Why is the world so infatuated with these ‘Gravel Voice’ types? Does it make the sound resonating more interesting than the more common clear voice type? As this is my own acronym, you are probably wondering what I am thinking.
So let me make it clear by example: Rod Stewart, Chris Rea, Kelly Jones (Stereophonics). All of them sound like something has chopped up their larynx with a sharp knife, or a bunch of pebbles got stuck in their throats that is quite immovable. If you are into your music, you are going to understand my logic.
...'Bonnie Tyler was quite the hottie when young, but that voice.., fuck no, it always grated me'... - Source
The ladies don’t escape though they appear less frequently, with Bonnie Tyler being the prime gravel-throated crooner, Stevie Nicks (Fleetwood Mac) a much lesser pebble spitter, and Marianne Faithful a prime example, with her extensive use of drugs being the factor.
Despite being a fan of Stevie, it was more her music ('and stunning looks') than the voice that got my attention on discovering her in the very early 1980’s. but Bonnie Tyler, forget it, I am not a fan.
Bonnie might have collaborated with the late Meat Loaf, who everyone seemed to deem as godly all those years ago, but I could never see (or hear) what all the fuss was about.
The two of them together were never going to raise my dick beyond flaccid level, and there could even be a threat of the dreaded walnut syndrome creeping in.
Stereophonics - Maybe Tomorrow (You Gotta Go There to Come Back - 2003)
I used to work with a bunch of dudes who were Stereophonics fans. I remember one of them mentioning that 'Kelly Jones' either sounded half-decent or like a pile of shit depending on what day it was. Obviously, he was not enamoured by those raspy vocal chords, and the music was the attraction.
Likewise, I am not a particularly huge fan of this band, with the odd tune sticking out such as this one. Was it the distorted guitar that sounds suspiciously like it's been lifted, chopped, and re-mixed from the Isley Brothers, ‘Summer Breeze’ that held my attention, or that warbly voice that grabbed me?
I do suspect the former but can handle a few pebbles.
In a Broken Dream – Python Lee Jackson (In a Broken Dream – 1972)
Let’s jump into one of the most prominent and famous gravel voices, Rod Stewart. The band released this track featuring Rod’s vocals which raced up the charts giving them a sole top ten hit.
It was before my time, unfortunately, the, 'unfortunately', being because I do love the late 60’s and 70’s sounds and only started taking any notice close to the end of my junior school days.
I figure I was quite early joining the music bandwagon but missed early classics such as ‘Maggie May’, a song I do like but has been grossly overplayed on the national radio.
Source
...'the king of gravel? many would say so, as well as extravagance'...
Like many of these songs released when I was far too young to appreciate them, I had to delve into the past and find them usually with some 'old' person giving me hints on what was good and tips about the general shite released. All era's have a percentage of crap, and this period was no different.
That distorted guitar had my ear from the first moment, even though the arrangement and production of this song tries its best to subdue the glory. Can you turn that bit up a little?
When the vocals start, it's blatantly obvious that it's Rod behind the microphone.
Fleetwood Mac – Sisters of the Moon (Tusk – 1980)
Stevie Nicks barely falls into this category, but I feel I must include one female in the list, and it’s not going to be Bonnie Tyler. With a highly distinctive voice, I remember seeking out the ‘Stevie’ songs on each Fleetwood Mac album during the time I was discovering their music and rummaging through the back catalogue.
They always seemed the most interesting, dreamy, and melancholic of the bunch and occasionally contained some decent guitar work courtesy of ex-partner Lindsay Buckingham.
Source
...'every young blokes wet dream fantasy and I was no exception in the early 1980's, Stevie was super hot'...
'Sisters of the Moon’ is an example of this, which appears to covey Stevie’s mysterious persona but on looking it up, I discovered… ‘the song was written about her deteriorating health' 🤢.
As per all of my selections today, it’s the guitar that wins me over, and this does not disappoint with a grungy performance close to the end from Lindsay which almost betters the outro of ‘Tango in the Night’.
What of the ‘Gravel Voice’ in today’s world? You may notice all of these songs are over twenty years old. Are there no young voices made up of broken bricks, chipped pebbles, and split granite?
I don’t feel this is a trait one can learn, but innate. You either have a cracked voice, or you don’t.
There’s always the option of extensive drug abuse for twenty years, then you could arise as the one and only ‘Gravel Voice’ of recent times. Once the older crooners are gone, you will be one exclusive individual.
Guitar Image - Source
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