American singer Harry Belafonte in 1954.

Singing is the act of producing musical sounds with the voice, and augments regular speech by the use of both tonality and rhythm. One who sings is called a singer or vocalist. Singers perform music known as songs that can be sung either with or without accompaniment by musical instruments. Singing is often done in a group of other musicians, such as in a choir of singers with different voice ranges, or in an ensemble with instrumentalists, such as a rock group or baroque ensemble. As in many respects human song is a form of sustained speech, nearly anyone able to speak can also sing. Singing can be formal or informal, arranged or improvised. It may be done for pleasure, comfort, ritual, education, or profit. Excellence in singing requires time, dedication, instruction, and regular practice.^[1] Professional singers usually build their careers around one specific musical genre, such as classical or rock. They typically take voice training provided by voice teachers or vocal coaches throughout their careers.

The human voice[link]

A labeled anatomical diagram of the vocal folds or cords.

In its physical aspect, singing has a well-defined technique that depends on the use of the lungs, which act as an air supply, or bellows; on the larynx, which acts as a reed or vibrator; on the chest and head cavities, which have the function of an amplifier, as the tube in a wind instrument; and on the tongue, which together with the palate, teeth, and lips articulate and impose consonants and vowels on the amplified sound. Though these four mechanisms function independently, they are nevertheless coordinated in the establishment of a vocal technique and are made to interact upon one another.^[2] During passive breathing, air is inhaled with the diaphragm while exhalation occurs without any effort. Exhalation may be aided by the abdominal, internal intercostal and lower pelvic muscles. Inhalation is aided by use of external intercostals, scalenes and sternocleidomastoid muscles. The pitch is altered with the vocal cords. With the lips closed, this is called humming.

The sound of each individual's singing voice is entirely unique not only because of the actual shape and size of an individual's vocal cords but also due to the size and shape of the rest of that person's body. Humans have vocal folds which can loosen, tighten, or change their thickness, and over which breath can be transferred at varying pressures. The shape of the chest and neck, the position of the tongue, and the tightness of otherwise unrelated muscles can be altered. Any one of these actions results in a change in pitch, volume (loudness), timbre, or tone of the sound produced. Sound also resonates within different parts of the body, and an individual's size and bone structure can affect the sound produced by an individual.

Singers can also learn to project sound in certain ways so that it resonates better within their vocal tract. This is known as vocal resonation. Another major influence on vocal sound and production is the function of the larynx which people can manipulate in different ways to produce different sounds. These different kinds of laryngeal function are described as different kinds of vocal registers.^[3] The primary method for singers to accomplish this is through the use of the Singer's Formant; which has been shown to match particularly well to the most sensitive part of the ear's frequency range.^[4][5]

Vocal registration[link]

Vocal registration refers to the system of vocal registers within the human voice. A register in the human voice is a particular series of tones, produced in the same vibratory pattern of the vocal folds, and possessing the same quality. Registers originate in laryngeal function. They occur because the vocal folds are capable of producing several different vibratory patterns. Each of these vibratory patterns appears within a particular range of pitches and produces certain characteristic sounds.^[6] The term "register" can be somewhat confusing as it encompasses several aspects of the human voice. The term register can be used to refer to any of the following:^[7]

• A particular part of the vocal range such as the upper, middle, or lower registers.
• A resonance area such as chest voice or head voice.
• A phonatory process (phonation is the process of producing vocal sound by the vibration of the vocal folds that is in turn modified by the resonance of the vocal tract)
• A certain vocal timbre or vocal "colour"
• A region of the voice which is defined or delimited by vocal breaks.

In linguistics, a register language is a language which combines tone and vowel phonation into a single phonological system. Within speech pathology the term vocal register has three constituent elements: a certain vibratory pattern of the vocal folds, a certain series of pitches, and a certain type of sound. Speech pathologists identify four vocal registers based on the physiology of laryngeal function: the vocal fry register, the modal register, the falsetto register, and the whistle register. This view is also adopted by many vocal pedagogists.^[7]

Vocal resonation[link]

Vocal resonation is the process by which the basic product of phonation is enhanced in timbre and/or intensity by the air-filled cavities through which it passes on its way to the outside air. Various terms related to the resonation process include amplification, enrichment, enlargement, improvement, intensification, and prolongation, although in strictly scientific usage acoustic authorities would question most of them. The main point to be drawn from these terms by a singer or speaker is that the end result of resonation is, or should be, to make a better sound.^[7] There are seven areas that may be listed as possible vocal resonators. In sequence from the lowest within the body to the highest, these areas are the chest, the tracheal tree, the larynx itself, the pharynx, the oral cavity, the nasal cavity, and the sinuses.^[8]

Chest voice and head voice[link]

Chest voice and head voice are terms used within vocal music. The use of these terms varies widely within vocal pedagogical circles and there is currently no one consistent opinion among vocal music professionals in regards to these terms. Chest voice can be used in relation to a particular part of the vocal range or type of vocal register; a vocal resonance area; or a specific vocal timbre.^[7] Head voice can be used in relation to a particular part of the vocal range or type of vocal register or a vocal resonance area.^[7]

History and development[link]

The first recorded mention of the terms chest voice and head voice was around the 13th century, when it was distinguished from the "throat voice" (pectoris, guttoris, capitis—at this time it is likely that head voice referred to the falsetto register) by the writers Johannes de Garlandia and Jerome of Moravia.^[9] The terms were later adopted within bel canto, the Italian opera singing method, where chest voice was identified as the lowest and head voice the highest of three vocal registers: the chest, passagio and head registers.^[10] This approach is still taught by some vocal pedagogists today. Another current popular approach that is based on the bel canto model is to divide both men and women's voices into three registers. Men's voices are divided into "chest register", "head register", and "falsetto register" and woman's voices into "chest register", "middle register", and "head register". Such pedagogists teach that the head register is a vocal technique used in singing to describe the resonance felt in the singer's head.^[11]

However as knowledge of human physiology has increased over the past two hundred years, so has the understanding of the physical process of singing and vocal production. As a result, many vocal pedagogists, such as Ralph Appelman at Indiana University and William Vennard at the University of Southern California, have redefined or even abandoned the use of the terms chest voice and head voice.^[10] In particular, the use of the terms chest register and head register have become controversial since vocal registration is more commonly seen today as a product of laryngeal function that is unrelated to the physiology of the chest, lungs, and head. For this reason, many vocal pedagogists argue that it is meaningless to speak of registers being produced in the chest or head. They argue that the vibratory sensations which are felt in these areas are resonance phenomena and should be described in terms related to vocal resonance, not to registers. These vocal pedagogists prefer the terms chest voice and head voice over the term register. This view believes that the problems which people identify as register problems are really problems of resonance adjustment. This view is also in alignment with the views of other academic fields that study vocal registration including: speech pathology, phonetics, and linguistics. Although both methods are still in use, current vocal pedagogical practice tends to adopt the newer more scientific view. Also, some vocal pedagogists take ideas from both viewpoints.^[7]

The contemporary use of the term chest voice often refers to a specific kind of vocal coloration or vocal timbre. In classical singing, its use is limited entirely to the lower part of the modal register or normal voice. Within other forms of singing, chest voice is often applied throughout the modal register. Chest timbre can add a wonderful array of sounds to a singer's vocal interpretive palette.^[12] However, the use of overly strong chest voice in the higher registers in an attempt to hit higher notes in the chest can lead to forcing. Forcing can lead consequently to vocal deterioration.^[13]

Classifying singing voices[link]

In European classical music and opera, voices are treated like musical instruments. Composers who write vocal music must have an understanding of the skills, talents, and vocal properties of singers. Voice classification is the process by which human singing voices are evaluated and are thereby designated into voice types. These qualities include but are not limited to: vocal range, vocal weight, vocal tessitura, vocal timbre, and vocal transition points such as breaks and lifts within the voice. Other considerations are physical characteristics, speech level, scientific testing, and vocal registration.^[14] The science behind voice classification developed within European classical music has been slow in adapting to more modern forms of singing. Voice classification is often used within opera to associate possible roles with potential voices. There are currently several different systems in use within classical music including: the German Fach system and the choral music system among many others. No system is universally applied or accepted.^[10]

However, most classical music systems acknowledge seven different major voice categories. Women are typically divided into three groups: soprano, mezzo-soprano, and contralto. Men are usually divided into four groups: countertenor, tenor, baritone, and bass. When considering voices of pre-pubescent children an eighth term, treble, can be applied. Within each of these major categories there are several sub-categories that identify specific vocal qualities like coloratura facility and vocal weight to differentiate between voices.^[7]

It should be noted that within choral music, singers' voices are divided solely on the basis of vocal range. Choral music most commonly divides vocal parts into high and low voices within each sex (SATB, or soprano, alto, tenor, and bass). As a result, the typical choral situation affords many opportunities for misclassification to occur.^[7] Since most people have medium voices, they must be assigned to a part that is either too high or too low for them; the mezzo-soprano must sing soprano or alto and the baritone must sing tenor or bass. Either option can present problems for the singer, but for most singers there are fewer dangers in singing too low than in singing too high.^[15]

Within contemporary forms of music (sometimes referred to as Contemporary Commercial Music), singers are classified by the style of music they sing, such as jazz, pop, blues, soul, country, folk, and rock styles. There is currently no authoritative voice classification system within non-classical music. Attempts have been made to adopt classical voice type terms to other forms of singing but such attempts have been met with controversy.^[16] The development of voice categorizations were made with the understanding that the singer would be using classical vocal technique within a specified range using unamplified (no microphones) vocal production. Since contemporary musicians use different vocal techniques, microphones, and are not forced to fit into a specific vocal role, applying such terms as soprano, tenor, baritone, etc. can be misleading or even inaccurate.^[17]

Vocal pedagogy[link]

Ercole de' Roberti: Concert, c. 1490

Vocal pedagogy is the study of the teaching of singing. The art and science of vocal pedagogy has a long history that began in Ancient Greece^{[citation needed]} and continues to develop and change today. Professions that practice the art and science of vocal pedagogy include vocal coaches, choral directors, vocal music educators, opera directors, and other teachers of singing.

Vocal pedagogy concepts are a part of developing proper vocal technique. Typical areas of study include the following:^[18][19]

• Human anatomy and physiology as it relates to the physical process of singing
  • Vocal health and voice disorders related to singing
  • Breathing and air support for singing
  • Phonation
  • Vocal resonation or Voice projection
  • Vocal registration: a particular series of tones, produced in the same vibratory pattern of the vocal folds, and possessing the same quality, which originate in laryngeal function, because each of these vibratory patterns appears within a particular range of pitches and produces certain characteristic sounds.
  • Voice classification

• Vocal styles: for Classical singers, this includes styles ranging from Lieder to opera; for pop singers, styles can include "belted out" a blues ballads; for jazz singers,styles can include Swing ballads and scatting.
  • Techniques used in styles such as sostenuto and legato, range extension, tone quality, vibrato, and coloratura

Vocal technique[link]

Singing when done with proper vocal technique is an integrated and coordinated act that effectively coordinates the physical processes of singing. There are four physical processes involved in producing vocal sound: respiration, phonation, resonation, and articulation. These processes occur in the following sequence:

1. Breath is taken
2. Sound is initiated in the larynx
3. The vocal resonators receive the sound and influence it
4. The articulators shape the sound into recognizable units

Although these four processes are often considered separately when studied, in actual practice they merge into one coordinated function. With an effective singer or speaker, one should rarely be reminded of the process involved as their mind and body are so coordinated that one only perceives the resulting unified function. Many vocal problems result from a lack of coordination within this process.^[17]

Since singing is a coordinated act, it is difficult to discuss any of the individual technical areas and processes without relating them to the others. For example, phonation only comes into perspective when it is connected with respiration; the articulators affect resonance; the resonators affect the vocal folds; the vocal folds affect breath control; and so forth. Vocal problems are often a result of a breakdown in one part of this coordinated process which causes voice teachers to frequently focus in intensively on one area of the process with their student until that issue is resolved. However, some areas of the art of singing are so much the result of coordinated functions that it is hard to discuss them under a traditional heading like phonation, resonation, articulation, or respiration.

Once the voice student has become aware of the physical processes that make up the act of singing and of how those processes function, the student begins the task of trying to coordinate them. Inevitably, students and teachers will become more concerned with one area of the technique than another. The various processes may progress at different rates, with a resulting imbalance or lack of coordination. The areas of vocal technique which seem to depend most strongly on the student's ability to coordinate various functions are:^[7]

1. Extending the vocal range to its maximum potential
2. Developing consistent vocal production with a consistent tone quality
3. Developing flexibility and agility
4. Achieving a balanced vibrato

Developing the singing voice[link]

Singing is a skill that requires highly developed muscle reflexes. Singing does not require much muscle strength but it does require a high degree of muscle coordination. Individuals can develop their voices further through the careful and systematic practice of both songs and vocal exercises. Vocal pedagogists instruct their students to exercise their voices in an intelligent manner. Singers should be thinking constantly about the kind of sound they are making and the kind of sensations they are feeling while they are singing.^[17] Vocal exercises have several purposes, including^[7] warming up the voice; extending the vocal range; "lining up" the voice horizontally and vertically; and acquiring vocal techniques such as legato, staccato, control of dynamics, rapid figurations, learning to sing wide intervals comfortably, singing trills, singing melismas and correcting vocal faults.

Extending vocal range[link]

An important goal of vocal development is to learn to sing to the natural limits of one's vocal range without any obvious or distracting changes of quality or technique. Vocal pedagogists teach that a singer can only achieve this goal when all of the physical processes involved in singing (such as laryngeal action, breath support, resonance adjustment, and articulatory movement) are effectively working together. Most vocal pedagogists believe in coordinating these processes by (1) establishing good vocal habits in the most comfortable tessitura of the voice, and then (2) slowly expanding the range.^[3]

There are three factors that significantly affect the ability to sing higher or lower:

1. The energy factor – "energy" has several connotations. It refers to the total response of the body to the making of sound; to a dynamic relationship between the breathing-in muscles and the breathing-out muscles known as the breath support mechanism; to the amount of breath pressure delivered to the vocal folds and their resistance to that pressure; and to the dynamic level of the sound.
2. The space factor – "space" refers to the size of the inside of the mouth and the position of the palate and larynx. Generally speaking, a singer's mouth should be opened wider the higher he or she sings. The internal space or position of the soft palate and larynx can be widened by relaxing the throat. Vocal pedagogists describe this as feeling like the "beginning of a yawn".
3. The depth factor – "depth" has two connotations. It refers to the actual physical sensations of depth in the body and vocal mechanism, and to mental concepts of depth that are related to tone quality.

McKinney says, "These three factors can be expressed in three basic rules: (1) As you sing higher, you must use more energy; as you sing lower, you must use less. (2) As you sing higher, you must use more space; as you sing lower, you must use less. (3) As you sing higher, you must use more depth; as you sing lower, you must use less."^[7]

Posture[link]

The singing process functions best when certain physical conditions of the body exist. The ability to move air in and out of the body freely and to obtain the needed quantity of air can be seriously affected by the posture of the various parts of the breathing mechanism. A sunken chest position will limit the capacity of the lungs, and a tense abdominal wall will inhibit the downward travel of the diaphragm. Good posture allows the breathing mechanism to fulfill its basic function efficiently without any undue expenditure of energy. Good posture also makes it easier to initiate phonation and to tune the resonators as proper alignment prevents unnecessary tension in the body. Vocal pedagogists have also noted that when singers assume good posture it often provides them with a greater sense of self assurance and poise while performing. Audiences also tend to respond better to singers with good posture. Habitual good posture also ultimately improves the overall health of the body by enabling better blood circulation and preventing fatigue and stress on the body.^[3]

There are eight components of the ideal singing posture:

1. Feet slightly apart
2. Legs straight but knees unlocked
3. Hips facing straight forward
4. Spine aligned
5. Abdomen flat
6. Chest comfortably forward
7. Shoulders down and back
8. Head facing straight forward

Breathing and breath support[link]

Natural breathing has three stages: a breathing-in period, a breathing out period, and a resting or recovery period; these stages are not usually consciously controlled. Within singing there are four stages of breathing: a breathing-in period (inhalation); a setting up controls period (suspension);a controlled exhalation period (phonation); and a recovery period.

These stages must be under conscious control by the singer until they become conditioned reflexes. Many singers abandon conscious controls before their reflexes are fully conditioned which ultimately leads to chronic vocal problems.^[20]

Vibrato[link]

Vibrato is used by singers in which a sustained note wavers very quickly and consistently between a higher and a lower pitch, giving the note a slight quaver. Vibrato is the pulse or wave in a sustained tone. Vibrato occurs naturally, and is the result of proper breath support and a relaxed vocal apparatus.^[21] Some singers use vibrato as a means of expression. Many successful artists have built a career on deep, rich vibrato.

Vocal music[link]

Vocal music is music performed by one or more singers, with or without instrumental accompaniment, in which singing provides the main focus of the piece. Vocal music is probably the oldest form of music, since it does not require any instrument besides the human voice. All musical cultures have some form of vocal music and there are many long standing singing traditions throughout the world's cultures.

Music which employs singing but does not feature it prominently is generally considered as instrumental music. For example, some blues rock songs may have a simple call-and-response chorus, but the emphasis in the song is on the instrumental melodies and improvisation. Vocal music typically features sung words called lyrics, although there are notable examples of vocal music that are performed using non-linguistic syllables or noises, sometimes as musical onomatopoeia. A short piece of vocal music with lyrics is broadly termed a song.

Genres of vocal music[link]

Rock singer Ian Gillan performing live with Deep Purple in Montreux in 2006.

Vocal music is written in many different forms and styles which are often labeled within a particular genre of music. These genres include: Art music, Popular music, Traditional music, regional and national music, and fusions of those genres. Within these larger genres are many sub-genres. For example, popular music would encompass blues, jazz, country music, easy listening, hip hop, rock music, and several other genres. There may also be a sub-genre within a sub-genre such as vocalese and scat singing in jazz.

Popular and traditional music[link]

In many modern pop musical groups, a lead singer performs the primary vocals or melody of a song, as opposed to a backing singer who sings backup vocals or the harmony of a song. Backing vocalists sing some, but usually not all, parts of the song often singing only in a song's refrain or humming in the background. An exception is five-part gospel a cappella music, where the lead is the highest of the five voices and sings a descant, and not the melody. Some artists may sing both the lead and backing vocals on audio recordings by overlapping recorded vocal tracks.

Popular music includes a range of vocal styles. Hip-hop uses rapping, the rhythmic delivery of rhymes in a rhythmic speech over a beat or without accompaniment. Some types of rapping consist mostly or entirely of speech and chanting, like the Jamaican "toasting". In some types of rapping, the performers may interpolate short sung or half-sung passages. Blues singing is based on the use of the blue notes–notes sung at a slightly lower pitch than that of the major scale for expressive purposes. In heavy metal and hardcore punk subgenres, vocal styles can include techniques such as screams, shouts, and unusual sounds such as the "death growl".

Rapper Busta Rhymes performs in Las Vegas.

One difference between live performances in the popular and Classical genres is that whereas Classical performers often sing without amplification in small- to mid-size halls, in popular music, a microphone and PA system (amplifier and speakers) are used in almost all performance venues, even a small coffee house. The use of the microphone has had several impacts on popular music. For one, it facilitated the development of intimate, expressive singing styles such as "crooning" which would not have enough projection and volume if done without a microphone. As well, pop singers who use microphones can do a range of other vocal styles that would not project without amplification, such as making whispering sounds, humming, and mixing half-sung and sung tones. As well, some performers use the microphone's response patterns to create effects, such as bringing the mic very close to the mouth to get an enhanced bass response, or, in the case of hip-hop beatboxers, doing plosive "p" and "b" sounds into the mic to create percussive effects.

While some bands use backup singers who only sing when they are onstage, it is common for backup singers in popular music to have other roles. In many rock and metal bands, the musicians doing backup vocals also play instruments, such as rhythm guitar, electric bass, or drums. In Latin or Afro-Cuban groups, backup singers may play percussion instruments or shakers while singing. In some pop and hip-hop groups and in musical theater, the backup singers may be required to perform elaborately choreographed dance routines while they sing through headset microphones.

Careers in singing[link]

The salaries and working conditions for vocalists vary a great deal. While jobs in other music fields such as music education tend to be based on full-time, salaried positions, singing jobs tend to be based on contracts for individual shows or performances, or for a sequence of shows (e.g., a two-week series of performances of an opera or musical theater show). Since income from singing jobs can be unsteady, singers often supplement their performing income with other singing-related jobs, such as vocal coaching, voice lessons, or as working as a choral director in a church. Due to the large number of aspiring vocalists, it can be very competitive to get jobs in singing.

Maria Callas during her final tour in Amsterdam in 1973.

Church choir soloists can make from $30 to $500 per performance (all figures in US dollars). Performers in a community choral group can earn from $200–$3,000 yearly; members of a professional concert choral group can make $80 and up per performance. Singers who perform on radio or TV shows can make $75 and up per show on a local station and $125 and up per national network show (e.g., CBS or NBC). Jazz or pop singers who perform with dance bands or nightclub show groups can make $225 and up per week. Professional opera chorus singers can make from $350–$750 per week. Opera soloists, for which the number of job openings is very limited, can make from $350 to $20,000 per performance for the most elite performers. Classical concert soloists, for which the number of job openings is very limited, have approximate earnings of $350 per performance and up.^[22]

Aspiring singers and vocalists must have musical talent and skill, an excellent voice, the ability to work with people, and a sense of showmanship and drama. Additionally, singers need to have the ambition and drive to continually study and improve,^[22] because the process of studying singing does not end after an initial diploma or degree is finished-even decades after finishing their initial training, professional singers continue to seek out vocal coaching to hone their skills, extend their range, and learn new styles. As well, aspiring singers need to gain specialized skills in the vocal techniques used to interpret songs, learn about the vocal literature from their chosen style of music, and gain skills in choral music techniques, sight singing and memorizing songs, and basic skills at the piano, to aid in learning new songs and in ear training or vocal exercises. In Classical singing and in some other genres, a knowledge of foreign languages such as French, Italian, German, or other languages, is needed. Prior to college or university training, aspiring singers should learn to read music, study basic piano, and gain experience with singing, both in choirs and in solo settings.

College or university degrees are "not always required but the equivalent training is usually necessary".^[22] Post-secondary training in singing is available for both Classical and non-Classical singers. In the Classical stream, singing can be studied at conservatories and university music programs; credentials that are available range from diplomas and Bachelor's degrees to Master's degrees and the Doctor of Musical Arts. In popular and jazz styles, college and university degrees are also available, though there are fewer programs.

Once aspiring vocalists have completed their professional training, they must then take steps to market themselves to buyers of vocal talent, by doing auditions in front of an opera director, choirmaster, or conductor. Depending on the style of vocal music that a person has trained in, the "talent buyers" that they seek out may be record company A&R representatives, opera or musical theater directors, choir directors, nightclub managers, or concert promoters. In addition preparing a resume or CV listing their training and performance experience, singers typically prepare a promotional kit that includes professionally taken photographs (head shots); a CD or DVD with excerpts of vocal performances; and copies of reviews from music critics or journalists. Some singers hire an agent or manager to help them to seek out engagements and other performance opportunities; the agent or manager is often paid by receiving a percentage of the fees that the singer gets from performing onstage.

Health benefits[link]

Scientific studies suggest that singing can have positive effects on people's health. A preliminary study based on self-reported data from a survey of students participating in choral singing found perceived benefits including increased lung capacity, improved mood, stress reduction, as well as perceived social and spiritual benefits.^[23] However, one much older study of lung capacity compared those with professional vocal training to those without, and failed to back up the claims of increased lung capacity.^[24] Singing may positively influence the immune system through the reduction of stress. One study found that both singing and listening to choral music reduces the level of stress hormones and increases immune function.^[25] A multinational collaboration to study the connection between singing and health was established in 2009, called Advancing Interdisciplinary Research in Singing (AIRS).^[26]

Singing in non-human species[link]

Scholars agree that singing is strongly present in many non-human species.^[27][28] Wide dispersal of singing behavior among very different animal species (like birds, gibbons, whales, and humans) strongly suggests that singing appeared independently in different species. Currently there are about 5400 species of animals that can sing. At least some singing species demonstrate the ability to learn their songs, to improvise and even to compose new melodies.^[29] In some animal species singing is a group activity (see, for example, singing in gibbon families.^[30])

Singing in different natural environments[link]

Joseph Jordania suggested that singing behavior is very unevenly distributed among animal species, living in different environments (on the ground, in the water, in trees).^[31] Most of the singing species live on the trees (like many bird species, or gibbons), some live in the water (whales, dolphins, seals, sea lions), and there are no animal species who live on the ground and sing^[32] except for humans. This uneven distribution of singing can be crucial for our understanding of the origins of the singing behavior in animals and humans. Jordania explains this fact as the result of the pressure from natural selection. Singing is a very costly behavior, not only because of the energy to produce sounds, but primarily for the security reasons, as all the possible predators can easily learn the whereabouts of a singing animal. Singing species that live on the trees are in a much more favourable situation, as trees allow different species to live according to their body weight. So different animals with different body weight live on different "levels" of the tree branches. For example, a 50 kilo leopard can see and hear the sounds produced by a 15 kilo monkey, but as a lighter monkey can live much higher on the tree branches, it is out of reach of a heavier leopard. Therefore tree living (or arboreal) species feel quite secure to sing or to communicate with a wide range of vocal signals. On the other hand, all the ground living (or terrestrial) animal species, despite the huge weight differences between them (ranging from rabbits to lions and elephants) live on the same "ground level", and maintaining silence is crucially important for them. Even most of the birds, the most ardent singers, stop singing and producing other sounds when they sit on the ground.^[33] Therefore, predator threat might be a primary reason why tree living species are generally much noisier than ground living species.^[34]

See also[link]

Art music[link]

Popular music[link]

• Beat boxing
• Belt (music)
• Death growl
• Humming
• Lead vocalist
• Rapping
• Screaming (music)
• Vocoder

References[link]

External links[link]

Wikiquote has a collection of quotations related to: Singing

Look up vocal or singing in Wiktionary, the free dictionary.

Wikibooks has more on the topic of Singing

• A Brief History of Singing
• Singing and Health: A systematic mapping and review of non-clinical research

This article may require cleanup to meet Wikipedia's quality standards. No cleanup reason has been specified. Please help improve this article if you can; the talk page may contain suggestions. (May 2010)

John Mellencamp
John Mellencamp in 2007
Background information
Also known as	Johnny Cougar John Cougar John Cougar Mellencamp
Born	(1951-10-07) October 7, 1951 (age 60) Seymour, Indiana, United States
Genres	Rock, heartland rock, roots rock, folk rock, hard rock, folk
Occupations	Musician, singer-songwriter
Instruments	Vocals, guitar, harmonica
Years active	1976–present
Labels	MCA Riva Mercury Columbia Island Universal Republic Hear UMe
Associated acts	Crepe Soul Trash Mason Brothers Mitch Ryder James McMurtry Me'Shell Ndegeocello Chuck D India.Arie Trisha Yearwood Little Big Town Joan Baez
Website	JohnMellencamp.com

John Mellencamp,(born October 7, 1951) is an American rock singer-songwriter, musician, painter and occasional actor known for his catchy, populist brand of heartland rock which emphasizes traditional instrumentation. He has sold over 40 million albums worldwide and has amassed 22 Top 40 hits in the United States. In addition, he holds the record for the most tracks by a solo artist to hit number-one on the Hot Mainstream Rock Tracks chart, with seven, and has been nominated for 13 Grammy Awards, winning one. His latest album, No Better Than This, was released on August 17, 2010 to widespread critical acclaim.

Mellencamp is also one of the founding members of Farm Aid, an organization that began in 1985 with a concert in Champaign, Illinois to raise awareness about the loss of family farms and to raise funds to keep farm families on their land. The Farm Aid concerts have remained an annual event over the past 26 years, and as of 2012 the organization has raised over $39 million to promote a strong and resilient family farm system of agriculture.

Mellencamp was inducted into the Rock and Roll Hall of Fame on March 10, 2008 by Billy Joel.^[1] His biggest musical influences are Bob Dylan, Woody Guthrie, Buddy Holly and The Rolling Stones.^[2] Said longtime Rolling Stone contributor Anthony DeCurtis: "Mellencamp has created an important body of work that has earned him both critical regard and an enormous audience. His songs document the joys and struggles of ordinary people seeking to make their way, and he has consistently brought the fresh air of common experience to the typically glamour-addled world of popular music."^[3]

Early life[link]

Mellencamp was born in Seymour, Indiana. He is the son of Richard and the late Marilyn Mellencamp. Mellencamp was born with a mild form of spina bifida that necessitated a lengthy stay in the hospital as a baby.^[4] He is descended from German immigrant Johann Herman Möhlenkamp, who came to the White Creek area of Bartholomew County, Indiana, in 1855.^[5] He grew up in his hometown of Seymour, Indiana.

He formed his first band, Crepe Soul, at the age of 14^[4] and later played in the local bands Trash, Snakepit Banana Barn and the Mason Brothers. He eloped with his pregnant girlfriend Priscilla Esterline at the age of 18^[4] and became a father in December 1970, six months after he graduated from high school. His daughter Michelle became a mother at age 19, making John a grandfather at 37.

Mellencamp attended Vincennes University, a two-year college in Vincennes, Indiana, starting in 1972. During this time he experimented with drugs and alcohol, stating in a 1986 Rolling Stone interview, "When I was high on pot, it affected me so drastically that when I was in college there were times when I wouldn't get off the couch. I would lie there, listening to Roxy Music, right next to the record player so I wouldn't have to get up to flip the record over. I'd listen to this record, that record. There would be four or five days like that when I would be completely gone."^[2]

Upon graduating from Vincennes University in 1974, Mellencamp played in a couple of local bands, including the aforementioned glitter-band Trash, which was named after a New York Dolls song, and he later got a job in Seymour installing telephones. At this time, Mellencamp, who had given up drugs and alcohol for good before graduating from Vincennes University, decided to pursue a career in music.

Music career[link]

Performing as Johnny Cougar & John Cougar (1976–1982)[link]

After about 18 months of traveling back and forth from Indiana to New York City in 1974 and 1975, Mellencamp finally found someone receptive to his music and image in Tony DeFries of MainMan Management.^[2] DeFries insisted that Mellencamp's first album, Chestnut Street Incident, a collection of covers and a handful of original songs, be released under the stage name Johnny Cougar, suggesting that the bumpy German name "Mellencamp" was too hard to market. Mellencamp reluctantly agreed, but the album was a complete failure, selling only 12,000 copies.

Mellencamp recorded The Kid Inside, the follow-up to Chestnut Street Incident, in 1977, but DeFries eventually decided against releasing the album and Mellencamp was dropped from MCA records (DeFries finally released The Kid Inside in early 1983, after Mellencamp broke through to stardom). Mellencamp drew interest from Rod Stewart's manager, Billy Gaff, after parting ways with DeFries and was signed to the tiny Riva Records label. At Gaff's request, Mellencamp moved to London, England for nearly a year to record, promote and tour behind 1978's A Biography. The record wasn't released in the United States, but it yielded a hit in Australia with "I Need a Lover".^[2] Riva Records added "I Need a Lover" to Mellencamp's next album released in the United States, 1979's John Cougar, where the song became a No. 28 single in late 1979. Pat Benatar recorded "I Need a Lover" on her debut album In the Heat of the Night.

In 1980, Mellencamp returned with the Steve Cropper-produced Nothin' Matters and What If It Did, which yielded two Top 40 singles — "This Time" (No. 27) and "Ain't Even Done With the Night" (No. 17). "The singles were stupid little pop songs," he told Record Magazine in 1983. "I take no credit for that record. It wasn't like the title was made up — it wasn't supposed to be punky or cocky like some people thought. Toward the end, I didn't even go to the studio. Me and the guys in the band thought we were finished, anyway. It was the most expensive record I ever made. It cost $280,000, do you believe that? The worst thing was that I could have gone on making records like that for hundreds of years. Hell, as long as you sell a few records and the record company isn't putting a lot of money into promotion, you're making money for 'em and that's all they care about. PolyGram loved Nothin' Matters. They thought I was going to turn into the next Neil Diamond."

In 1982, Mellencamp released his breakthrough album, American Fool, which contained the singles "Hurts So Good," an uptempo rock tune that spent four weeks at No. 2 and 16 weeks in the top 10, and "Jack & Diane," which was a No. 1 hit for four weeks. A third single, "Hand to Hold On To," made it to No. 19. "Hurts So Good" went on to win the Grammy Award for Best Male Rock Vocal Performance at the 25th Grammys. "To be real honest, there's three good songs on that record, and the rest is just sort of filler," Mellencamp told Creem Magazine of American Fool in 1984. "It was too labored over, too thought about, and it wasn't organic enough. The record company thought it would bomb, but I think the reason it took off was – not that the songs were better than my others – but people liked the sound of it, the 'bam-bam-bam' drums. It was a different sound."

Performing as John Cougar Mellencamp (1983–1990)[link]

With some commercial success under his belt, Mellencamp had enough clout to force the record company to add his real surname, Mellencamp, to his stage moniker. The first album recorded under his new name John Cougar Mellencamp was 1983's Uh-Huh, a Top-10 album that spawned the Top 10 singles "Pink Houses,"and "Crumblin' Down" as well as the No. 14 hit "Authority Song," which he said is "our version of "I Fought the Law.'" During the recording of Uh-Huh, Mellencamp's backing band settled on the lineup it would retain for the next several albums: Kenny Aronoff on drums and percussion, Larry Crane and Mike Wanchic on guitars, Toby Myers on bass and John Cascella on keyboards. In 1988, Rolling Stone magazine called this version of Mellencamp's band "one of the most powerful and versatile live bands ever assembled." On the 1984 Uh-Huh Tour, Mellencamp opened his shows with cover versions of songs he admired growing up, including Elvis Presley's "Heartbreak Hotel," the Animals' "Don't Let Me Be Misunderstood," Lee Dorsey's "Ya Ya" and the Left Banke's "Pretty Ballerina."

Since college, Mellencamp has, with the exception of his continuing devotion to nicotine, lived a drug and alcohol-free lifestyle. In 1984, when asked about his views on drugs, he told Bill Holdship of Creem magazine, "If you want to stick needles in your arms, go ahead and fucking do it. You're the one that's going to pay the consequences. I don't think it's a good idea, and I sure don't advocate it, but I'm not going to judge people. Hell, if that was the case, you wouldn't like anyone in the music business because everyone's blowing cocaine."

In 1985, Mellencamp released Scarecrow, which peaked at No. 2 in the fall of '85 and spawned five Top 40 singles: "Lonely Ol' Night" (No. 6), "Small Town" (No. 6), and "R.O.C.K. in the U.S.A. (A Salute to '60s Rock)" (No. 2), "Rain on the Scarecrow" (No. 21) and "Rumbleseat" (No. 28). According to the February 1986 edition of Creem Magazine, Mellencamp wanted to incorporate the sound of classic '60s rock into Scarecrow, and he gave his band close to a hundred old singles to learn "almost mathematically verbatim" prior to recording album.

"Learning those songs did a lot of positive things," Mellencamp explained to Creem writer Bill Holdship. "We realized more than ever what a big melting pot of all different types of music the '60s were. Take an old Rascals song for example – there's everything from marching band beats to soul music to country sounds in one song. Learning those opened the band's vision to try new things on my songs. It wasn't let's go back and try to make this part fit into my song, but I wanted to capture the same feeling – the way those songs used to make you feel. After a while, we didn't even have to talk about it anymore. If you listen to the lead Larry [Crane] plays on 'Face The Nation', he never would have played that 'cause he didn't really know who the Animals were. He's young, and he grew up on Grand Funk Railroad. You hear it, and it's like 'where did that come from?' It had to be from hearing those old records."

Scarecrow was the first album Mellencamp recorded at his own recording studio "Belmont Mall," located in Belmont, Indiana and built in 1984. Mellencamp sees Scarecrow as the start of the alternative country genre: "I think I invented that whole 'No Depression' thing with the Scarecrow album, though I don’t get the credit," he told Classic Rock magazine in October 2008.

Shortly after finishing Scarecrow, Mellencamp helped organize the first Farm Aid benefit concert with Willie Nelson and Neil Young in Champaign, Illinois on September 22, 1985. The Farm Aid concerts remain an annual event and have raised over $39 million for struggling family farmers as of 2011.

Prior to the 1985–86 Scarecrow Tour, during which he covered some of the same 1960s rock and soul songs he and his band rehearsed prior to the recording of Scarecrow, Mellencamp added fiddle player Lisa Germano to his band. Germano would remain in Mellencamp's band until 1994, when she left to pursue a solo career.

Mellencamp's next LP, 1987's The Lonesome Jubilee, included the singles "Paper in Fire," (No. 9) "Cherry Bomb," (No. 8), "Check It Out," (No. 14) and "Rooty Toot Toot" (No. 61) along with the popular album tracks "Hard Times for an Honest Man" and "The Real Life," both of which garnered significant radio airplay even though they didn't achieve any chart position. "We were on the road for a long time after Scarecrow, so we were together a lot as a band," Mellencamp said in a 1987 Creem Magazine feature. "For the first time ever, we talked about the record before we started. We had a very distinct vision of what should be happening here. At one point, The Lonesome Jubilee was supposed to be a double album, but at least 10 of the songs I'd written just didn't stick together with the idea and the sound we had in mind. So I just put those songs on a shelf, and cut it back down to a single record. Now, in the past, it was always 'Let's make it up as we go along' – and we did make some of The Lonesome Jubilee up as we went along. But we had a very clear idea of what we wanted it to sound like, even before it was written, right through to the day it was mastered."

As Frank DiGiacomo of Vanity Fair wrote in 2007, "The Lonesome Jubilee was the album in which Mellencamp defined his now signature sound: a rousing, crystalline mix of acoustic and electric guitars, Appalachian fiddle, and gospel-style backing vocals, anchored by a crisp, bare-knuckle drumbeat and completed by his own velveteen rasp."

During the 1987-88 Lonesome Jubilee Tour, Mellencamp was joined onstage by surprise guest Bruce Springsteen at the end of his May 26, 1988 gig in Irvine, California, for a duet of Bob Dylan's "Like a Rolling Stone", which Mellencamp performed as the penultimate song during each show on that tour.

After the Lonesome Jubilee Tour, Mellencamp divorced his second wife, Vicki.

In 1989, Mellencamp released the personal album Big Daddy, with the key tracks "Jackie Brown," "Big Daddy of Them All" and "Void in My Heart" accompanying the Top 15 single "Pop Singer." The album, which Mellencamp called at the time the most "earthy" record he'd ever made, is also the last to feature the "Cougar" moniker.

Mellencamp was heavily involved in painting at this time in his life and decided not to tour behind Big Daddy, stating: "What's the point?... This other step that people keep wanting me to take to become another level of recording artist - to be Madonna? To sell out? To bend over? To kiss somebody's ass? I ain't gonna do it."^[6] In his second painting exhibition, at the Churchman-Fehsenfeld Gallery in Indianapolis in 1990, Mellencamp's portraits were described as always having sad facial expressions and conveying "the same disillusionment found in his musical anthems about the nation's heartland and farm crisis."^[7]

Performing as John Mellencamp (1991–1997)[link]

Mellencamp's 1991 album, Whenever We Wanted, was the first with a cover billed to John Mellencamp—the Cougar was now gone forever. Whenever We Wanted yielded the Top 40 hits "Get a Leg Up" and "Again Tonight," but "Last Chance," "Love and Happiness" and "Now More Than Ever" all garnered significant airplay on rock radio. "It's very rock 'n' roll," Mellencamp said of Whenever We Wanted. "I just wanted to get back to the basics."

In 1993, he released Human Wheels, and the title track peaked at No. 48 on the Billboard singles chart. "To me, this record is very urban," Mellencamp told Billboard magazine of Human Wheels in the summer of '93. "We had a lot of discussions about the rhythm and blues music of the day. We explored what a lot of these (current) bands are doing — these young black bands that are doing more than just sampling."

Mellencamp's 1994 Dance Naked album included a cover of Van Morrison's "Wild Night" as a duet with Meshell Ndegeocello. "Wild Night" became Mellencamp's biggest hit in years, peaking at No. 3 on the Billboard Hot 100. The album also contained two protest songs in "L.U.V." and "Another Sunny Day 12/25", in addition to the title track, which hit No. 41 on the Hot 100 in the summer of 1994. "This is as naked a rock record as you're going to hear," Mellencamp said of Dance Naked in a 1994 Billboard magazine interview. "All the vocals are first or second takes, and half the songs don't even have bass parts. Others have just one guitar, bass, and drums, which I haven't done since American Fool."

With guitarist Andy York now on board as Larry Crane's full-time replacement, Mellencamp launched his Dance Naked Tour in the summer of 1994, but a minor heart attack suffered after a show at Jones Beach in New York on August 8 of that year eventually forced him to cancel the last few weeks of the tour. "I was up to 80 cigarettes a day," Mellencamp told the Boston Herald in September 1996 about the habits that led to his heart malfunction two years prior. "We'd finish a show and I'd go out and have steak and french fries and eggs at 4 in the morning and then go to sleep with all that in my gut. It was just a terrible lifestyle."

He returned to the concert stage in early 1995 by playing a series of dates in small Midwestern clubs under the pseudonym Pearl Doggy.

In September 1996, the experimental album Mr. Happy Go Lucky, which was produced by Junior Vasquez, was released to critical acclaim. "It's been fascinating to me how urban records use rhythm and electronics, and it's terribly challenging to make that work in the context of a rock band," Mellencamp told Billboard magazine in 1996. "But we took it further than an urban record. The arrangements are more ambitious, with programs and loops going right along with real drums and guitars."

Mr. Happy Go Lucky spawned the No. 14 single "Key West Intermezzo (I Saw You First)" (Mellencamp's last Top 40 hit) and "Just Another Day," which peaked at No. 46.

Recording for Columbia (1998–2003)[link]

After the release of Mr. Happy Go Lucky and a subsequent four-month tour from March–July 1997 to promote it, Mellencamp signed a four-album deal with Columbia Records, although he wound up making only three albums for the label.

Issued a day before his 47th birthday in 1998, his self-titled debut for Columbia Records included the singles "Your Life is Now" and "I'm Not Running Anymore," along with standout album tracks such as "Eden Is Burning," "Miss Missy," "It All Comes True" and "Chance Meeting At The Tarantula." The switch in labels coincided with Dane Clark replacing Aronoff on drums. "On this record, we ended up quite a-bit away from where we started," Mellencamp told Guitar World Acoustic in 1998. "Initially, I wanted to make a record that barely had drums on it. Donovan made a record (in 1966), Sunshine Superman, and I wanted to start with that same kind of vibe—Eastern, very grand stories, fairy tales."

He released a book of his early paintings, titled Paintings and Reflections, in 1998.

In 1999, Mellencamp covered his own songs as well as those by Bob Dylan and the Drifters for his album Rough Harvest (recorded in 1997), one of two albums he owed Mercury Records to fulfill his contract (the other was The Best That I Could Do, a best-of collection). In May 2000, he gave the Indiana University commencement address, in which he advised graduates to "play it like you feel it!" and that "you'll be all right." Following the delivery of his address, Indiana University bestowed upon him an honorary doctorate of Musical Arts.

In August 2000, Mellencamp played a series of unannounced free concerts in major cities on the East Coast and in the Midwest as a way of giving back to fans who had supported him the previous 24 years. With a lo-fi setup that included portable amps and a battery-powered P.A. system, Mellencamp, armed with an acoustic guitar and accompanied only by an accordionist and a violist, dubbed the jaunt "Live In The Streets: The Good Samaritan Tour." At these dozen shows, which ranged in length from 45 to 60 minutes, Mellencamp covered a number of rock and folk classics and sprinkled in a few of his own songs. "Nobody's selling anything, there's no souvenirs--except what's in everybody's heart," Mellencamp told Billboard magazine. "Think about it: Isn't that where music started? To anybody who's said thank you to me, I say, 'You're very nice, but, really, thank you.'" ^[8]

The early 21st century also found Mellencamp teaming up with artists such as Chuck D and India.Arie to deliver his second Columbia album, Cuttin' Heads and the single "Peaceful World." Cuttin' Heads also included a duet with Trisha Yearwood on a love song called "Deep Blue Heart." "He played me this song," Yearwood told Country.com, "and he said, 'I kind of have an idea of like when Emmylou Harris sang on Bob Dylan's record, just kind of harmony all the way through.'"

Mellencamp embarked on the Cuttin' Heads Tour in the summer of 2001, before the album was even released. He opened each show on this tour with a cover of the Rolling Stones' "Gimme Shelter" and also played a solo acoustic version of the Cuttin' Heads track "Women Seem" at each show.

In 2003, he released Trouble No More, a quickly-recorded collection of folk and blues covers originally done by artists such as Robert Johnson, Son House, Lucinda Williams and Hoagie Carmichael. The album was also dedicated to Mellencamp's friend, Billboard magazine editor-in-chief Timothy White, who died from a heart attack in 2002. In October 2002, Mellencamp performed the Robert Johnson song "Stones In My Passway" at two benefit concerts for White. Columbia Records executives, who were in attendance at the benefit shows, were so impressed with Mellencamp's live renditions of "Stones In My Passway" that they convinced him to record an album of vintage American songs, which ultimately became Trouble No More. Mellencamp sang the gospel song "Will The Circle Be Unbroken" at White's funeral on July 2, 2002. Trouble No More spent several weeks at #1 on Billboard's Blues Album charts.

Words and Music and Freedom's Road (2004–2007)[link]

Mellencamp participated in the Vote for Change tour in October 2004 leading up to the 2004 U.S. Presidential election. That same month he released the two-disc career hits retrospective Words & Music: John Mellencamp's Greatest Hits, which contained 35 of his radio singles (including all 22 of his Top 40 hits) along with two new tunes, "Walk Tall" and "Thank You" — both produced by Babyface but written by Mellencamp.

In 2005, Mellencamp toured with Donovan and John Fogerty. The first leg of what was called the Words and Music Tour in the spring of '05 featured Donovan playing in the middle of Mellencamp's set. Mellencamp would play a handful of songs before introducing Donovan and then duetting with him on the 1966 hit "Sunshine Superman." Mellencamp would leave the stage as Donovan played seven or eight of his songs (backed by Mellencamp's band) and then return to finish off his own set after Donovan departed. On the second leg of the tour in the summer of '05, Fogerty co-headlined with Mellencamp at outdoor amphitheaters across the United States. Fogerty would join Mellencamp for duets on Fogerty's Creedence Clearwater Revival hit "Green River" and Mellencamp's "Rain on the Scarecrow."

Mellencamp (right) and his band perform at Walter Reed Army Medical Center in 2007.

Mellencamp released Freedom's Road, his first album of original material in over five years, on January 23, 2007. He intended for Freedom's Road to have a 1960s rock sound while still remaining contemporary, and he feels that goal was achieved. "We wanted to make sure that it had the same feeling of some of the great songs from the '60s but also had the message of today and had the backbeat of today. I think we came up with a pretty timeless sounding album," Mellencamp told his online radio station in late 2006. "Our Country," the first single from Freedom's Road, was played as the opening song on Mellencamp's 2006 spring tour, and the band that opened for him on that tour, Little Big Town, was called on to record harmonies on the studio version of "Our Country," as well as seven other songs on Freedom's Road. Although Mellencamp had always been outspoken and adamant about not selling any of his songs to corporations to use in commercials, he changed his stance and let Chevrolet use "Our Country" in Chevy Silverado TV commercials that began airing in late September 2006.

"I agonized," Mellencamp told USA Today's Edna Gundersen in 2007 over his decision to license "Our Country" to Chevrolet. "I still don't think we should have to do it, but record companies can't spend money to promote records anymore, unless you're U2 or Madonna. I'm taking heat because no one's ever done this before. People have licensed songs that have already been hits, but nobody's licensed a brand-new song to a major company, and people don't know how to react."

Mellencamp sang "Our Country" to open Game 2 of the 2006 World Series, and the song was nominated for a 2008 Grammy Award in the category Best Solo Rock Vocal Performance but lost out to Bruce Springsteen's "Radio Nowhere." Freedom's Road peaked at No. 5 on the Billboard 200 album chart by selling 56,000 copies in its first week on the market.

The T-Bone Burnett Era (2008–present)[link]

On August 13, 2007, Mellencamp began recording his 18th album of original material, titled Life, Death, Love and Freedom. The album, which was released on July 15, 2008, was produced by acclaimed roots producer T-Bone Burnett. The first song with video, "Jena," was introduced on Mellencamp's website in October 2007. In an interview with the Bloomington Herald-Times in March 2008, Mellencamp dubbed Life, Death, Love and Freedom "The best record I've ever made." He signed with Starbucks' Hear Music label to distribute the album and said, "they think it's a fucking masterpiece." The album's first single was "My Sweet Love." A video for the song was filmed in Savannah, GA on June 9, 2008. Karen Fairchild of Little Big Town is featured in the video. She harmonizes with Mellencamp on "My Sweet Love" and provides background vocals to three other songs on Life, Death, Love and Freedom, which became the ninth Top 10 album of Mellencamp's career when it debuted at No. 7 on the Billboard 200 the week of August 2, 2008. It sold 56,000 copies in its first week on the market. In its list of the 50 best albums of 2008, Rolling Stone magazine named Life, Death, Love and Freedom No. 5 overall and also dubbed "Troubled Land" No. 48 among the 100 best singles of the year.

Mellencamp made a guest appearance at Billy Joel's July 16, 2008 concert at Shea Stadium in New York. Mellencamp sang "Pink Houses" in front of a sold-out crowd of nearly 60,000 people.

John Mellencamp and Sheryl Crow perform Mellencamp's 2008 single "My Sweet Love" in the Hunter Valley, New South Wales, Australia on Nov. 29, 2008.

On September 3, 2008, Mellencamp made available on his website a home-video recording of his solo acoustic cover of Bob Dylan's "The Times They Are A-Changin'" as a sign that the 2008 Presidential Election is going to bring about change in America.

On September 23, 2008, Mellencamp filmed a concert at the Crump Theatre in Columbus, Indiana for a new A&E Biography series called "Homeward Bound." The show features performers returning to small venues they performed at during the early stages of their careers. Mellencamp had last played at the Crump Theatre on October 4, 1976. The program aired on December 11, 2008 and also featured an in-depth documentary tracing Mellencamp's roots.

For the first time since 1992, Mellencamp toured Australia and New Zealand with opening act Sheryl Crow from November 15 – December 7, 2008. Crow joined Mellencamp on stage to duet on "My Sweet Love" during the last seven shows.

Mellencamp participated in a tribute concert for Pete Seeger's 90th birthday on May 3, 2009 at Madison Square Garden in New York City which raised funds for an environmental organization founded by Seeger to preserve and protect the Hudson River. Mellencamp performed solo acoustic renditions of Seeger and Lee Hays' "If I Had a Hammer" and his own "A Ride Back Home."

In the summer of 2009, Mellencamp embarked on a tour of minor league ballparks with Bob Dylan and Willie Nelson that ran from July 2–August 15.

While he was on tour, Mellencamp recorded a new album, titled No Better Than This, that was again produced by T-Bone Burnett. The tracks for the album were recorded at historic locations, such as the First African Baptist Church in Savannah, Georgia as well as at the Sun Studio in Memphis and the Sheraton Gunter Hotel in San Antonio, where blues pioneer Robert Johnson recorded "Sweet Home Chicago" and "Crossroad Blues". Mellencamp recorded the album using a 1955 Ampex portable recording machine and only one microphone, requiring all the musicians to gather together around the mic. The album was recorded in mono. Mellencamp wrote over 30 songs for the record (only 13 made the final cut), and he wrote one song specifically for Room 414 at the Gunter Hotel. "It's called 'Right Behind Me'. I wrote it just for this room." Mellencamp told the San Antonio Express-News. "I could have done this in my studio. But I want to do it this way, and if I can't do what I want at this point, I'm not going to do it. If it's not fun, I'm not going to do it. I'm through digging a ditch." No Better Than This was released on August 17, 2010 and peaked at No. 10 on the Billboard 200, becoming the 10th Top 10 album of his career. No Better Than This is the first mono-only release to make the top 10 since James Brown's Pure Dynamite! Live At The Royal, which peaked at #10 in April 1964.

On December 6, 2009, Mellencamp performed "Born in the U.S.A." as a tribute to Bruce Springsteen, who was one of the honorees at the 2009 Kennedy Center Honors. "I was very proud and humbled to have been able to play 'Born in the U.S.A.' in a different fashion that I think was true to the feelings that Bruce had when he wrote it," Mellencamp said. He performed "Down By The River" on January 29, 2010 in Los Angeles in tribute to Neil Young, who was honored at the 20th annual MusiCares Person of the Year gala. Mellencamp sang the hymn "Keep Your Eyes on the Prize" at "In Performance at the White House: A Celebration of Music from the Civil Rights Movement" on February 9, 2010.

A career-spanning box set of album tracks and demos titled On the Rural Route 7609 was released on June 15, 2010, nine weeks before No Better Than This hit stores. "If you didn’t get deeper into the original albums and know these songs, it will be like discovering new material," Mellencamp said about On the Rural Route 7609.

Mellencamp, who co-headlined 11 shows in the summer of 2010 with Bob Dylan, launched the No Better Than This theater tour on October 29, 2010 in his hometown of Bloomington, Indiana. On this tour, which ran through the fall of 2011 and covered the entire United States, Mellencamp opened each concert with a showing of a Kurt Markus documentary about the making of No Better Than This called "It's About You" before hitting the stage to play three different sets: a stripped-down acoustic set with his band, a solo acoustic set, and a fully electrified rock set. "It'll be like Alan Freed, like the old Moondog shows," Mellencamp told Billboard magazine prior to the tour. "When you went to see his shows, there was a movie, like 'The Girl Can't Help It' or something, and then three or four bands played. I'm gonna come out and play with upright bass and cocktail [drum] kits and a lot of acoustic instruments. I'll play for, like, 40 minutes that way. Then the band will leave and it'll just be me with an acoustic guitar for 40 minutes, and then there'll be 40 minutes of rock 'n' roll. You'll get three different types of John Mellencamp, and you'll get a movie." Mellencamp played for over two hours and included 24 songs in his setlist on the tour. He brought the No Better Than This tour to Europe in the summer of 2011, opening in Copenhagen on June 24. One reviewer called the opening gig of the European leg of the tour "maybe the best rock-performance ever in Denmark."^[9] The No Better Than This Tour returned to the U.S. for one final round of shows from Oct. 25-Nov. 19, 2011. The tour will conclude with a tour of Canada in the summer of 2012.

In addition to taking part in two Woody Guthrie tribute concerts as part of a year-long celebration surrounding 100-year anniversary of the folk icon's birth, Mellencamp plans to release an album of obscure cover songs in 2012.^[10]

[edit] Ghost Brothers of Darkland County

Mellencamp has been working on a musical with horror author Stephen King, entitled Ghost Brothers of Darkland County, since 2000. The Alliance Theatre in Atlanta, GA announced on March 30, 2011 that the musical will debut in the spring of 2012 and will be directed by Alliance artistic director Susan V. Booth. A three-CD/book package of Ghost Brothers of Darkland County will be released on May 22, 2012 by Hear Music, after the musical completes its run in Atlanta (it runs from April 4-May 13, 2012).^[11] Production on the CD/book package began on June 15, 2009, when T Bone Burnett, who is serving as the project's musical producer, began laying down tracks in Los Angeles, California for the songs Mellencamp wrote for the musical. The recording will have a book containing the full text, two discs featuring the entire production of the spoken word script and songs performed by the cast, and a third CD of the songs only. Mellencamp said the soundtrack includes Rosanne Cash, Sheryl Crow, Elvis Costello, Taj Mahal and Neko Case among others singing the songs he wrote.

In November 2010, Mellencamp told the Chicago Tribune: "T Bone and I and Stephen King are working on a musical. All the music has been recorded. We had Kris Kristofferson, Neko Case, Elvis Costello, Taj Mahal, all singing different characters’ roles. I wrote all the songs, 17 songs. (T Bone) produced. It sounds like the 'Sgt. Pepper' of Americana to me. Forget about the play, just the songs, the way these people sing them. I’m sitting there listening to it and thinking, “Did Rosanne Cash just kill that song or what!” The play is called “Ghost Brothers of Darkland County,” about two brothers who hate each other. If you could imagine Tennessee Williams meets Stephen King. They’re recording the dialogue now and we’re putting out a record of the entire show before it comes out. Right now, Elvis Costello, Meg Ryan, Kris Kristofferson and Matthew McConaughey are doing table readings like an old radio play. So you’ll get all the dialogue, all the sound effects, and all the songs sung by different people so you can follow the story. The CD will come out ahead of time. So many people are involved, it’s taken a long time. But we don’t have to worry about money or record companies – it’s our own money we’re putting into it, so we said, let’s just make something beautiful."

Ryan D'Agostino of Esquire stated in a review of a New York rehearsal of Ghost Brothers of Darkland County in the fall of 2007, "Musicals aren't usually a guy thing. This one, though, is not only tolerable, it's good. It may be the first-ever musical written by men for men. There's no orchestra, just two twangy acoustic guitars, an accordion, and a fiddle. The songs are both haunting and all-American."^[12]

The Alliance describes the show as a "Southern Gothic musical fraught with mystery, tragedy and ghosts of the past."

The official description of Ghost Brothers of Darkland County from the Alliance Theatre website:

In the tiny town of Lake Belle Reve, Mississippi in 1957, a terrible tragedy took the lives of two brothers and a beautiful young girl. During the next forty years, the events of that night became the stuff of local legend. But legend is often just another word for lie. Joe McCandless knows what really happened; he saw it all. The question is whether or not he can bring himself to tell the truth in time to save his own troubled sons, and whether the ghosts left behind by an act of violence will help him – or tear the McCandless family apart forever.

Movie career[link]

Mellencamp has made several forays into acting over the years, appearing in four films: Falling from Grace (which he also directed) (1992), Madison (2001, narration only), After Image (2001), and Lone Star State of Mind (2002). His older brother, Joe Mellencamp, appears in Falling from Grace as the bandleader during the country club scene.

In 1980, Mellencamp turned down the lead role in the movie The Idolmaker because, as he told the Toledo Blade in 1983, "I was afraid that if I made too much money, I'd have no motivation to make records anymore."

Mellencamp told VH1 that he was originally offered the Brad Pitt role in Thelma and Louise: "You know they used to want me to be an actor all the time and I used to get more movie role offers. That's when I was – believe it or not, I used to not be as ugly as I am now. And they gave me this script called Thelma & Louise and they said, 'The guy wrote the part with you in mind, John, you really gotta do this part.' And I read the script and I thought, 'Yeah, I get it but I don't want to take my shirt off.' So Brad Pitt took his shirt off and look what happened to Brad Pitt. I was that close."^[13]

In April 2007, Mellencamp was a "guest critic" on At the Movies, filling in for Roger Ebert.

Personal life[link]

Mellencamp lives five miles outside of Bloomington, Indiana on the shores of Lake Monroe,^[14] but he also has vacation homes in Daufuskie Island, South Carolina and Tybee Island, Georgia.^[15] He married former supermodel Elaine Irwin Mellencamp on September 5, 1992, but on December 30, 2010, Mellencamp announced that he and Irwin had separated after 18 years of marriage.^[16] Their divorce became official on Aug. 12, 2011, with the couple negotiating "an amicable settlement of all issues involving property and maintenance rights, the custody and support of their children, and all other issues," according the settlement agreement.^[17] Mellencamp has five children from his three marriages: Michelle from his first marriage to Priscilla Esterline (1970–81); daughters Teddi Jo and Justice from his second marriage to Victoria Granucci (1981–89); and sons Hud and Speck from his marriage to Irwin. He has since gone public with his relationship with actress Meg Ryan.^[18]

Collaboration with George Green[link]

Mellencamp co-wrote several of his best-known songs with his childhood friend, George Green, who, like Mellencamp, was born and raised in Seymour, Indiana. Green was a gifted lyricist and contributed lyrics to numerous Mellencamp radio hits, including “Human Wheels,” “Minutes to Memories,” “Hurts So Good,” “Crumblin’ Down,” “Rain on the Scarecrow,” "Your Life is Now" and “Key West Intermezzo,” in addition to songs recorded by Barbra Streisand, Hall & Oates, Jude Cole, Vanessa Williams, Ricky Skaggs, Sue Medley and The Oak Ridge Boys among others. Mellencamp and Green's final collaboration was "Yours Forever," a song that was included on the soundtrack to the 2000 movie, The Perfect Storm. Mellencamp and Green had a falling out in the early 2000s, and Green ultimately moved from Bloomington, Indiana to Taos, New Mexico in 2001. "Like when you're married, when you're friends with somebody for a long time, the more things build up the more things can go wrong," Mellencamp said in the liner notes to his 2010 box set, On the Rural Route 7609. "There were personal problems, cross-pollinated with professional issues. George has written some great lyrics and we've written some great songs together, but I just couldn't do it any more."

On August 28, 2011, Green died in Albuquerque, New Mexico at the age of 59 after losing a battle with a rapid-forming small cell lung cancer. “I’ve known George since we were in the same Sunday school class. We had a lot of fun together when we were kids. Later on, we wrote some really good songs together,” Mellencamp told the Bloomington Herald Times shortly after Green's death. “George was a dreamer, and I was sorry to hear of his passing.”^[19]

Politics and activism[link]

Mellencamp was critical of Ronald Reagan through his music in the 1980s and wrote some scathing lyrics about Reagan in his 1989 song "Country Gentleman:" "He ain't a-gonna help no children/He aint a-gonna help no women/He just gonna help his rich friends."^[20]

In 2003, Mellencamp became one of the first entertainers to speak out against the Iraqi War when he released the song "To Washington", which was also critical of the 2000 U.S. Presidential elections. "When the song first came out I was in the car one day and we were driving to the airport and I had my kids with me and a radio station was playing 'To Washington' and having callers call in," Mellencamp said. "Some guy comes on and says, 'I don't know who I hate the most, John Mellencamp or Osama bin Laden.'"^[21]

In an "Open Letter to America" on his website, Mellencamp stated:

The Governor of California was removed from office based on finance troubles. And yet George W. Bush has lied to us, failed to keep our own borders secure, entered a war under false pretense, endangered lives, and created financial chaos. How is it that he hasn't been recalled? Perhaps this time we could even have a real election... but that wouldn't fit the Bush administration's "take what you want and fire people later" policy. Take an election; take an oil field; take advantage of your own people – a game of political Three-Card Monte.^[22]

On his 2007 album, Freedom's Road, Mellencamp included a hidden track called "Rodeo Clown," which was a direct reference to George W. Bush ("The bloody red eyes of the rodeo clown").

In April 2007, Mellencamp performed for wounded troops at the Walter Reed Medical Center. His original intent was to duet on the Freedom's Road track, "Jim Crow," with singer and activist Joan Baez. However, Army officials barred Baez from performing. He told Rolling Stone magazine: "They didn’t give me a reason why she couldn't come. We asked why and they said, 'She can't fit here, period.' Joan Baez is a 66-year-old woman and the sweetest gal in the world."^[23]

According to a February 8, 2008, Associated Press report, Mellencamp's camp asked that the campaign for presidential candidate Sen. John McCain stop using his songs, including "Our Country" and "Pink Houses" during their campaign events. McCain's campaign responded by pulling the songs from their playlist. Mellencamp's publicist, Bob Merlis, noted to the Associated Press that "if [McCain is] such a true conservative, why [is he] playing songs that have a very populist pro-labor message written by a guy who would find no argument if you characterized him as an ardent leftist?" Merlis also noted that the same songs had been used, with Mellencamp's approval, by John Edwards's campaign; in response, the McCain campaign ceased using the songs.^[24]

Mellencamp performed "Small Town" at a Barack Obama rally in Evansville, Indiana on April 22, the night of the 2008 Pennsylvania primary. Mellencamp also performed "Our Country" at a rally for Hillary Clinton in Indianapolis, Indiana, on May 3, 2008, although he never came out in support of either Obama or Clinton during the primaries. "Neither candidate is as liberal as he would prefer, but he's happy to contribute what he can," Merlis said.

On January 18, 2009, Mellencamp performed "Pink Houses" at the Obama inaugural celebration at the Lincoln Memorial.

In 2010, Mellencamp's music was used by the National Organization for Marriage at events opposing same-sex marriage. In response, Mellencamp instructed Merlis to pen a letter to NOM stating "that Mr. Mellencamp’s views on same sex marriage and equal rights for people of all sexual orientations are at odds with NOM's stated agenda" and requesting that NOM "find music from a source more in harmony with your views than Mr. Mellencamp in the future."^[25]

Honors and awards[link]

This biographical section of an article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (January 2011)

Mellencamp has won one Grammy Award (Best Male Rock Performer for "Hurts So Good" in 1982) and been nominated for 12 others. He has also been bestowed with the Nordoff-Robbins Silver Clef Special Music Industry Humanitarian Award (1991), the Billboard Century Award (2001), the Woody Guthrie Award (2003), and the ASCAP Foundation Champion Award (2007). On October 6, 2008, Mellencamp won the prestigious Classic Songwriter Award at the 2008 Q Awards in London, England. Mellencamp was nominated for induction into the Songwriters Hall of Fame in 2009 and 2010 but was not elected either time. On September 9, 2010, Mellencamp received the Americana Lifetime Achievement Award in Nashville.

Mellencamp was inducted into the Rock and Roll Hall of Fame's Class of 2008. The induction ceremony took place in New York City on March 10, 2008, and Mellencamp was inducted by his good friend Billy Joel, who asked Mellencamp to induct him into the Rock Hall back in 1999 (Mellencamp had to opt out because of another commitment, so Ray Charles inducted Joel). During his induction speech for Mellencamp, Joel said:

Discography[link]

See also[link]

	Book: John Mellencamp
Wikipedia books are collections of articles that can be downloaded or ordered in print.

Indiana portal

• Best selling music artists
• List of artists who reached number one on the U.S. Mainstream Rock chart
• Bruce Robb (producer)

References[link]

External links[link]

Wikimedia Commons has media related to: John Mellencamp

• Mellencamp.com Official Website
• 2007 Vanity Fair Feature

v t e John Mellencamp Studio albums Chestnut Street Incident (1976) The Kid Inside (1977) A Biography (1978) John Cougar (1979) Nothin' Matters and What If It Did (1980) American Fool (1982) Uh-Huh (1983) Scarecrow (1985) The Lonesome Jubilee (1987) Big Daddy (1989) Whenever We Wanted (1991) Human Wheels (1993) Dance Naked (1994) Mr. Happy Go Lucky (1996) John Mellencamp (1998) Rough Harvest (1999) Cuttin' Heads (2001) Trouble No More (2003) Freedom's Road (2007) Life, Death, Love and Freedom (2008) No Better Than This (2010) Live albums Life, Death, Live and Freedom (2009) Compilations The Best That I Could Do 1978–1988 (1997) Words & Music: John Mellencamp's Greatest Hits (2004) 20th Century Masters: The Millennium Collection: The Best of John Mellencamp (2007) On the Rural Route 7609 (2010) Singles "I Need a Lover" "Hurts So Good" "Jack & Diane" "Crumblin' Down" "Pink Houses" "Lonely Ol' Night" "Small Town" "R.O.C.K. in the U.S.A." "Paper in Fire" "Wild Night" "Peaceful World" "Walk Tall" Other Discography Falling from Grace (1992) Ghost Brothers of Darkland County (2010) Book:John Mellencamp

Ellie Goulding
Goulding performing at Lincoln Hall, Chicago, U.S., March 30, 2011.
Background information
Birth name	Elena Jane Goulding
Born	(1986-12-30) 30 December 1986 (age 25) Hereford, Herefordshire, England
Origin	London, England
Genres	Indie pop, electropop, synthpop, folktronica
Occupations	Singer-songwriter, guitarist, pianist, drummer
Instruments	Vocals, guitar, drums, piano, clarinet, mandolin, tambourine
Years active	2007–present
Labels	Neon Gold, Polydor, Cherrytree, Interscope
Associated acts	Starsmith, Frankmusik, Diana Vickers, Gabriella Cilmi, Little Boots, Tinie Tempah, Erik Hassle, Lissie, Mumford & Sons, Skrillex,Swedish House Mafia, Lupe Fiasco, DJ Daaar
Website	elliegoulding.com

Elena Jane Goulding (born 30 December 1986),^[1] known professionally as Ellie Goulding, is an English singer-songwriter. In 2010 she became the second artist to both top the BBC's annual Sound of... poll and win the Critics' Choice Award at the BRIT Awards in the same year, following Adele's win of both in 2008. After signing to Polydor Records in 2009, she released her first EP in 2009, An Introduction to Ellie Goulding, followed by her debut studio album Lights in 2010. Her album debuted at number one on the UK Albums Chart and has sold over 650,000 copies in the UK. "Lights" was released in America March 8th 2011, where the title track has been certified platinum by the RIAA (excess of 1 million units sold) ^[2].

Goulding is a soprano,^[3] and her musical style has been compared to that of Kate Nash, Meiko, Lykke Li and Tracey Thorn.^[4]

Background and personal life[link]

Goulding was born and brought up in a small town near Hereford, Herefordshire, the second of four children.^[5][6] She began playing the clarinet at the age of nine, and at 14 began learning guitar. She attended Lady Hawkins' School in Kington, where she won a main part in a school production, the Wizard Of Oz, as the scarecrow. She started songwriting at the age of 15 and while in college she won a singing competition.^[7]

After commencing a drama course, politics course, and an English course at the University of Kent,^[8] where she was exposed to electronic music, she developed her sound on the track "Wish I Stayed" with the help of Starsmith and Frankmusik. Starsmith went on to become her chief collaborator and primary producer of Lights. After two years at Kent, she was advised to take a gap year to pursue singing,^[9][10] and moved to West London.^[11]

She is a keen runner, running six miles every day, and in 2010 announced plans to run a marathon.^[6] In support of her second EP, Run Into the Light, she invited a small number of fans through her Facebook pages, to run with her in seven different cities on her UK tour,^[12] and has announced that she will be doing the same across Europe and the United States. Goulding is considered to have an impressively athletic physique.^[13][14][15]

Music career[link]

Early career[link]

Signed to Polydor Records in September 2009,^[9] Goulding's debut single, "Under the Sheets", was released digitally in the United Kingdom on 15 November 2009,^[16] peaking at number fifty-three on the UK Singles Chart.^[17] In October 2009 she toured the UK supporting Little Boots,^[18] and appeared on Later... with Jools Holland, performing "Under the Sheets" and "Guns and Horses".^[19] "Wish I Stayed" was available as a free download as the Single of the Week on iTunes Store UK from 22–28 December 2009.^[20]

[edit] 2009–11: Lights and Bright Lights

Before the release of her debut studio album, Goulding won the BBC Sound of 2010 poll, which showcases the critics, broadcasters and music industry insiders' top choices for rising stars and artists for the coming year.^[21] She also won the Critics' Choice Award at the 2010 BRIT Awards, which prize made her the second artist to win both in the same year.^[22]

Goulding performing in Amsterdam on 17 September 2010.

Goulding's debut album Lights was released in March 2010, reaching number one on the UK Albums Chart and number six on the Irish Albums Chart.^[23][24][25] Its singles, "Starry Eyed", "Guns and Horses" and "The Writer" peaked at numbers 4, 26, and 19 respectively.^[17] The album has sold over 650,000 copies in the UK as of April 2012.^[26] In August 2010, Goulding released a second EP, Run Into the Light, containing remixes of songs from Lights. The album was supported by Nike and was released through Polydor as a running soundtrack in an effort to get Goulding's music taken up by the national running subculture.^[12]

In November 2010, Lights was re-released as Bright Lights, with six new tracks added. It was originally announced that the lead single from Bright Lights would be the new edit of the title track with a release scheduled for 1 November 2010.^[27] Yet this was scrapped to allow her cover of Elton John's "Your Song" to be released in conjunction with the John Lewis Christmas 2010 advertising campaign in the UK.^[28] The single became Goulding's highest-charting single to date, reaching number two on the UK Singles Chart.^[17] The song also charted in some European countries in early 2011.^[29]

Goulding toured in support of Lights and supported Passion Pit in March 2010 and John Mayall during his British tour in May 2010.^[30] During the summer she performed at a number of festivals. On 29 May she performed at the Dot to Dot Festival in Bristol.^[12] She performed a set on 25 June at the Glastonbury Festival 2010 on the John Peel Stage.^[31] Her third EP was a live recording of part of her set at the iTunes Festival 2010.^[32] The whole set was ultimately included as bonus content on the iTunes version of Bright Lights.^[33] She made her T in the Park debut on 11 July.^[34] She played on the Nissan Juke Arena at the 2010 V Festival in late August.^[35] In September she was part of the line-up at Bestival 2010 on the Isle of Wight.^[36] In support of the album in Europe she performed on the first day of Pukkelpop in Belgium, at the Open'er Festival in Poland and at Benicàssim in Spain.^[37] A track from Lights, "Every Time You Go", was featured in the Vampire Diaries episode "Founder's Day", "Your Biggest Mistake" appeared in an episode of The Inbetweeners.^[38] and "Believe Me" appeared in an episode of 90210. She began a tour of the United States and Canada in February 2011 to coincide with the release of the American edition of Lights.^[39] In August/September 2010 the singer was an opening act on Irish alternative rock band U2's U2 360 Tour in Munich, Germany, Vienna, Austria, and Zurich, Switzerland.^{[citation needed]}