[ Music ]
This is KZSU Stanford.
Welcome to entitled opinions.
My name is Robert Harrison.
We're coming to you from the Stanford campus.
[ Music ]
It's that time of year when entitled opinions falls into its summer hibernation.
And you know what that means, a few months of silence coming up.
But as our old motto has it, silence must be heard.
And the summer for many of you is when you catch up on the shows you haven't listened to yet
or we listen to some you have.
When I survey the shows we've aired over the past academic year, I have to say,
[ Speaking in Spanish ]
Phenomenology, the Rosetta Stone, Hagle, the ancient Roman family,
John Peeks, Geography, the Homeric Epics, Medicine and the Human Condition,
Nietzsche-Contra Wagner, Extinction, Michel Foucault,
John Rawls and the Modern Marketplace, Magic God and the Supernatural,
the ways of the Hermaphrodite, Life, Literature and Laramontov,
the Humanism of Petrog, a History of Listening, and most recently,
Post-humanism.
[ Speaking in Spanish ]
I would like to thank all the listeners who have written to us over the past months
to express your appreciation. Your encouragement makes all the difference when it comes to keeping this program alive.
Thanks also to Dylan Montanari, who has done a great job in his first year as producer of the program.
He'll be back with us when we start up again sometime after the autumn equinox.
But we're not done yet, friends. One more show for you. Coming up.
[ Music ]
Looks so good. It looks so cool. You're planning to do it.
The guest who joins me in the studio today is Chloe Veltman,
and she is a writer and broadcaster whose articles have appeared on both sides of the Atlantic.
In major newspapers and periodicals, like The New York Times, Wall Street Journal and The Economist,
is posting her impressive professional profile on our web page.
But let me mention that Chloe has spent the past year as a night fellow here at Stanford,
and she is something of a fellow traveler of mine since she has her own radio show called VoiceBox,
a weekly public radio and podcast series dedicated to exploring the art of singing and the best of the vocal music scene.
VoiceBox airs on KALW 91.7 FM. That's real close to KZSU on the radio dial. We're 90.1. She's 90.7.
I'm delighted she could join me today, Chloe. Welcome to the program.
It's lovely to be here, Robert. Thank you for having me.
You want to say a few more words about your program of voice box for our listeners before we get into the substance of our own show?
Sure, actually VoiceBox airs on KZSU too on Friday nights at 5 o'clock or Friday afternoon.
So people here at Stanford can hear the show very easily. Of course, by the podcast.
So I'm a singer myself. I have always sung very passionate about it, never had a spy to be a professional singer,
but I think about the voice a lot, and it's always been something that I have worked with.
And a lot of the journalism I've done has been around voices.
I would pitch quirky stories about singing to publications and get to write them. Those stories.
And two and a half years ago, I got the idea for launching VoiceBox.
Really, I want to engage people in the voice in a new way,
get them thinking intelligently about this thing that we carry around with with us everywhere.
And we don't really necessarily think about or use.
And also, most singers, we just sort of treatise celebrities most of the time.
But they never get to talk about their instrument.
Generally speaking, when you have a media interview about the voice,
it's all, you know, where are you next going on tour and was it fun doing backing vocals for Justin Bieber?
You know, it's not interesting.
The singers don't have an opportunity really to express how they create their art.
So I wanted to provide a forum for that. And also, there's a sort of a submission, which is,
I really truly believe I'm going to sound very hokey for saying this,
but I really think that if more people sang there'd be fewer wars.
So I want to get more people out singing, you know, whether that's joining a band or a choir or whatever.
So, you know, I don't beat people over the head without idea in the show,
but it's definitely there as an undercurrent.
Yeah, and I believe that the voice is not only a musical instrument,
but it also is the primary medium through which human interaction takes place.
And through which personhood, the personhood of a person,
is manifested or communicated and so much of what we do in our personal social,
but above all, professional lives passes through the voice.
And that's why as an educator, I always insist to my students that the cultivation of the voice as a spoken instrument,
not a singing instrument, you know, is crucial to all of their prospects,
whether it's in an interview situation or delivering a lecture or in the classroom,
you pass through your voice.
So I agree with you a hundred percent on the kind of importance that you want to bring,
or to correct the overlooking of it.
Yeah, I agree with you, Robert.
I mean, we're talking about singing today, but, you know, really these ideas apply to the spoken voice too.
It's all about breath, basically, and having control of your breath
and being able to use it to its best extent.
And we all know from anyone who does yoga or has a sort of spiritual side understands the importance of breath.
It's a fundamental thing in life, you know, voices and manifestation of that.
Do you believe that breath is important to intonation?
Certainly it's breath and the timbre of a voice is different, no?
Yeah, so does breath determine the kind of melodic phrasing that you see?
Yeah, absolutely. I mean, you know, I think everything has to come from breath.
You can't have a melodic line that has shape without breathing properly and supporting the sound with your breath.
I think that musical phrase, for example, it has a shape, it has a line.
And if you're not breathing properly, just taking in lots of little breaths,
it tends to make anything you say or anything you sing choppy.
And you can't make sense of the line.
I mean, good singers have a sense of narrative, a sense of line,
and that all has to come fundamentally from the way they breathe.
I mean, it's the bottom line. It's the first thing. It's the most important thing.
Well, we first met back in the fall, this academic year, and talked about doing a show.
And then we're finally here at the end of the academic year.
And we explored various possibilities given this mutual interest we have in the voice.
And we decided that maybe we would dedicate our show to a selection of songs of singers
whom we believe are not necessarily the greatest singers,
but who have very distinctive voices.
And that you would bring in your playlists, and I'll bring in my playlists.
And actually, we just heard each other's playlists just very, very recently.
And you told me you've only went through mine once, and I went through yours once.
So we're in for a kind of a slightly improvised sort of session here,
where we're just going to invite our listeners to share with us,
you know, a listening experience to different, a whole wide array of voices,
mostly from the pop genre.
Yeah, we decided, I guess somewhat arbitrarily,
that today we would focus mostly on the Western pop canon,
but we're deviating a little, right?
A little bit. Yeah, we have some non Western stuff in the mix as well.
Yeah, and a bit of classical and other, not just pop.
Right.
And I'm presuming that by the end of the show,
our listeners will probably get a sense of our musical tastes.
Uh-huh.
And yours can be very different from mine.
Mm-hmm.
And I would just like to insist it's not only,
well, it's impossible to divorce the question of musical taste from the selection,
at least in my case.
Mm-hmm.
If I want to show what I think is a distinctive voice, I tend,
I could have chosen from a wide array, any number of possibilities.
I've narrowed it down. Obviously, I like the songs that I chose,
and I'm sure that you...
Yeah.
I've been thinking about this a lot, actually.
Um, this idea of, uh, particularly in pop,
the singers identity so closely welded to the material.
Um, it's very hard to divorce the one from the other.
They're inextricably linked.
It's not so much the case with classical music, you know,
and here many, many different artists in interpretation of a single area by handle,
you know, and I have preference for certain singers over another,
but, you know, when it comes to pop music, it's, yeah.
Do you... I love the song as well as the singer, generally.
Well, why don't we jump right into it, Chloe?
Yeah.
And why don't we start with, uh, one or two of your tracks?
Oh, okay. Thank you.
Um, alright, well, see, the first track I picked, um, is a song called "The Hollow",
and it's by, uh, a duo, um, a folk rock duo by the name of "Tongue".
The singers are Paul Wright and Tim Harrington, and, uh, these guys are young.
They're in their mid-twenties, I think.
They're both sing, and one of them plays.
Tim also plays the guitar, and Paul also plays the cello.
I stumbled into them when I was, uh, at the South by Southwest festival in Austin a few months ago.
I had lost misplaced my bicycle, and I was wondering around the convention centre trying to find it.
And all of a sudden, I was stopped dead in my tracks by these voices.
I heard what I heard specifically with these two distinctively male voices, but they were singing together, and the thing that really knocked me for six was that they were singing way up high in their registers together.
For an extended period of time, they weren't just kind of popping up there and coming down, and they weren't doing it alone.
They were doing it together.
I'm not used to hearing this sound.
I turned the corner in there they were, and I became totally hooked to their sound.
There's something so sweet about the way they sing up there, and yet these are manly voices.
So I've picked this song "The Hollow", because I think it really shows these two guys who are based in Boston, by the way,
shows them singing in this high register together very beautifully.
Here we go.
[Music]
I wanted to find a hollow, a place to fill the empty in my mind.
As I went, I became the man who was alone for us to see between the lines.
And when I find my own, I leave every trace of the behind.
I love the flow you follow, but this hollow was for me alone to see.
Oh, so I thought, oh, so I thought, oh, really.
Oh, I'm once, oh, with you, all these are the strangest guys.
Has my own love faded out of sight?
Oh, we were, oh, we are, they're not so far apart.
It seems to have a very decisive melodic intention, and there are a number of bands I'm very happy to notice,
and I have realized that song really has to be re-based in melody.
Yeah, this seems to be a sort of a revival of melody that we are experiencing in pop music.
I thought I would probably have just over the last few years, I think it seems to be coming back again.
Yeah, they're bands like Grizzly Bear, very interesting, musically as well as vocally,
with the vocal phrasing, slightly reminiscent of what I heard here.
Mid-lake is another band that has a very intense cult following, very interesting melodically,
so good opening salvo, Chloe, you want to, yeah, that's another one.
Well, you know, maybe we can play the next two in conjunction with each other one after another,
because I wanted to stick with this idea of the high male voice.
It's a bit of a point of obsession for me. I've written about it extensively.
My whole interest kind of stems from, well, I get quite excited when I hear these really high male voices.
It's something about the combination of the masculinity and femininity that is, for me, very, it's kind of spellbinding.
It has this kind of visceral impact on me, and I noticed when I go to rock concerts,
and sometimes performance, other kinds of performances that you hear men singing, "Hi, that's when this particular female members of an audience start to scream."
And you can sort of viscerally see, like those old, if you watch YouTube videos of the Beatles, you know,
when they go high up in their registers, that's when the girls scream.
You know, in any case, so I wanted to play a couple more tracks by men who have very feminine kinds of voices,
but they're clearly men. The first is a track by Andreas Schruller, who's a wonderful German counter-tener,
who sings using a lot of his head voice and he sings in the alto range.
But it's not a woman's alto. It has a depth and a strength to it that you don't normally find from women.
He sings a lot of repertoire, specialises in singing a lot of Baroque repertoire.
A lot of it was written for this alto castrato, called "Serecino" back in the day, 18th centuries.
Well, a track I picked this song, "Henry Martin" is an old folk song that comes from this album, "Wayfaring Stranger,"
which is Andreas Schruller kind of going off away from his usual repertoire and singing these old Anglo-American folk songs.
I picked this track because it's very interesting. You hear him singing the song mostly in his high alto range, his counter-tener range.
And then every now and again when he's playing a different character in this ballad, he sinks down into his baritone.
And for me, and I think for everyone who knows this singer will agree, the alto range is what's really exciting.
You hear him sing baritone. It's a nice baritone voice, but it's unremarkable.
So, and then after that I thought we could hear a track by Teal Blackman, who's another German.
He's more on the cabaret circuit. He lives in New York. He hasn't extremely otherworldly voice.
It's a tenor. It's not super high, but it's again incredibly feline and lyrical and sweet.
And I was very interested to discover fairly recently that he did a whole album based on Kate Bush.
I load of Kate Bush songs. And, you know, this is a singer that I love also, Kate Bush.
And so his interpretations of the songs are wonderful too. Very, very powerful.
The song we're going to hear him sing is called "The Maskal Linum," "Feminiinum,"
which I thought was a good one because for me it's about the Maskal Lininum feminine.
So I'll play those two songs in succession.
[music]
There were three brothers in Mary Scottland in Mary Scottland, there was three.
And they don't cast a lot's way short. They should go, should go,
and I'm never on the subject.
Well, it's ten first upon Henry Martin. They are master all the three.
The T-Shops, ten brother, all of the songs he sold to him.
But, I maintain these two brothers and he.
He had not been sailing on a rock winter's night,
and the part of the short winter's day, before his high-end astute location,
of his ship of the ship of the ship, Kal-A-Bimming, now on his straight way.
I know he'll all quite tell me, Martin,
but day to say it's all night.
I've arranged Martin's symbol to the pale and tall,
upon the town, when he's forgotten at the last time.
No, but no, quite tell me, Martin, that getting it better could be.
So that was Andreas Scholl.
On to Teo Blackmon.
Andreas Scholl with his count to ten of his and his baritone, we had them.
Same thing, are you?
Same thing as two voices.
Here we go.
The first time I've been in the first time,
I've been in the first time,
and I've been in the first time,
I'm gonna leave you
Baby, baby, baby, baby, I'm gonna leave you
I said, baby, you know I'm gonna leave you
I'm gonna leave you when there's so much help
Leave you when there's so much time I come to the world
Leave you when there's so much comfort in the world
Baby, baby, baby, baby, baby, baby, baby, baby, baby, I wanna leave you
I ain't joking for my life got to ramble
Oh, yeah, baby, baby, baby, baby, baby, I'll leave you
Really got to ramble
I can hear a calling me the way it used to do
I
Hate to fade it out. We have more tracks to get through, but that that is a song where we heard one of the climactic moments and then you have an instrumental
thing in between and
And then he changes his mind and of course he's gonna go back to his baby and that's why all the girls can go crazy when our plants
things that song because you know I think one thing that I think all the songs we're going to play today have in common is the singers sing them like they mean them
In a way that you know you believe this guy can change his mind but in the moment you totally believe everything that he says
In fact sincerity is a difficult concept to get ones to get a handle on but since I don't know how to define it
But I know when I hear incensearity and music that he could have false tone Robert plant rarely hits an incense irritate
It's always seen sounds very interesting. It's very raw and those bits where he goes high. It's like a cheetah curl. It's your passion
So I think as a way I'll play one more song by a singer that I find to also have an extraordinarily high range and it's the singer of the band
Yes progressive rock band that was in its hey days in the early 70s and they they're singers named John Anderson and this comes from their album
Yes album which is I believe their first one and it just gives you a sense of how and they recently yes has gotten together
Some of the members have gotten together but the singer did not join them and they released an album this past year which is
Extraordinary musically speaking, but they have a different singer and it just doesn't sound at all like yes
And this is where a distinctive voice that want associates with a brand name if I can use a
Tacky metaphor with the yes, it's everything is there except that which seals it as the most distinctive band of that arrow
Which is the singer and that particular timbre of his voice and the in the range of it
I see no good people down there hey teach day so sad to spot among my way
Take a straight and stronger course to corner all your life make the white queen room so fast she hasn't got time to make you
Why
Because it's time it's time it's time with your time and his news it's
Got
Sure
for the we to use move beyond to any black square use me any time you want
Just remember that
For us all
Surround yourself with yourself move on back to square
Send items to come to me
And
We love
You
Oh
You
So that track is called all good people and it comes from there the yes album and I could not find out if he's actually harmonizing with himself on that track or whether it's some one of the other band members who's harmonizing
You mean a little acapella sections there with a wonderful yeah, I love the contrast. Yes, it's a Malefulu voice but then you know the contrast with those more
Clustery sections where you have either a group of singing or he's group of people singing or it's you know built up on his voice it just
They're so compact and they're so hard and then you have this beautiful pure line of his voice that goes above it
I love the way it's he's singing with practically Nova Brato. It's very very straight tone a bit like T. Or black man in that way that we played earlier
Right, but it's so full of of emotion and way well the
I was gonna say something about that
Like when because I thought that he sounded like a highly trained operating singer know no, he's adjusting. I don't know how much training he's had
Or was it and they asked sure
I
Know
Yeah, so yeah, the
Right, yeah, absolutely, you know he's an operatic counter-sano who grew up in the you know choir boy tradition in Germany and just had at this point
I know how many decades worth of trains what he's like but one of the top count ten is in the world so
Terrific so what do you have next for well?
The next track is by Emma Sumak who is a very interesting singer that the song I picked is called Junjor the forest creatures
Because this song shows I think of the the amazing ability of this singer to sound like a growling beast
One end and like a tweeting bird at the other
She she was a Peruvian singer she was around from the 1920s and she died in 2008
She in her hey day with the 1950s. She was well known for exotic her music which is kind of like pseudo tropical
loungey stuff
She had this incredible range. She could sing four and a half octaves for all of her career and then the peak she was able to get
Well, you know well into five octaves, which is tremendous
There's a lot of interesting stories
Surround her, you know, people thought she was an incon princess
You know, she I think she put out that idea
But it was reported in the media a lot that she was an incon princess loads of rubbish really
But she could sing notes that were in the low baritone register as well
As well as notes that were way above your typical soprano
and you can hear these
The right the variety of this range in this song
Chuncho and she could the other things she could do really interestingly
She could sing a double voice which is she can almost it's like hearing a voice in chords
Sometimes you can hear that in some of the two then type of throat singing sorts of things. She had to just really a very very
a very unusual
abilities as a singer very
deck-stress
I just want to quote one more thing in 1954 Virgle Thompson
classical composer and critic described
I'm a sumac's voice as quote very low and warm very high and bird-like
And he noted that her range is quote very close to for octaves
But is in no way in human or outlandish in sound
So what era does she belong to exactly? Well, um, the 1950s were her heyday
But she was born in 1922 died in 2008 good
[Music]
That's really a very interesting song the forest creatures I have on my play as I just
translated as and and the you know it reminds me strangely enough it reminds
me of my very favorite novels by an English writer I mean he was British
a citizen but he grew up and lived most of his life in Argentina
It's uh WH Hudson and he wrote a novel called Green Manchins where the protagonist
uh ends up in a forest hearing the sound of what he
took to be the most unusual bird he had ever heard
with the echo effects and so forth and it turns out that it
this bird is actually a woman named Rima the famous bird woman of
of that novel and somehow I imagine it sounding it would sound
not unlike what we just heard yeah it's a
fairy all and earth to get the same time and magical and there's a lot of
bird mimicry in that yeah absolutely yeah yeah she's got a lot going on it's
a very versatile voice it's capable of doing all kinds of
interesting and unusual things lots of colors well I like the fact that now
I'm not following my song order at all because I think I have one that I can
add into the mix that is somewhat related to this not
not just the style but the experimentation and this is a band
called Agri Canthus that was formed in Sicily
back in the late 80s and they specialize it's not world music they specialize
in Mediterranean North African uh retrieving the traditions
from Sicily Middle East North Africa and kind of fusing it together not in a kind of
cliched way but in a way that tries to synthesize what would be the kind of
a spirit of that of that region of the of the world and the singer there
is actually she swits and her name is Rosie V. Dirker and the interesting
thing about her is that she is a blurry lingual in her singing
and she's an excellent singer but she will sing for example in the track that
we're going to listen to there are at least four languages
one is the album that comes from it called Tuareg Tuareg is a nomadic
tribe in North Africa and a lot of the words that you'll hear at the
beginning are in the Tuareg dialect there's also Italian
that's the St. Sicilian this Sicilian dialect in fact the name of the song is
"Komo Ven" to like the wind Yos Sono Como Ven to is one of the
refrains later there is also French and if you listen to their
albums as a whole you'll see a number of other different kind of
dialects at work in there and here's a song called "Komo Ven"
you hear the Tuareg tribal calls
chance
builds up suspense too it's Rosie's suspense for that
based drum going soon
it's almost like a war song or you know maybe it's
sounds cinematic to me it could be a circumcision event
now the tea of the drys in took out some bouilla modi kudigui mahari sali la pakarit sali la pakarit sali la pakarit sali la pakarit sali la pakarit sali la pakarit sali la pakarit sali la pakarit la pakarit chuili poubir la pakirashuit donim sati shalid donim sei kunima party chuilid donim sei kunima party chuilid donim sei
say
she looked all say it
watch it don't
hard not to
I should hit some grape high notes
you so you come up all through
I see a desire to come to some way I'm not able to do my heart
eat it, I'm not able to tell you so
it's not me to go back to something I'm not able to do
I should hit you too well I'll put the blue brush
and you'll end up in the future that's all say, say, say, name my heart
you should bet all say, say, name my heart
I'll say, name my heart, name my heart
I see a man who calls me to go back to some Korean party
because I'm really happy
I'm really happy
I'm very happy
I'll put the blue brush
and you'll have to go back to some Korean party
so I'm really happy
I'm really happy
I see a man who calls me to go back to some way
There you go, it could keep going, it does keep going
I love it and it's tribal, it's primordial
it's more desert than forest
but it's what I really like about her voices
because she's got all these different languages going on
her articulation, it's so clear, you can hear everything
she's saying perfectly, I mean I certainly understood
every word of the French that was in that
I don't speak those other languages
I imagine that people who do would also find it easy to understand
what she's saying, plus it's very pure, very clean voice
Exactly, and she studied very hard on her own
and learning all these languages and dialects
and putting them together in a very distinctive style
I don't know if it's a distinctive voice as such
but it's a very pure, clean voice
but it's certainly a very distinctive style
and Chloe, I will play one more non-Western song
from my list because it reminds me of the desert
of the Tuareg but it comes from Turkey
and it's a singer, I don't know if you'd call him a singer
his name is Ashuk Vaisal
and many of my listeners know that I grew up in
in Turkey and speak the language
Ashuk means in love
or love, in love
and it's the name of a certain kind of musician
and it's like a troubadour who sings just with the one instrument
and goes around wondering singing ballads
usually which tell stories
and Ashuk Vaisal, who I believe died in the 70s
he was born in the very later years of the 19th century
and he lived through the added turquevolution
and the founding of the modern Republic of Turkey
he was blind and very Homeric
when you hear his voice you'll see why he seems so appropriate
that he's like the blind visionary bard
and the song we're going to hear is called Atatu, which I believe is after
it's after the death of Atatu, it's a kind of idealization
of everything that the founder of modern Turkey did for the nation
[Music]
That's an amazing voice.
So, I don't know how we're going to get back to the western cannon from there, but we're going to try what do you have for us here?
Well, you know these voices that affect us in different parts of our body if we pay attention,
there are a couple of singers now who I also think they have the same impact,
mostly because there's so much texture, there's so much texture to the way they sing.
I want to play a song called Calgama di somebody told me, which is a song by Karalabrini, who's the wife of the former French Premier Nicolas
Succuzzi. She comes from, Karalabrini comes from a very musical family. What really interests me about
her voice is this combination of very, very husky, but very, very sweet too. So, it's very fragile to the point of
cracking and yet extremely powerful.
[Music]
Yeah, there is that kind of point at which the voice seems to flirt with the falling apart and
giving out almost. Right, and actually I'm going to take the occasion to play a snippet of a song from
the singer of our band, Christy Wompoll, who she was educated in the Cabaret French Cabaret
tradition and has the same kind of, she's almost like an alfto, believe it or not,
can go very low with a kind of a nuance type of singing, not the kind of over dramatic type,
and there's something there in the kind of brony connection that makes me feel like this might be a good place
and put it in the mix. This is a song called Helen.
[Music]
I knew it was the face, but it ended the world when there's no trace of that pretty girl.
[Music]
I think I'll fade it out so people don't think I'm abusing my position here to promote
glass wave again once again on the entitled opinions.
And lovely, it's really chocolaty. Yeah, very much, and there's a timbre there and a distinctiveness
that made her nail the audition. I think that's what makes the voices exciting to me.
I've come to that conclusion actually just in terms of preparing for to talk to you
with you today, Robert. You know, this is pretty much one of the main themes that comes up for me
locally with singers. That's great, you have another one on your list here.
The first one is, but it's an inner Simone song. I put a spell on you.
Yeah, she has a really low, a very low, full, tenor voice and definitely sings everything.
Like she means it. I mean, the other thing to know about new Simone is she wanted to be a
classical concert pianist. She never really wanted to be a night club singer and she has a passion for
your hand to Bastion Bach. And that's why I think that in her voice you have this clarity of
intention and this poise that, you know, comes up against the moral of a robust,
politically fervent quality and the balance is, and it's very strong.
[music]
Put a spell on you.
Cause you're mine.
You better start the things you do.
I love,
no, I love.
You know, I can't stand it. You're running around.
You know, I better die.
I can't stand it. Cause you put me down.
Yeah, yeah.
I put a spell on you.
Because you're mine.
[music]
So Dylan was successful in getting another version of I put a spell on you, screaming Jay
Hawkins, take a listen to this one.
[music]
♪ Come on, let me up. ♪
♪ I'm not in it real about that. ♪
♪ I can't do that without you. ♪
♪ ♪
♪ Espet ♪
I put the spell on you.
♪ Espet ♪
♪ ♪
♪ Espet ♪
♪ Stop the thing you do. ♪
♪ ♪ ♪
[laughing]
Watch out!
♪ I love ♪
♪ ♪
♪ Espet ♪
[screaming]
♪ ♪
No matter how.
♪ ♪
I can't stand.
♪ ♪
I can't stand up with me now.
♪ ♪
I put the spell on you.
♪ ♪
You're mine!
♪ ♪
Oh, yeah!
♪ ♪
[screaming]
♪ ♪
[laughing]
Watch out! Watch out!
♪ ♪
I love!
♪ ♪
[screaming]
I love you!
♪ ♪
I love you!
♪ ♪
I love you!
[screaming]
I don't care if you don't want me.
Don't want me. I'm young. Right now.
I'm with the spell on you.
Damn.
It's hard to fade him out.
Screaming Jay Hawkins is not called screaming for nothing.
That's fantastic.
Yeah. What a voice is so scary.
Yeah, and you know he sings all his songs like that.
And almost all his songs like that.
So checking out.
Yeah, yeah, I know. I'm familiar with him,
but I've not heard that I've not heard his take on that song before.
It's great.
Well, Chloe, I know that you have to go.
And so what I propose is that I thank you for coming on for this.
Oh, it's a pleasure.
Fascinating. Talk about the distinctive voices in very multiple genres.
We actually covered a lot of genres.
And I think of it a lot more than just pop.
That's for sure. Yeah.
I want to remind our listeners we've been speaking with Chloe Veltman,
who is a night fellow here at Stanford.
And she has her own radio show called Voice Box
that you can access online.
You can listen to it on Friday afternoons on KZSU.
And we'll look forward to having her back sometime next year
when entitled opinions resume.
But in the meantime, I say goodbye to you.
Chloe, and I'm going to just continue on with our listeners.
Great. Well, it's been a great pleasure, Robert.
Thanks for having me on the show.
Take care.
I will, thanks.
Sometimes I feel like all my hands are in the air.
I know I can count on you.
Sometimes I feel like saying, Lord, I just don't care.
You've got the law I need to see me through.
Sometimes it seems that all it's just too old.
Can't be known no matter what I'm due.
I understand it seems like a life is just too old.
You've got the law I need to see me through.
When Chloe's gone, you all of my daily needs.
Oh, when friends are gone, I don't want to save you.
The law is a real.
You ain't free.
Yeah, you've got the law.
You've got the law.
Time after time, I think.
All of what's for you.
So I'm out of time.
I think it's just no good.
Because I don't want to let her in life.
The things you love you, Lou.
You've got the law.
I need to see me through.
You've got the law.
Time after time.
You've got the law.
Time after time.
You've got the law.
Sometimes I feel like all my hands are in the air.
I know what you can't find me.
Sometimes I feel like I stay in love.
You've got the law.
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