Chords for Ken Tamplin / Paul Carrack - Squeeze -TEMPTED - cover - Ken Tamplin Vocal Academy

Hey guys, Ken Tamplin once again back here at Costa Mesa Studios with my buddy Nick Feenbark
And we're gonna do a takedown of one of my all-time favorite singers, which is Paul Carrick
He's a lot like Paul Rogers, but maybe a little sweeter both British guys.
You might remember him from the band Squeeze
We're gonna do the song tempted.
He was also in Mike and the [G#] Mechanics who was a guitar player for Genesis
I don't remember that but he has some great songs in the living years
Silent running all I need is a miracle don't shed a tear and he uses actually a raised larynx position
So, um, I'm gonna do this because I like this kind of style of singing
But he also knows when to drop the larynx as he goes up top
So Nick if you could go ahead and just roll tape, we'll do it now first and then [B] we'll discuss it more later
But again, it's Paul Carrick.
It's called tempted and I think you know this one's here we [F#m] go
_ [E] _ _ _ _ [B] _ _
_ _ [E] _ _ _ _ [B] _ _
_ [D#m] _ _ [G#m] _ But _ [C#]
jammer a hairbrush [Em] new shoes in a case [Bm] I said to my reflection
Let's [F#m] get out of this _ _ [G]
place
[A] [D] Past [E] the church and the steeple [G] the lorry on the hill
[B] The billboards and the buildings [A]
memories of [F] it still keep [D] calling _ [E] and calling
[D] Or forget it [G] all, you know, [E] I [D] will
_ [B] _ _ [F#m] _ _ [E] _
_ _ _ [B] Jumped it
[F#m] _ _ [E] _ Jumped it
Was [C#] been moving on now [F#] that you've been gone [B] _ _ _ [F#m] _ [E] Tempted
_ _ _ [B] _ _ [F#m] _ [E] Tempted
_ _ _ [C#m] _ _ _ _ [Em] _
[D#m] _ [Em] _ [F#m] _ [Em] _ [D#m] _ [Em] _ [F#m] _ [B] _
_ [F#] _ _ [G#m] _ _ _ [C#] I'm
Keep on crowding [Em] I'm wishing I was well [Bm] I said it's no occasion
[F#m] It's no story I could tell
[G] _
_ [A] _ [D] [E] And my bedside empty pocket
[G]
Your _ _ [B] body gets much closer
[A] _
_ [F] _ _ [D] _ The _ [E] _ seduction
[D] Well, I [G] wish
_ [E] _
_ [D] _ _ [B] _ _ [F#m] _ _ [E] _
_ _ _ _ [B] _ _ [F#m] _ [E] _
_ Well
What's [C#] been going on now that [F#] you've been gone
_ [B] _ [F#m] _ _ [E] _
_ _ _ [B] _ _ [F#m] _ _ [E]
Tempted Truth [C#m] is
_ _ [Em] Discovered
[D#m] _ [Em] _ [F#m] _ [Em] _ [D#m] _ [Em] [F#m] I [B] bought a novel [F#] Perfume
[G#m] A fortune all for you
[C#]
But it's not my conscience
[Em] Hating to be untrue
[Bm] I ask of my reflection
[F#m] What is there to [G] do
_ [A] _ [G] [B] Tempted [F#m] by the fruit of [E]
another
_ _ [B] Tempted [F#m] but the truth is [E]
discovered
_ [C#] What's been going on now that you've been gone
_ _ _ [F#] _
_ _ [B] _ _ _ [F#m] _ _ [E] _
_ _ _ [B] _ _ [F#m] _ _ [E] _
_ _ _ [C#m] _ _ _ _ _
_ With
Okay, [B] so, you know we [F#m] have a like I said a guy using a raised larynx position
and we've talked a lot about lowered larynx positions and we've done everything from
Pavarotti to Michael Jackson to [N] Dio to I mean you name it some of the most difficult voices
But this this kind of singing you know an R&B style like this is very very difficult to do
I'm tempted but the truth is discovered
You know I bought a toothbrush some toothpaste a flannel for my face
Pajamas a hairbrush new shoes and a case I said to my reflection
Let's get out of this place
_ _ Because you have to be spot on on the pitch all the way through the phrases
There's no play in it, and you've got to add some soul to the sound too
So you actually have to place the sound and you're using a raised larynx position, so it's kind of got that froggy thing so
Tempted by the fruit of another
You have to have
_ Everything in a row you're throwing the sound to the front of the cord
You're using a lot of compression because you're up kind of high
So you have to really listen and be spot on and the brighter it is the cooler
It is because the more you can actually hear through the pitch
So as you're doing this and you can set yourself up for stuff like this
I recommend instead of just worrying so much about singing high everyone's so preoccupied with singing high or everyone's so preoccupied with
distorting their vocals and stuff if
You can get into this kind of sound first and get good at it
And then you start to learn how to sing high and then you start to learn about hyperglottal compression
My suggestion is this is one of the most beautiful
Parts of the voice for especially the male tenor or high Barry like myself, and it's not about singing high
It's about singing great
So this will really help I think a lot with the soul and good pitch
And really understanding what it takes to be a great singer, so thank you for joining me
We got more to come and again
This was Paul Carrick and squeeze and also he was in Mike the mechanics, and I actually had a brief stint with
Roger water Roger waters excuse me of a pink Floyd for a bit, too, so anyway
Thanks for joining me