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Don't wanna sleep yet
Aug. 7th, 2004 12:50 amTerri is a wee bit tipsy right now. ![[livejournal.com profile]](https://www.dreamwidth.org/img/external/lj-userinfo.gif)
elisandra led us to a wonderful place for Karaoke tonight: The (something) Buda, on Fruitridge. Quiet little bar, friendly crowd, very comfortable atmosphere, and a decent sound system so you could hear yourself and the music and actually be able to sing in the same key as the background music. I want to go again. A lot. duncan_blkthrne, whatcha doin' next weekend.
So my results for the evening:
Madonna/Crazy for You - eh. a bit too low. I think I'll stick with Like a Virgin or Like a Prayer for my Madonna bits.
Sarah McLaughlin/Adia - bomb. Maybe I'll try Angel at some point, but I'm thinking my original theory that Ms. McLauglin wasn't right for me may be accurate. It seemed to fall right on that boundary between head and chest voice which really isn't somewhere I like to hang out for long periods of time.
Rosemary Clooney/Hey There - I liked how I did. It's low, but I felt comfortable enough with it that I did an okay job. Would like to keep it in my repertoire and work on it some more. I have the MP3 (thanks toilk) and it compares enough to use it for practice I think.
Loretta Lynn/Coal Miner's Daughter - This was fun. I felt like it was my best performance of the night. The tune brings out my genetic "twang" which seems to let me break loose and really belt out the notes.
I'm acutally intrigued by some of my better performances over time. I am of the belief that if you put me on stage with a script, I'm barely competent. I can't act. But when it comes to singing some of my strongest performances are pieces where I put on a character - Audrey for Somewhere that's Green, Rizzo for Look at Me, I'm Sandra Dee, and now the country girl from Butcher Holler for Coal Miner's Daughter. What does this mean? If I can't act or improv, why do I sing better when I'm doing a character. In which area am I selling myself short? Curiousity is piqued.
Oh, and lest I forget, I went out to Karaoke last night too, with the Marquis de Berman and others. I did The Monkees' Pleasant Valley Sunday. As usual, it felt too low, but I still felt really comfortable with it and wouldn't mind doing it again. Probably helps that I know the song really, really well.
Okay. I think it's bedtime now. I'm surprised I'm typing as well as I am, since the last trip across the hall suggested that I might actually be a bit beyond tipsy. Must have been the last trink I tossed down before we left finally hitting me. (And yes, I know I used a non-English spelling/word in that last sentence. I'm not that drunk.) One last check of email, then I crash.
My cat is still pink.
elisandra led us to a wonderful place for Karaoke tonight: The (something) Buda, on Fruitridge. Quiet little bar, friendly crowd, very comfortable atmosphere, and a decent sound system so you could hear yourself and the music and actually be able to sing in the same key as the background music. I want to go again. A lot. duncan_blkthrne, whatcha doin' next weekend.So my results for the evening:
Madonna/Crazy for You - eh. a bit too low. I think I'll stick with Like a Virgin or Like a Prayer for my Madonna bits.
Sarah McLaughlin/Adia - bomb. Maybe I'll try Angel at some point, but I'm thinking my original theory that Ms. McLauglin wasn't right for me may be accurate. It seemed to fall right on that boundary between head and chest voice which really isn't somewhere I like to hang out for long periods of time.
Rosemary Clooney/Hey There - I liked how I did. It's low, but I felt comfortable enough with it that I did an okay job. Would like to keep it in my repertoire and work on it some more. I have the MP3 (thanks to
ilk) and it compares enough to use it for practice I think.Loretta Lynn/Coal Miner's Daughter - This was fun. I felt like it was my best performance of the night. The tune brings out my genetic "twang" which seems to let me break loose and really belt out the notes.
I'm acutally intrigued by some of my better performances over time. I am of the belief that if you put me on stage with a script, I'm barely competent. I can't act. But when it comes to singing some of my strongest performances are pieces where I put on a character - Audrey for Somewhere that's Green, Rizzo for Look at Me, I'm Sandra Dee, and now the country girl from Butcher Holler for Coal Miner's Daughter. What does this mean? If I can't act or improv, why do I sing better when I'm doing a character. In which area am I selling myself short? Curiousity is piqued.
Oh, and lest I forget, I went out to Karaoke last night too, with the Marquis de Berman and others. I did The Monkees' Pleasant Valley Sunday. As usual, it felt too low, but I still felt really comfortable with it and wouldn't mind doing it again. Probably helps that I know the song really, really well.
Okay. I think it's bedtime now. I'm surprised I'm typing as well as I am, since the last trip across the hall suggested that I might actually be a bit beyond tipsy. Must have been the last trink I tossed down before we left finally hitting me. (And yes, I know I used a non-English spelling/word in that last sentence. I'm not that drunk.) One last check of email, then I crash.
My cat is still pink.
