The James Labrie Appreciation Thread

[DragonAttack]

Had a couple of nice Father's Day gifts (James' and Jordan's recent solo releases).  'Grey' is good, but surprisingly acoustic and mellow throughout.  A shame there's a 'sameness' about it, as it's really well done (other than 'Supernova Girl').

[SeRoX]

My Top 10 James Work

1- Awake (Dream Theater)
2- Leonardo - The Absolute Man (Trent Gardner Project)
3- The Human Equation  (Ayreon)
4- Images & Words (Dream Theater)
5- Mullmuzzler 2  (Mullmuzzler)
6- Madmen & Sinners  (Tim Donahue)
7- Unweaving the Rainbow (Frameshift)
8- Elements of Persuasion (James LaBrie Solo)
9- The Astonishing (Dream Theater)
10- Terra Incognita: Beyond The Horizon (Roswell Six)


Honorable mention:
1- Black Clouds and Silver Linings Cover Disc (Dream Theater)
2- Beautiful Shade of Grey (James LaBrie Solo)
3- Babysteps (Henning Pauly)

[Mladen]

Images and words, Awake, Systematic chaos, The Astonishing and Static impulse are my choices. Not sure about the order, though.

[Cool Chris]

I still marvel at 4 guys writing the vocals for Images and Words, and legitimately thinking "Yeah, we should be able to find someone to sing this, no problem."

[TheCountOfNYC]

I still marvel at 4 guys writing the vocals for Images and Words, and legitimately thinking "Yeah, we should be able to find someone to sing this, no problem."

And what’s incredible is that before the injury, they did! It cannot be overstated how absolutely amazing James sounds on both Images and Words as well as Awake, and those early live performances, when he pushed the vocals even harder and added some grit to his tone, are just insane.

[WilliamMunny]

Probably in the minority with this opinion, but, hey, if not here (in the JLB appreciation thread), then where?

For me, JLB's I&W and Awake performances are a bit, well, not my speed.

I mean, in terms of sheer power and range, yes, it's impressive, but there is just so much 'over' singing and it really does nothing for me. I'm way more of a 'feel' over 'range' guy. DT could've dumped JLB for a young, hot-shot replacement at any point, but they would've lost me right then and there.

But, if the band had continued on with him in that vein, I likely would not have been the die-hard fan I've become.

For me, JLB circa '99-'07/08 is where I feel he was his most versatile/best. I'll take his vocals on 'Scenes' or '6 Degrees' over I&W any day of the week.

To that point, I recently checked my Apple Music listening stats, and so far, in 2022, I've listened to DT twice as much as the next closest artist (some 200 hours ).

Not since I was a wee lad has that been the case, but something clicked this past year and I spent months diving back into the catalog. Bottom line: JLB has provided a remarkably consistent string of recorded performances over the years/decades.

[Animal]

Probably in the minority with this opinion, but, hey, if not here (in the JLB appreciation thread), then where?

For me, JLB's I&W and Awake performances are a bit, well, not my speed.

I mean, in terms of sheer power and range, yes, it's impressive, but there is just so much 'over' singing and it really does nothing for me. I'm way more of a 'feel' over 'range' guy. DT could've dumped JLB for a young, hot-shot replacement at any point, but they would've lost me right then and there.

But, if the band had continued on with him in that vein, I likely would not have been the die-hard fan I've become.

For me, JLB circa '99-'07/08 is where I feel he was his most versatile/best. I'll take his vocals on 'Scenes' or '6 Degrees' over I&W any day of the week.

To that point, I recently checked my Apple Music listening stats, and so far, in 2022, I've listened to DT twice as much as the next closest artist (some 200 hours ).

Not since I was a wee lad has that been the case, but something clicked this past year and I spent months diving back into the catalog. Bottom line: JLB has provided a remarkably consistent string of recorded performances over the years/decades.

I am firmly in the camp of 1992-1995 James Labrie being one of the greatest singers ever but I understand where you are coming from. Objectively, by 2000, he had lost that ringing quality with a shit-ton of harmonics that made his voice such a marvel but in a way, he had learned how to do more with less. He could just no longer drop your jaw with nothing but the sheer sound of his voice like he would, for example, in so many1992-1993 performances of The Killing Hand.

IMO, he always sounds best in songs that sit in normal tenor tessitura, with an occasional super high note or scream- ACOS, TKH. The most of IaW and Awake songs have him sing too high for too long so they are not the best advertisement for the vocal sound he was capable of, though they certainly do advertise his range and power...I would say the vocal melodies there are absolutely horrendous in terms of "how to properly write for a lyrical tenor voice" - but they are also unique and totally awesome (and JLB was probably bound to eventually pay the price for singing such melodies so often, bad shrimp or not).

[bosk1]

Coming back to this:

Here's a question for you guys. Even when James was at his peak, pre-injury; it seems he still was a "polarizing" vocalist in the metal community or even among casual listeners. I was just wondering what the main reason for that was - speculating that maybe it was his tone, or maybe his enunciation? Or maybe both? Because he certainly had range and power back then, and wasn't having as much trouble with pitch.

It's hard to generalize about why a large, diverse group of people don't like something.  But one thing I found during this time period (and after) is that younger metal fans who didn't cut their teeth on '80s metal just had different tastes in what metal or hard rock should sound like, and a band with soaring high clean vocals didn't fit that mold.  When you look at lists of the most popular metal acts of the '90s, it isn't surprising when you see bands like Tool, Korn, Deftones, Pantera, Alice in Chains, Rage Against the Machine, Slipknot, System of a Down, and Nine Inch Nails topping a lot of those lists.  Vocals like James' were not the popular choice.  Even Maiden decided to go in a completely different direction vocally during Bruce's departure during that period.  I think it's safe to say that we can lump a lot of the criticism during that period to the fact that a new generation of metal heads had tastes that James' style just didn't fit.  That may seem rational or fair given James' talent, but it ultimately doesn't come down to talent--it comes down to taste.  Honestly, I did a similar thing when I was developing my musical tastes in the '80s.  There were a LOT of acts that are really talented from the '70s and '60s that I rejected out of hand just because the '80s sound had "moved past" that earlier sound, and my tastes aligned with the style I was getting into in the '80s.  In the same way, because the music scene in the '90s and changed and "moved past" the '80s sound, a singer that sounded a lot more similar to those '80s stylings was bound to be disliked by a lot of the newer metal fanbase, and even the older metal fanbase that was ready for something new and was tired of that '80s sound.

[Ben_Jamin]

Coming back to this:

Here's a question for you guys. Even when James was at his peak, pre-injury; it seems he still was a "polarizing" vocalist in the metal community or even among casual listeners. I was just wondering what the main reason for that was - speculating that maybe it was his tone, or maybe his enunciation? Or maybe both? Because he certainly had range and power back then, and wasn't having as much trouble with pitch.

It's hard to generalize about why a large, diverse group of people don't like something.  But one thing I found during this time period (and after) is that younger metal fans who didn't cut their teeth on '80s metal just had different tastes in what metal or hard rock should sound like, and a band with soaring high clean vocals didn't fit that mold.  When you look at lists of the most popular metal acts of the '90s, it isn't surprising when you see bands like Tool, Korn, Deftones, Pantera, Alice in Chains, Rage Against the Machine, Slipknot, System of a Down, and Nine Inch Nails topping a lot of those lists.  Vocals like James' were not the popular choice.  Even Maiden decided to go in a completely different direction vocally during Bruce's departure during that period.  I think it's safe to say that we can lump a lot of the criticism during that period to the fact that a new generation of metal heads had tastes that James' style just didn't fit.  That may seem rational or fair given James' talent, but it ultimately doesn't come down to talent--it comes down to taste.  Honestly, I did a similar thing when I was developing my musical tastes in the '80s.  There were a LOT of acts that are really talented from the '70s and '60s that I rejected out of hand just because the '80s sound had "moved past" that earlier sound, and my tastes aligned with the style I was getting into in the '80s.  In the same way, because the music scene in the '90s and changed and "moved past" the '80s sound, a singer that sounded a lot more similar to those '80s stylings was bound to be disliked by a lot of the newer metal fanbase, and even the older metal fanbase that was ready for something new and was tired of that '80s sound.

I feel it's the same reason people don't like Rush vocals or Coheed and Cambria vocals.

My friends mother was a singer in her younger days, and she has told us many times how much she doesn't like JLB's vocals. They're too pitchy, screechy, and sort of whiney. She doesn't consider him a good vocalist either. This is due to his inconsistency live and not being able to replicate his studio vocals. That right there is what determines whether a singer was good or not for my friends mom.

This is how I view singers as well. That is because singers can do many vocal takes, and choose the best ones, they can try and try to get the best possible note, but at that, they had to try. When they try and sing these songs live, you realize that they sort of went overboard, and are having difficulties actually singing it live.

I have also heard some bands talk about making a song, and then realizing they're going to have to play it live some day, or don't acknowledge it and never play it all because it'll be difficult to sing/play and it won't be as good.

I am one that does enjoy JLB's tone, and vocals, but I admit that he is a very inconsistent live singer and he modifies his vocals a lot when singing live. Also, he is a singer who does sing demanding parts live, they tour constantly, so I do not expect his vocals to be the best all the time.

[jimgolf]

My Top 10 James Work

1- Awake (Dream Theater)
2- Leonardo - The Absolute Man (Trent Gardner Project)
3- The Human Equation  (Ayreon)
4- Images & Words (Dream Theater)
5- Mullmuzzler 2  (Mullmuzzler)
6- Madmen & Sinners  (Tim Donahue)
7- Unweaving the Rainbow (Frameshift)
8- Elements of Persuasion (James LaBrie Solo)
9- The Astonishing (Dream Theater)
10- Terra Incognita: Beyond The Horizon (Roswell Six)


Honorable mention:
1- Black Clouds and Silver Linings Cover Disc (Dream Theater)
2- Beautiful Shade of Grey (James LaBrie Solo)
3- Babysteps (Henning Pauly)

Thanks for this list! Some of these I’ve never heard before and I’m checking them out right now 

I’ll return with my thoughts (I havent heard Babysteps, Ayreon, Terra Incognita, The Absolute Man)

[goo-goo]

I just wish DT would use more of James' different voices (which they did with The Astonishing). Frameshift's Unweaving the Rainbow, Leonardo The Absolute Man and the Black Clouds covers disc are just flawless performances by James and covers his complete voice palette if that makes sense.

[RickyGervais]

James was nice enough to help me with a Christmas gift for a friend of mine. We ended up doing a "virtual" duet together with the song "Disappear"!

https://www.youtube.com/watch?v=Eou6RhB1xKA

[WilliamMunny]

James was nice enough to help me with a Christmas gift for a friend of mine. We ended up doing a "virtual" duet together with the song "Disappear"!

https://www.youtube.com/watch?v=Eou6RhB1xKA

Guy is a class act.

Say what you will about his range, James’ warmth has always been the key selling point to me, and “Disappear” still sounds amazing!

[Kram]

James was nice enough to help me with a Christmas gift for a friend of mine. We ended up doing a "virtual" duet together with the song "Disappear"!

https://www.youtube.com/watch?v=Eou6RhB1xKA

Great job Ricky and James sounds amazing!  Would love to see this song back in DT's setlist sometime.

[Volante99]

Probably in the minority with this opinion, but, hey, if not here (in the JLB appreciation thread), then where?

For me, JLB's I&W and Awake performances are a bit, well, not my speed.

I mean, in terms of sheer power and range, yes, it's impressive, but there is just so much 'over' singing and it really does nothing for me.

While I wouldn’t go as far as to say it does “nothing” for me, I actually agree with your main premise,  primarily with “Awake.”

This is probably a sacrilege amongst DT fans but I actually think JLB’s vocals are a weak spot on that record rather than a highlight. Don’t get me wrong; from a technical/performance standpoint, it’s nothing short of phenomenal, but because JLB is going full-throttle, balls to the wall through 30-40% of the album, it actually loses a lot of its impact. I realize this is prog metal, but a little restraint probably would have gone a long way.

To illustrate my point- take a song like “Pull Me Under” - a song where I feel DT utilizes JLB’s range and power to good effect. His vocals build and crescendo until he finally takes off with  “WATCH THE SPARROW FALLING” and instantly it grabs listener’s attention and you know it’s ON like Donkey Kong. If JLB had been belting it out prior to that section of the song, then that moment loses its impact/power.

Basically, as impressive as JLB is on “Awake”, I wish they had been a bit more strategic (?) about choosing their vocal dynamics or “high spots”, to borrow a phrase from pro wrestling. Notice I don’t put all the blame on JLB as he’s not responsible for all the vocal melodies.

By the time we get to Falling Into Infinity and Scenes, JLB and the boys have calmed down on the vocal theatrics (at least partially out of necessity, I’m sure) and I don’t think that was a bad thing for the overall sound of the band.

[hunnus2000]

Probably in the minority with this opinion, but, hey, if not here (in the JLB appreciation thread), then where?

For me, JLB's I&W and Awake performances are a bit, well, not my speed.

I mean, in terms of sheer power and range, yes, it's impressive, but there is just so much 'over' singing and it really does nothing for me.

While I wouldn’t go as far as to say it does “nothing” for me, I actually agree with your main premise,  primarily with “Awake.”

This is probably a sacrilege amongst DT fans but I actually think JLB’s vocals are a weak spot on that record rather than a highlight. Don’t get me wrong; from a technical/performance standpoint, it’s nothing short of phenomenal, but because JLB is going full-throttle, balls to the wall through 30-40% of the album, it actually loses a lot of its impact. I realize this is prog metal, but a little restraint probably would have gone a long way.

To illustrate my point- take a song like “Pull Me Under” - a song where I feel DT utilizes JLB’s range and power to good effect. His vocals build and crescendo until he finally takes off with  “WATCH THE SPARROW FALLING” and instantly it grabs listener’s attention and you know it’s ON like Donkey Kong. If JLB had been belting it out prior to that section of the song, then that moment loses its impact/power.

Basically, as impressive as JLB is on “Awake”, I wish they had been a bit more strategic (?) about choosing their vocal dynamics or “high spots”, to borrow a phrase from pro wrestling. Notice I don’t put all the blame on JLB as he’s not responsible for all the vocal melodies.

By the time we get to Falling Into Infinity and Scenes, JLB and the boys have calmed down on the vocal theatrics (at least partially out of necessity, I’m sure) and I don’t think that was a bad thing for the overall sound of the band.

FWIW - I agree with you 100%. I&W is a phenomenal album but I feel the vocals were a bit over the top and that's probably because the album was written before JLB came aboard and his vocal technique was prolly coached from the producer. Same with Awake and his vocals were so strained that people thought DT hired a new vocalist. 

[bosk1]

Probably in the minority with this opinion, but, hey, if not here (in the JLB appreciation thread), then where?

For me, JLB's I&W and Awake performances are a bit, well, not my speed.

I mean, in terms of sheer power and range, yes, it's impressive, but there is just so much 'over' singing and it really does nothing for me.

While I wouldn’t go as far as to say it does “nothing” for me, I actually agree with your main premise,  primarily with “Awake.”

This is probably a sacrilege amongst DT fans but I actually think JLB’s vocals are a weak spot on that record rather than a highlight. Don’t get me wrong; from a technical/performance standpoint, it’s nothing short of phenomenal, but because JLB is going full-throttle, balls to the wall through 30-40% of the album, it actually loses a lot of its impact. I realize this is prog metal, but a little restraint probably would have gone a long way.

To illustrate my point- take a song like “Pull Me Under” - a song where I feel DT utilizes JLB’s range and power to good effect. His vocals build and crescendo until he finally takes off with  “WATCH THE SPARROW FALLING” and instantly it grabs listener’s attention and you know it’s ON like Donkey Kong. If JLB had been belting it out prior to that section of the song, then that moment loses its impact/power.

Basically, as impressive as JLB is on “Awake”, I wish they had been a bit more strategic (?) about choosing their vocal dynamics or “high spots”, to borrow a phrase from pro wrestling. Notice I don’t put all the blame on JLB as he’s not responsible for all the vocal melodies.

By the time we get to Falling Into Infinity and Scenes, JLB and the boys have calmed down on the vocal theatrics (at least partially out of necessity, I’m sure) and I don’t think that was a bad thing for the overall sound of the band.

I don't think it's "sacrilege," but I'm going to disagree, and here's why:  James has gone on record explaining that he came to the band during the Awake sessions and told them he wanted to go for a harder, grittier approach, and they supported him in that.  This was a bit new and different, both for James and for DT.  So it's understandable that this new approach would have dominated a significant part of the album, which goes to your point.  But where I disagree is that, notwithstanding what I just conceded, Awake is still vocally very diverse and dynamic.  Voices and Scarred, for example, show off incredibly wide dynamic and stylistic range, going from soft and breathy to either full belting or grit, and a lot of places in between, all within the same song.  And while you have songs where James is just going for it the entire song, like 6:00 or CIAW, you also have entire songs where he is very restrained in different ways, like Lifting Shadows, the Silent Man, and Space Dye Vest.  And even among those, James is doing very different things in terms of style, technique, and dynamics.  So while it's one thing to not like the vocals on Awake (which is fine), I don't really agree with the specific criticism for why you say you don't like them.

[Architeuthis]

James was nice enough to help me with a Christmas gift for a friend of mine. We ended up doing a "virtual" duet together with the song "Disappear"!

https://www.youtube.com/watch?v=Eou6RhB1xKA

Dang, that is AWESOME!!!  💯💫👏

[TheBarstoolWarrior]

Probably in the minority with this opinion, but, hey, if not here (in the JLB appreciation thread), then where?

For me, JLB's I&W and Awake performances are a bit, well, not my speed.

I mean, in terms of sheer power and range, yes, it's impressive, but there is just so much 'over' singing and it really does nothing for me.

While I wouldn’t go as far as to say it does “nothing” for me, I actually agree with your main premise,  primarily with “Awake.”

This is probably a sacrilege amongst DT fans but I actually think JLB’s vocals are a weak spot on that record rather than a highlight. Don’t get me wrong; from a technical/performance standpoint, it’s nothing short of phenomenal, but because JLB is going full-throttle, balls to the wall through 30-40% of the album, it actually loses a lot of its impact. I realize this is prog metal, but a little restraint probably would have gone a long way.

To illustrate my point- take a song like “Pull Me Under” - a song where I feel DT utilizes JLB’s range and power to good effect. His vocals build and crescendo until he finally takes off with  “WATCH THE SPARROW FALLING” and instantly it grabs listener’s attention and you know it’s ON like Donkey Kong. If JLB had been belting it out prior to that section of the song, then that moment loses its impact/power.

Basically, as impressive as JLB is on “Awake”, I wish they had been a bit more strategic (?) about choosing their vocal dynamics or “high spots”, to borrow a phrase from pro wrestling. Notice I don’t put all the blame on JLB as he’s not responsible for all the vocal melodies.

By the time we get to Falling Into Infinity and Scenes, JLB and the boys have calmed down on the vocal theatrics (at least partially out of necessity, I’m sure) and I don’t think that was a bad thing for the overall sound of the band.

FWIW - I agree with you 100%. I&W is a phenomenal album but I feel the vocals were a bit over the top and that's probably because the album was written before JLB came aboard and his vocal technique was prolly coached from the producer. Same with Awake and his vocals were so strained that people thought DT hired a new vocalist.

I&W is an over-the-top album then? MP and JP played way more notes than what they could have. I don't see what makes JLB's performance excessive in particular unless you're thinking that the whole project is just a bit much.

[goo-goo]

Probably in the minority with this opinion, but, hey, if not here (in the JLB appreciation thread), then where?

For me, JLB's I&W and Awake performances are a bit, well, not my speed.

I feel Awake was James' best performance. You can hear all his different "voices" in Awake from a soft/hypnotic voice Space Dye Vest to the aggressive/metal voice in Lie/The Mirror, to the everything but the kitchen sink in Scarred. Performance wise, this is my favorite James album and he is the reason I keep coming to it. I think Awake is also full of emotion, albeit an aggressive one and imo, it was done flawless throughout the record.

Now, the phrasing and enunciation did get better in SFAM and SDOIT and both of them are just great in the vocal department. He had to adapt and he did it in a great way. I think when James participates in the lyrics and melodies, they come a whole lot better than when he doesn't (AVOTOTW). At Wit's End is a great example of what he can do vocally in the current DT form.

[Animal]

Probably in the minority with this opinion, but, hey, if not here (in the JLB appreciation thread), then where?

For me, JLB's I&W and Awake performances are a bit, well, not my speed.

I feel Awake was James' best performance. You can hear all his different "voices" in Awake from a soft/hypnotic voice Space Dye Vest to the aggressive/metal voice in Lie/The Mirror, to the everything but the kitchen sink in Scarred. Performance wise, this is my favorite James album and he is the reason I keep coming to it. I think Awake is also full of emotion, albeit an aggressive one and imo, it was done flawless throughout the record.

Now, the phrasing and enunciation did get better in SFAM and SDOIT and both of them are just great in the vocal department. He had to adapt and he did it in a great way. I think when James participates in the lyrics and melodies, they come a whole lot better than when he doesn't (AVOTOTW). At Wit's End is a great example of what he can do vocally in the current DT form.

To me, James' singing on Awake is the best harsh vocals performance I have ever heard, by any singer. His mix of extremely bright operatic tone with so much distortion and aggression is unique.

[Herrick]

James has gone on record explaining that he came to the band during the Awake sessions and told them he wanted to go for a harder, grittier approach, and they supported him in that.

Cool. I always thought Petrucci and Portnoy were behind that. Was it also LaBrie's idea to sing like that on Live in Tokyo 1993?

[SeRoX]

https://www.youtube.com/watch?v=Ajt5pxbB8is&ab_channel=K%C3%9C2H

First time seeing this concert. Godly vocal performance.

[TheBarstoolWarrior]

Probably in the minority with this opinion, but, hey, if not here (in the JLB appreciation thread), then where?

For me, JLB's I&W and Awake performances are a bit, well, not my speed.

I feel Awake was James' best performance. You can hear all his different "voices" in Awake from a soft/hypnotic voice Space Dye Vest to the aggressive/metal voice in Lie/The Mirror, to the everything but the kitchen sink in Scarred. Performance wise, this is my favorite James album and he is the reason I keep coming to it. I think Awake is also full of emotion, albeit an aggressive one and imo, it was done flawless throughout the record.

Now, the phrasing and enunciation did get better in SFAM and SDOIT and both of them are just great in the vocal department. He had to adapt and he did it in a great way. I think when James participates in the lyrics and melodies, they come a whole lot better than when he doesn't (AVOTOTW). At Wit's End is a great example of what he can do vocally in the current DT form.

To me, James' singing on Awake is the best harsh vocals performance I have ever heard, by any singer. His mix of extremely bright operatic tone with so much distortion and aggression is unique.

 

[Kram]

https://www.youtube.com/watch?v=Ajt5pxbB8is&ab_channel=K%C3%9C2H

First time seeing this concert. Godly vocal performance.

Yeah he was off the charts back then!

[TAC]

https://www.youtube.com/watch?v=Ajt5pxbB8is&ab_channel=K%C3%9C2H

First time seeing this concert. Godly vocal performance.

Yeah he was off the charts back then!

 

I had this on as a VHS boot back in '93. But wow, this quality is amazing.

[bosk1]

Wow, that's REALLY good.

[wolfking]

Probably in the minority with this opinion, but, hey, if not here (in the JLB appreciation thread), then where?

For me, JLB's I&W and Awake performances are a bit, well, not my speed.

I feel Awake was James' best performance. You can hear all his different "voices" in Awake from a soft/hypnotic voice Space Dye Vest to the aggressive/metal voice in Lie/The Mirror, to the everything but the kitchen sink in Scarred. Performance wise, this is my favorite James album and he is the reason I keep coming to it. I think Awake is also full of emotion, albeit an aggressive one and imo, it was done flawless throughout the record.

Now, the phrasing and enunciation did get better in SFAM and SDOIT and both of them are just great in the vocal department. He had to adapt and he did it in a great way. I think when James participates in the lyrics and melodies, they come a whole lot better than when he doesn't (AVOTOTW). At Wit's End is a great example of what he can do vocally in the current DT form.

To me, James' singing on Awake is the best harsh vocals performance I have ever heard, by any singer. His mix of extremely bright operatic tone with so much distortion and aggression is unique.

 

I was confused at this too but guessing he means like.......clean but raspy gritty performance, not actually harsh like death/black metal style vocals.

[crystalstars17]

Just adding my two cents here regarding what I think is his best era of vocals.

I happen to love Score (biased maybe, as it was my first exposure to the band) and I had never before beard such a capable, controlled, powerful, sweet and angelic tenor voice before in any rock genre. Just, a glorious sweep of warmth and bell-like sound. It was love at first listen.

To this day I have never heard anything like it. I have other favorite singers (Geoff Tate, Bruce Dickinson, Michael Kiske) and each has his own superpower, but James is unique in his utterly angelic and beautiful sound.

[LCArenas]

It's gonna be real tough to sell this take and not seem like a complete fanboy, but as years go by, JLB's performance in I&W, Awake and his live renditions of WDADU songs in the 90s have reached the Mercuries. I call "The Mercuries" to a state of performance in an album made by a singer that is so unique that, no matter how good other vocalists are, can never match the level of interpretation made by the original vocalist. I had this opinion after listening to Freddie on Queen's albums from their self-titled to "The Game": These songs might be made as covers by singers who might even have a wider range or more potency; but they can never reach the characteristic voice color and interpretation of the original. Happens with Freddie, happens with James. Historical.