listening to this just makes you realize what an incredible vocalist Jon was.. Man o man what talent. The timbre of his voice and the range is just astounding.
Currently, many people criticize him for the way he sings, saying that he sounds horrible or he forgot to sing but, just imagine you already sing like that and with many other songs for 40 years, obviously your voice is going to be f*cked up, but he's doing his best anyway, he's not the same anymore, but he still has the guts to be in the stage and keep doing what he likes the most.
How can you search for this then dislike it? This shows how raw and powerful Jon’s voice was, it’s unbelievable and he damaged his voice for our benefit so just embrace and enjoy it!!!
@@vegetaisbetterthangoku2891 I'm sorry oyu feel that way, but it's true. This so so chopped up it's crazy, and then for it to be so all over the place when this is supposed to be his "best possible performance" I mean this is what is ON THE ALBUM, it's just that his "best" should be better than that.
@Herra Makunautinto maybe you can share your tips/technique so that it won't hurt vocally :) because if you ask me, that part really strains the vocal chords.
He hits some of the highest notes in the history of rock. But much more astounding is how high is the tessitura of this song. In other words, most every note of the main chorus is a higher note than what most decent tenors can sing.
hmm.. have you ever tried singing Dio? This tessitura is nothing compared to Dio, but still a great song.. And decent tenors can definitely hit those notes... Heck I am a baritone and I have no problem singing this song , for me runaway has always been more difficult..
same lol i'm a Bass/Baritone, but these notes are nothing. The only stuff I have difficulty with is Rody Walker, Lukas Magyar, Mike Patton or Spencer Sotelo
es una gran canción dificil de cantar y el podía llegar a las notas mas altas y sin finjir la voz aguda sino que mantenía su voz rasposa llegando las notas mas altas algo difícil de hacer mis respetos
@@99omarinho cantar eso asi mas de 5 veces jode la voz a cualquiera. Creo q es la inconsciencia y ganas de comerse el mundo propias de los años de juventud. Eso si, le valio para vender muchos discos y por que no decirlo, vivir de las rentas.
@@mightymouse7903 y hay dos millones de covers de esta cancion y nadie nadie nadie cantó asi, nadie.. pero es como decis vos, estaba apuesto a todo y se comio el mundo, literal
Sounds amazing!!! I love the "Slippery When Wet" album, I love social disease and Wanted dead or alive, living on a prayer, pretty much the whole album! Bon jovi is such a great artist!
Drop dead gorgeous and killer voice. Saw them when they opened for RATT in the 80's. Loved both bands but Bon Jovi should have been the headliners. Blew RATT away.
Opened for RATT. Jesus Christ. I never knew that and I´m from Jersey. Almost like Journey opening for Nickelback. Ok, not really. I just never cared for RATT.
Excelente y unica voz, que con la musica de la banda es una cancion perfecta, hermosa y legendaria. I ❤ Jon Bon Jovi & Bon Jovi el mejor grupo de Rock.
Jon Bon Jovi. Registro vocal: 3 1/4 octavas. Nota mas alta:G5 (let´s make it baby (demo) Nota mas baja: E2 (Queen of New Orleans) La mejor voz que he escuchando! BON JOVI THE BEST!!
Alright, so here’s why it sounds a bit weird in the end (most likely): It isn’t autotune (lol did not exist) OR tape speed. There are two things going on: (1) This is NOT one recording. There are at least two; and the parts are spliced together, because Jon was not able to sing all of the chorus in one go without sacrificing power and quality. So half of it is one take, and the other half is another (e.g., recording 1: “Woah, we’re half way there”; recording 2: “Woah-oh living on a prayer” [and really that may be three recordings]). (2) The other thing going on is a complete change in how he’s singing. Most of the song is chest voice. But this part is mostly head voice, but “thickened” up with an ungodly amount of pharyngeal voice. You will notice his annunciation gets a bit less sharp here as well. This helps facilitate that pharyngeal voice, and the power he gets in the transition between “living” and “on,” despite it being mostly head voice with a bit of mixed voice in there. That sound really blows up the nasal passage at the most powerful notes there, but the reality is that it SOUNDS much more powerful than it really is. It’s a difficult to learn trick, in much the same way screaming in metal is. But this part sounds weird in part because it’s head voice and mix voice, and utterly saturated in pharyngeal voice. This is my best guess anyway.
Sorry But Not The Fifth Octave... Maybe The Fourth But If Not 100% The Third, If You Want A Fifth Octave Note By Jon Bon Jovi, Then You Can Just Listen To I'll Be There For You Or Livin' In Sin. Or I Think Let's Make it Baby.
@@pablosole3700 ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-EgbYzH2-1Lc.html como dijo el de arriba, en Bradford anoto TODAS LAS NOTAS. Impresionante!
[Intro] Once upon a time, not so long ago [Verse 1] Tommy used to work on the docks, union's been on strike He's down on his luck, it's tough, so tough Gina works the diner all day, working for her man She brings home her pay for love, mmm, for love [Pre-Chorus] She says, "We've got to hold on to what we've got It doesn't make a difference if we make it or not We've got each other and that's a lot for love We'll give it a shot" [Chorus] Woah, we're halfway there Woah-oh, livin' on a prayer Take my hand, we'll make it, I swear Woah-oh, livin' on a prayer [Verse 2] Tommy's got his six-string in hock, now he's holding in What he used to make it talk so tough, ooh, it's tough Gina dreams of running away when she cries in the night Tommy whispers, "Baby, it's okay, someday" [Pre-Chorus] We've got to hold on to what we've got It doesn't make a difference if we make it or not We've got each other and that's a lot for love We'll give it a shot" [Chorus] Woah, we're halfway there Woah-oh, livin' on a prayer Take my hand, we'll make it I swear Woah-oh, livin' on a prayer, livin' on a prayer [Guitar Solo] [Bridge] Ooh, we've got to hold on, ready or not You live for the fight when it's all that you've got [Chorus] Woah, we're halfway there Woah-oh, livin' on a prayer Take my hand and we'll make it, I swear Woah-oh, livin' on a prayer Woah, we're halfway there Woah-oh, livin' on a prayer Take my hand and we'll make it, I swear Woah-oh, livin' on a prayer Woah, we're halfway there Woah-oh, livin' on a prayer Take my hand and we'll make it, I swear... (Woah, we're halfway there Woah-oh, livin' on a prayer)
I think it's all done without any pitch treatments as others have suggested, but you can hear that it's different performances/punch-ins as it would be "impossible" to sing this all the way through otherwise.
@@ElNano9620 Freddie nunca dejó de cantar, tienes que informarte antes de comentar una burrada, Freddie tenía un rango vocal(no bucal) de F2 a F6, son 4 octavas, el cantó hasta el último momento y tenía una voz asombrosa, escucha the show must go on.
Salut Jon. Depuis des années 40 ans que je t'écoute chanter tout les jours. Tu es vraiment un homme incroyable et unique. Ta voix me fait frissonnée à chaque fois que je t'écoute chanter . Mille baisers de France. Y Love You Jon mon amour platonique ❤️💟❤️💟❤️💟❤️
1 dislike???? how could u search for this, listen to it and not b happy wit it!!!!! Jon's voice here is incredible,amazing,outstanding,superb!!!!!!!!!!!
This was an amazingly demanding song! his range is beyong Sprinsteen, Tyler, Perry or other real competitive singers. Jon belongs to a breed of deep pop rock singers with strong physical and vocal demands
Легенда 20го века. Джон спокойно перепел Битлз, Травелинг Валдбурес, Мика Джагера Его голос просто феноменальный ..и был ещё голос Стивена Тайлера , но он был другим конечно
To everyone going on about there being no auto tune in the 80’s; Yes, it was recorded in analogue. This is how they recorded before digital really took over. However, there was studio trickery even then. They would stretch the tape to allow the recorded vocals to hit higher notes. I suppose it was the analogue era’s auto tune. This is used here. Also, there is a lot of ‘ping-pong’ and ‘bounce’ which is when you literally only sing one line at a time to make it easier. Even Jon Bon Jovi didn't sing this live in this key, and the reason is because the tapes were stretched to up the key in the studio. He even admitted in interview’s that trickery was used in the studio for this song. Sorry to burst the bubble, but nearly all of this song is artificial vocals. I’m a massive Bon Jovi fan, so I actually found this fascinating rather than off putting.....
I have a theory about what makes a singers voice appealing (not necessarily technically great). It has a lot to do with emotion in the voice and a lot of that comes from pushing yourself and your voice to the limit. Other more technically gifted singers might actually pull of the song more perfectly, but it's not as appealing because it lacks the straining that the original did to reach those notes and the emotion involved. Jon Bon Jovi definitely reaches to hit those notes and with those imperfections comes character and emotion. Steve Perry sang Journey songs in much the same way, as if his life depended on it. And in both these cases as well as many others, their voices aren't what they once were, and not just due to aging. I'll give an example with a singer I saw last year (and don't let your opinion of this singer distract from the point I'm trying to make). Adam Lambert sang the songs of Queen effortlesly and flawlessly. He didn't have to strain in places where the immortal Freddie Mercury did, and ironically, that's what made Freddie's vocals so special. And taking that risk, which makes the vocal so appealing, is also what reduces your vocal quality more rapidly.
Emotion is EXACTLY right. If its Authentic sounding it will sale. The same reason Adele sounds so amazing. Its what makes 90's power ballads immortal!!!
Once upon a time not so long ago Tommy used to work on the docks, union's been on strike He's down on his luck, it's tough, so tough Gina works the diner all day working for her man She brings home her pay, for love, for love She says, we've got to hold on to what we've got It doesn't make a difference if we make it or not We've got each other and that's a lot for love We'll give it a shot Woah, we're half way there Woah, livin' on a prayer Take my hand, we'll make it I swear Woah, livin' on a prayer Tommy's got his six-string in hock Now he's holding in what he used to make it talk So tough, it's tough Gina dreams of running away When she cries in the night, Tommy whispers Baby, it's okay, someday We've got to hold on to what we've got It doesn't make a difference if we make it or not We've got each other and that's a lot for love We'll give it a shot Woah, we're half way there Woah, livin' on a prayer Take my hand, we'll make it I swear Woah, livin' on a prayer Livin' on a prayer Oh, we've got to hold on, ready or not You live for the fight when it's all that you've got Woah, we're half way there Woah, livin' on a prayer Take my hand, we'll make it I swear Woah, livin' on a prayer Woah, we're half way there Woah, livin' on a prayer Take my hand, we'll make it I swear Woah, livin' on a prayer Woah, we're half way there Woah, livin' on a prayer Take my hand, we'll make it I swear Woah, livin' on a prayer
This version makes me feel sadness for some reason. It starts out good with just him, and its beautiful. But then it stays just his voice, it feels alone and hopeless. and just full of sorrow. I love this voice only version, but it feels sad :(
Resultados da pesquisa Resultado do Mapa de informações Livin' on a Prayer Bon Jovi Once upon a time not so long ago Tommy used to work on the docks, union's been on strike He's down on his luck, it's tough, so tough Gina works the diner all day working for her man She brings home her pay, for love, for love She says, we've got to hold on to what we've got It doesn't make a difference if we make it or not We've got each other and that's a lot for love We'll give it a shot Woah, we're half way there Woah, livin' on a prayer Take my hand, we'll make it I swear Woah, livin' on a prayer Tommy's got his six-string in hock Now he's holding in what he used to make it talk So tough, it's tough Gina dreams of running away When she cries in the night, Tommy whispers Baby, it's okay, someday We've got to hold on to what we've got It doesn't make a difference if we make it or not We've got each other and that's a lot for love We'll give it a shot Woah, we're half way there Woah, livin' on a prayer Take my hand, we'll make it I swear Woah, livin' on a prayer Livin' on a prayer Oh, we've got to hold on, ready or not You live for the fight when it's all that you've got Woah, we're half way there Woah, livin' on a prayer Take my hand, we'll make it I swear Woah, livin' on a prayer Woah, we're half way there Woah, livin' on a prayer Take my hand, we'll make it I swear Woah, livin' on a prayer Woah, we're half way there Woah, livin' on a prayer Take my hand, we'll make it I swear Woah, livin' on a prayer
Damn what a singing, my vocal chords hurt just by listening to this. Obviously a legendary piece by Bon Jovi. But you can clearly hear how cut and pasted together whole chorus is. Making it nearly un-performable live without backup singers.
+BonJovi Archives Na jajajaja i can hit that notes with a vocal technique ;) That "OOOOOH" goes to the back of the nouse(resonace) and the L goes in front of the teeth, so its easy...
+BonJovi Archives ... when productions were much more expensive because they had to do a gazillion takes and still pitch-correct some parts in the end... in a mostly analog environment.
Relatively uncommon, but Bob Clearmountain was on the job here. He had the Eventide Harmonizer. We had a guy who eventually sold a design to Eventide hook us up with pitch modification on a keyboard to find any note back in 1991, and by then it was commonplace in the better studios.
