Items20The creator’s order
- 1
Nights on BroadwayBarry Gibb’s high ad-libs cut through most clearly near the end, after the song has already brought back its fast groove. Hear the new voice above the group harmonies. Adding that edge at the end makes the last chorus feel like it still has somewhere to go.0 - 2
Thinkin Bout YouOcean spends the verse making the attachment sound casual, then rises into a falsetto that stretches the question across the chorus. That suddenly lighter, less guarded sound calls the verse into question. Listen to how much more time he gives the thought once he can’t pass it off as a joke.0 - 3
You Make Me Feel (Mighty Real)Sylvester’s falsetto cuts through the fast bass and drums, then stretches the words while they keep driving underneath. Hear how brightly the title comes out when the arrangement gets thickest. His voice lets the chorus feel like a declaration you can dance to.0 - 4
La LloronaJoel Monroy Martínez’s falsetto sends parts of the vocal sharply above the strummed rhythm. Listen for the change in color when the line jumps, then for the way the violin keeps moving around his voice. The leap is a rhythmic event as much as a melodic one in this son huasteco performance.0 - 5
The Beautiful Ones (1984)First released Jun 25, 1984Prince spends the early part of the song in a controlled falsetto, letting the questions hang over the quiet arrangement. As the demand for an answer gets more direct, the voice gives way to a rough, full scream. Hearing how carefully he starts makes the change sound like someone losing the ability…0 - 6
SherryFrankie Valli’s falsetto seems to jump out of the backing voices. Listen for how he changes tone coming out of the verse and back into the repeated name. The leap makes the hook sound like someone calling across a room and expecting an answer.0 - 7
Ooo Baby BabySmokey Robinson’s apology comes through in clear phrases, but the falsetto lets the vowels keep going after the words have run out. Listen to that change as the title returns. The harmonies give him somewhere to land, so he can let the voice linger without making the plea any louder.0 - 8
Just My Imagination (Running Away With Me)Eddie Kendricks lets the opening lines float over the arrangement as he pictures an ordinary life with someone he only sees from a distance. The soft falsetto holds that daydream together. When the other voices come forward around the lonely prayer, what had seemed effortless takes on more weight.0 - 9
Tired of Being AloneGreen goes from a rough, close sound to a higher, lighter one within the same plea. Hear the changes around the repeated hook and in the little cries between lines. That switch lets him sound composed for a moment and then reveal how much the waiting is bothering him.0 - 10
You Make Me Feel Brand NewAirrion Love starts the song in a lower register. Russell Thompkins Jr.’s falsetto takes the next verse higher and changes how the same gratitude feels. Listen for the handoff between the two voices, when a measured thank-you starts to sound more exposed.0
