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  1. Originally posted by melon51:I meant more that his "golden age" of falsetto was roughly between '89 and '95. That's when he did (even for singing critics) some pretty impressive vocals in falsetto.

    From popmart onwards he could (sometimes) still sing in a (decent) falsetto, we could post loads of videos to prove that.

    But that sheer, flat-out control/sharpness/range "Fat Lady" falsetto was gone after '95. Reckon Your Blue Room is the last proper I geuss, on Pop there's a bit here and there but not as strong.
    I agree about 89-95!

    One some occasions he have got very near the deep falsetto in 97,01,09-11
    I think there might have been some moment from the tour in 2015 also.

  2. don't think that's the strongest, but still a decent one.. Anyway, shows that it was still very much there in 1997. At the beginning of the Sarajevo show his singing was still (sort of) acceptable, it just got worse and worse.. and they didn't cut a single song, because it was Sarajevo and (maybe) because it was on radio. I think on the Sao Paulo broadcast he couldn't do the falsetto on Gone and EBTTRT, but the overall singing was better than Sarajevo (although also his voice was hoarse there).
  3. Originally posted by Peterrrrr:[..]
    I agree about 89-95!

    One some occasions he have got very near the deep falsetto in 97,01,09-11
    I think there might have been some moment from the tour in 2015 also.
    yeah, he can still hit the falsetto notes, but not really singing. He just lost (full) control there..
  4. 1:42 "child"
  5. "Like" in 0:19
  6. Bonos voicals is spot on in this version
  7. Kermit returns in 5:39 to 5:49
  8. Unforgettable fire era, best voice ever
  9. Originally posted by Ricku2:[..]
    I know what you mean with the Fat Lady falsetto, but not sure if Your Blue Room was one of them.. also recorded in the studio.. I think the falsetto's on the Pop album just sound as good..
    to me it seems like EBTTR is the only good comparison.. other songs and falsetto's were dropped but also new ones added.. and yeah, it's sounds a bit tinier on PopMart and is certainly is less consistent over the whole tour, but on some versions (of EBTTRT) you can't barely notice a difference with Zoo TV. To me it seems like it just faded over the years (with Sarajevo maybe the biggest hurt).. on Elevation tour the falsetto was mainly gone.. (they played EBTTRT a couple of times on the first leg I think (without falsetto) and also Gone was different) even on with or without you he had troubles with it.


    I sing a little bit, and in my experience there's definitely a difference in difficulty between the "fat lady" falsetto and the ones he hit afterwards.

    What I probably mean is: compare Night&Day with Sleep like a baby tonight for example. Both are among the highest Falsetto notes he ever hit, with Sleep peaking at just a semitone lower. Sleep in its place is still a semitone higher than Heartland, just to give an idea.

    The difference I hear is that "fat lady" was his period where he not only could hit those notes, but had great control in how he wanted to sound. It was his "LoveTown Era", but then for Falsetto I guess.

    After that he could still hot some of those notes, but the ability to actually "really sing" in them was a lot less I feel. Do you have any great falsettos from Lovetown? Love to hear them and revert my opinion
  10. I've now seen Peterrr's examples as well. They sound great, and on some days he almost sounds "just like the old". But I'd say the "fat lady" lost its consistency after '95, and the "normal falsetto" lost that after Popmart..
  12. Originally posted by melon51:[..]


    I sing a little bit, and in my experience there's definitely a difference in difficulty between the "fat lady" falsetto and the ones he hit afterwards.

    What I probably mean is: compare Night&Day with Sleep like a baby tonight for example. Both are among the highest Falsetto notes he ever hit, with Sleep peaking at just a semitone lower. Sleep in its place is still a semitone higher than Heartland, just to give an idea.

    The difference I hear is that "fat lady" was his period where he not only could hit those notes, but had great control in how he wanted to sound. It was his "LoveTown Era", but then for Falsetto I guess.

    After that he could still hot some of those notes, but the ability to actually "really sing" in them was a lot less I feel. Do you have any great falsettos from Lovetown? Love to hear them and revert my opinion
    yes, I agree with all of that, just not that he suddenly lost it.. it already sounded different in '93 from '92..
    LoveTown: Maybe the 'Sexual Healing' part on All I Want Is You? The end of All Along The Watchtower, She's A Mystery To Me (Dublin '89), the studio version of Heartland...