My professional life revolves around the academic study of song lyrics. So it may seem like a strange move to write about how some of the most powerful and emotive vocal moments in popular music have come when singers reject words. But it’s impossible to ignore that sometimes a song needs something more universal, more innate and more guttural than language.
Some vocalists have eschewed words entirely in their songs, like Ella Fitzgerald scatting throughout Flying Home (1945), or David Crosby da da dumming his way through Song With No Words (1971). More frequently, though, these wordless singalong moments appear as hooks.
Think the “la la la las” of Elton John’s Crocodile Rock (1972); the “duh duh duh duhs” in The Fratellis’ Chelsea Dagger (2006); the “ooh-aah-aaahs” of Fun’s Some Nights (2012) and Coldplay’s Viva La Vida (2008); or the ear worm “eh, eheu, eheus” of Bastille’s Pompeii (2013).
To paraphrase Ronan Keating (for the first and probably last time), sometimes singers say it best when they say nothing at all. And here are my four favourite examples of where they do just that.
1. The Great Gig in the Sky by Pink Floyd (1973)
When Richard Wright brought his song The Great Gig in the Sky to the studio during Pink Floyd’s The Dark Side of The Moon recording sessions, the band felt something was missing. They wanted a “foreground element to make it really transcend”, and versatile session vocalist Clare Torry was brought in to provide it.
Receiving little musical direction from the band apart from that they wanted the vocal to be wordless, she ad-libbed a few different ideas before leaving the studio, fully expecting nothing more to come of it. To Torry’s surprise, her vocal not only made it onto the finished record, but arguably became a pinnacle not just of the album, but of Floyd’s entire canon.
With a jaw-dropping wail that elevated the track to near-celestial heights, Torry managed to express the full range of human emotion without relying on words. Her contribution was eventually recognised with a co-authorship credit alongside Wright.
2. Anywhere by Rita Ora
If my championing of non-lexical sounds in songs is to dabble in unfamiliar waters, then praising anything by Rita Ora is to sail into “here there be monsters” territory. And yet the hook of her 2017 song Anywhere is just so dang good that it demanded to be include here.
Heavily-treated and chopped-up by producers Alesso, Andrew Watt and Sir Nolan, Ora’s vocal flirts with decipherability as the occasional word emerges from the wonderful confusion, but then veers joyously off into digitised gibberish again.
It’s a prime example of what a crucial role production can play in a song’s success. Such is the manipulation of her original take, even Ora herself admits that she has no idea what she’s singing. Sadly, public and media pressures eventually led her to reveal what the lyrics were before they were “chopped up”.
If you really want to know, watch this Live Lounge performance. For me, though, the power of the song lies beyond language, so, in this case, ignorance is indeed bliss.
3. Blue Moon by Elvis Presley (1956)
There have been some great falsetto singers over the decades, with the likes of Frankie Valli, Brian Wilson, The Bee Gees, Smokey Robinson and Prince all true masters of the craft. My favourite ever example, though, comes from Elvis’s eponymous 1956 album and his cover of Blue Moon.
After spending the first two minutes of the track in the trademark croon of his lower register, Elvis then soars into wordless falsetto at various points in the last 30 or so seconds. It’s unexpected. It’s delicate yet somehow strong. And it’s musical heaven.
4. Gimme Shelter by The Rolling Stones (1969)
Similarly to The Great Gig in the Sky, The Rolling Stones wanted something that would transform their new song Gimme Shelter from good into great. The solution was soul and gospel singer Merry Clayton, who was brought in to sing the heavy, dark chorus, first alongside Mick Jagger, then solo. The rest, as they say, is history.
I can’t include Clayton’s vocal itself in this list, seeing as it contains words, but I can include a by-product of it, which, for me, is one of the greatest, most natural moments ever caught on record: Mick Jagger’s reaction.
At 3m 02s, when the intensity of Clayton’s third go-around of the line “rape, murder, it’s just a shot away” has caused her voice to crack under the strain, we hear Jagger whooping in the background, unable to contain his amazement and joy at what he was witnessing.
Gimme Shelter’ has become one of the Stones’ most enduring tracks and is a staple of their live shows, which include some great performances of Merry’s section from Lisa Fischer and Chanel Haynes, and a not-so-great one from Lady Gaga. As with so many things, though, nothing will ever come close to the original.
Glenn Fosbraey does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.
This article was originally published on The Conversation. Read the original article.
