 1969 onwards, which essentially requires contrast in pitch and for tge 'cry notes' to almost act as a bridge.

I can think of a part of phrase here and there, but it doesn't occupy a central place ( Indescribably Blue, Something Blue have a few notes ) in the movie era of the Vibrato dominated pop sound. The How Great Thou Art sessions of 1966 or ballads of 1968 Comeback Special also do not have the Cry. ( With the notable exception of You Will Never Walk Alone)

In American sessions it raises its melodious head. Listen to Only The Strong Survive or It Keeps Right On A- Hurtin, or After Loving You- almost every phrase has the Cry, often multiple times within a phrase.
The most famous of them all is the wailing cry of " Oh Let Our Love Survive" in Suspicious Minds. Unlike the 50s wails, it is contrasted with descending notes of " I'd dry the tears from your eyes". By the time the the singer confesses that he has never lied to her, we have seen a gamult of contrasting, evolving, melting shades of emotional breakdown. Pure artistry.

American Sessions give us a distinctly mature Presley, whose passions are now mellowed with life's experiences. His voice is pitch perfect with texture, timbre, soul all coming together to give us timeless recordings, arguably the best of his later period.

It is unsurprisingly not prominent in the R& R dominant "1969 Live At International" concerts, except in a couple phrases each in Yesterday and Hey Jude.

The 1970 Nashville Sessions sees the cry feature prominently again. His use of it is pure vocal marvel in Funny How Time Slips Away, There Goes My Everything, Make the World Go Away, Faded Love. Like the American Sessions, the cry in the voice also provides a soulful texture as it is contrasted with a mature baritone. Elvis expertly used this when ending on a high note- the vocal cracks that would otherwise sound like inability to sustain high notes, in Elvis' hands sounded like voice cracking as the singer is bursting in tears ( Tomorrow Never Comes for e.g)

In live performances of the 1970, the anguished cry and accompanying intense facial expressions, are arresting and dazzling showmanship. Just Pretend, Bridge over Troubled Waters, You Don't Have To Say You Love Me and so on. The spectacle of this magnificent creature writhing and pouring his heart out in anguished torrents of emotions is something to behold.

Throughout 1970s, Elvis used the vocal cry in some of his best ballad performances. Unfortunately, as bellowing gained more prominence & vibrato started to wobble and the energy subsided, the subtlty of the Cry gradually lost its lyricism, except in some beautiful recordings like It's Still Here, I'll take you home again Kathleen, I Will Be True, Always on My Mind, For Ole Time's Sake to name a few. In live performance, the cry still featured prominently, but the contrast and texture were not as powerful as it was in late 60s/ early 70s. The pathos of Elvis' last few years' performances is arresting in its own way, but the Cry had lost its power in his expression.

Elvis' vocals almost always had the spectacular dynamism and colour. It is a testament to the Elvis' genius as a singer, how he adopted varying techniques throughout his career. And this is why even a casual listener can distinguish prominent eras in Elvis' singing.

[Edwin]

I like Elvis' cry voice in Aloha's ' I'm So Lonesome I Could Cry '.
By the way..what song is 'Believe Me'?

[Igotstung]

I like Elvis' cry voice in Aloha's ' I'm So Lonesome I Could Cry '.
By the way..what song is 'Believe Me'?

Thank you for pointing out, edited.

ISLICC is sublime in Aloha as well as in home recording.

[On Tape 1972]

By the way..what song is 'Believe Me'?

You Don't Have To Say You Love Me

[vinelvis]

One of the signature post comeback Elvis vocal techniques is the ' Cry'. Paired with his rich deep voice and shimmery vibrato, 1969 onwards, Elvis used it to achieve the emotional depth that gives his post Comeback career a definitive sound.

'Cry', as the name suggests, are notes sung to express the intense emotions of the act of crying, be it whimper, sob, full bawling, cracking, choking, breathless swallowing. Usually comprised of a few notes, as a technique, it is often used to transition to high notes. The desired effect is to express vulnerability, empathy, emotional connection, melancholia.

While several of Elvis' 50s ballads had prominent high pitched, youthful wailing ( think Anyway You Want Me, First in Line, Love Me and so on)- it is different from the 'cry' employed 1969 onwards, which essentially requires contrast in pitch and for tge 'cry notes' to almost act as a bridge.

I can think of a part of phrase here and there, but it doesn't occupy a central place ( Indescribably Blue, Something Blue have a few notes ) in the movie era of the Vibrato dominated pop sound. The How Great Thou Art sessions of 1966 or ballads of 1968 Comeback Special also do not have the Cry. ( With the notable exception of You Will Never Walk Alone)

In American sessions it raises its melodious head. Listen to Only The Strong Survive or It Keeps Right On A- Hurtin, or After Loving You- almost every phrase has the Cry, often multiple times within a phrase.
The most famous of them all is the wailing cry of " Oh Let Our Love Survive" in Suspicious Minds. Unlike the 50s wails, it is contrasted with descending notes of " I'd dry the tears from your eyes". By the time the the singer confesses that he has never lied to her, we have seen a gamult of contrasting, evolving, melting shades of emotional breakdown. Pure artistry.

American Sessions give us a distinctly mature Presley, whose passions are now mellowed with life's experiences. His voice is pitch perfect with texture, timbre, soul all coming together to give us timeless recordings, arguably the best of his later period.

It is unsurprisingly not prominent in the R& R dominant "1969 Live At International" concerts, except in a couple phrases each in Yesterday and Hey Jude.

The 1970 Nashville Sessions sees the cry feature prominently again. His use of it is pure vocal marvel in Funny How Time Slips Away, There Goes My Everything, Make the World Go Away, Faded Love. Like the American Sessions, the cry in the voice also provides a soulful texture as it is contrasted with a mature baritone. Elvis expertly used this when ending on a high note- the vocal cracks that would otherwise sound like inability to sustain high notes, in Elvis' hands sounded like voice cracking as the singer is bursting in tears ( Tomorrow Never Comes for e.g)

In live performances of the 1970, the anguished cry and accompanying intense facial expressions, are arresting and dazzling showmanship. Just Pretend, Bridge over Troubled Waters, You Don't Have To Say You Love Me and so on. The spectacle of this magnificent creature writhing and pouring his heart out in anguished torrents of emotions is something to behold.

Throughout 1970s, Elvis used the vocal cry in some of his best ballad performances. Unfortunately, as bellowing gained more prominence & vibrato started to wobble and the energy subsided, the subtlty of the Cry gradually lost its lyricism, except in some beautiful recordings like It's Still Here, I'll take you home again Kathleen, I Will Be True, Always on My Mind, For Ole Time's Sake to name a few. In live performance, the cry still featured prominently, but the contrast and texture were not as powerful as it was in late 60s/ early 70s. The pathos of Elvis' last few years' performances is arresting in its own way, but the Cry had lost its power in his expression.

Elvis' vocals almost always had the spectacular dynamism and colour. It is a testament to the Elvis' genius as a singer, how he adopted varying techniques throughout his career. And this is why even a casual listener can distinguish prominent eras in Elvis' singing.

Nice essay. I also thought immediately of Just Pretend when I read your description. Elvis always had the power to portray emotions during these kind of songs.

[drjohncarpenter]

One of the signature post comeback Elvis vocal techniques is the ' Cry'. Paired with his rich deep voice and shimmery vibrato, 1969 onwards, Elvis used it to achieve the emotional depth that gives his post Comeback career a definitive sound.

'Cry', as the name suggests, are notes sung to express the intense emotions of the act of crying, be it whimper, sob, full bawling, cracking, choking, breathless swallowing. Usually comprised of a few notes, as a technique, it is often used to transition to high notes. The desired effect is to express vulnerability, empathy, emotional connection, melancholia.

While several of Elvis' 50s ballads had prominent high pitched, youthful wailing ( think Anyway You Want Me, First in Line, Love Me and so on)- it is different from the 'cry' employed 1969 onwards, which essentially requires contrast in pitch and for tge 'cry notes' to almost act as a bridge.

I can think of a part of phrase here and there, but it doesn't occupy a central place ( Indescribably Blue, Something Blue have a few notes ) in the movie era of the Vibrato dominated pop sound. The How Great Thou Art sessions of 1966 or ballads of 1968 Comeback Special also do not have the Cry. ( With the notable exception of You Will Never Walk Alone)

In American sessions it raises its melodious head. Listen to Only The Strong Survive or It Keeps Right On A- Hurtin, or After Loving You- almost every phrase has the Cry, often multiple times within a phrase.
The most famous of them all is the wailing cry of " Oh Let Our Love Survive" in Suspicious Minds. Unlike the 50s wails, it is contrasted with descending notes of " I'd dry the tears from your eyes". By the time the the singer confesses that he has never lied to her, we have seen a gamult of contrasting, evolving, melting shades of emotional breakdown. Pure artistry.

American Sessions give us a distinctly mature Presley, whose passions are now mellowed with life's experiences. His voice is pitch perfect with texture, timbre, soul all coming together to give us timeless recordings, arguably the best of his later period.

It is unsurprisingly not prominent in the R& R dominant "1969 Live At International" concerts, except in a couple phrases each in Yesterday and Hey Jude.

The 1970 Nashville Sessions sees the cry feature prominently again. His use of it is pure vocal marvel in Funny How Time Slips Away, There Goes My Everything, Make the World Go Away, Faded Love. Like the American Sessions, the cry in the voice also provides a soulful texture as it is contrasted with a mature baritone. Elvis expertly used this when ending on a high note- the vocal cracks that would otherwise sound like inability to sustain high notes, in Elvis' hands sounded like voice cracking as the singer is bursting in tears ( Tomorrow Never Comes for e.g)

In live performances of the 1970, the anguished cry and accompanying intense facial expressions, are arresting and dazzling showmanship. Just Pretend, Bridge over Troubled Waters, You Don't Have To Say You Love Me and so on. The spectacle of this magnificent creature writhing and pouring his heart out in anguished torrents of emotions is something to behold.

Throughout 1970s, Elvis used the vocal cry in some of his best ballad performances. Unfortunately, as bellowing gained more prominence & vibrato started to wobble and the energy subsided, the subtlty of the Cry gradually lost its lyricism, except in some beautiful recordings like It's Still Here, I'll take you home again Kathleen, I Will Be True, Always on My Mind, For Ole Time's Sake to name a few. In live performance, the cry still featured prominently, but the contrast and texture were not as powerful as it was in late 60s/ early 70s. The pathos of Elvis' last few years' performances is arresting in its own way, but the Cry had lost its power in his expression.

Elvis' vocals almost always had the spectacular dynamism and colour. It is a testament to the Elvis' genius as a singer, how he adopted varying techniques throughout his career. And this is why even a casual listener can distinguish prominent eras in Elvis' singing.

Lovely read, with lots of thoughtful observations.

But wouldn't the finest example of what you call the 'Cry' be his performances of "If I Can Dream" from June 1968?

And have you heard his home demo from 1966 of "If I Loved You"? It's astounding.