Brittney Spears meets Marilyn Monroe – cover by PMJ ft. Haley Reinhart “Oops!… I Did It Again”!

Brittney Spears meets Marilyn Monroe – cover by PMJ ft. Haley Reinhart “Oops!… I Did It Again”!

welcome back to the charismatic voice I’ve been saving this one for a moment when I felt absolutely silly taxes are done I just finished updating my computer’s operating system and my son is potty training so Oops I did it again as performed by pmj featuring Haley Reinhardt is incoming let’s get to [Music] [Applause] it yeah yeah yeah yeah yeah yeah I think I did it again I made you one more than just friend oh baby my seem like a crush but it doesn’t mean that I’m serious cuz you lose all my senses that is just so typically M of every baby I with your Li in the G oh baby baby oops you think I’m in love that I’m s from [Music] above uh this is fabulous like it is so full of tiny little vocal Expressions everywhere it it’s amazing uh it’s I almost uh I feel like it’s just overl it’s briming with vocal expression also she had so many fun things with registration Haley Reinhardt is a goddess when it comes to vocal expression right and then of course pmj Scott Bradley uh Legends when it comes to arranging something in a way that is totally unexpected I’ve seen them in concert loved that too really really fun act to watch so we’re going to go back to the beginning [Music] yeah yeah yeah yeah so Smokey even in the like the paws there look at that it’s like boom I got you it is very Merin Monroe [Music] okay yeah one of the things I love is when singers experiment with the sound of inhaling they make their inhales mean something I guess I was talking with Lolly the fairy voice mother youall know her as awesome awesome she knows her stuff I really like her we’re talking recently about beatboxing and how beatboxers particularly use the inhales and I think that as voice technique especially contemporary vocal technique continues to evolve we’ll start seeing a lot more done with those inhales Haley does some really cool stuff [Music] here yeah yeah I think I did it again I made you B when more than just friend oh baby it might seem like a crush but it doesn’t mean I love that run with a little yodel to begin it that is it’s Exquisite right it’s um my goodness I want to think of some sort of bubbling drink that that is just got the bubble sort of overflowing for a bit it’s like um when you open a too Chico go and suddenly it overflows right the carbonation just goes all out that’s what just happened the opening was the little yodel and then all of the trimbles down in the form of vocal runs that was the all of the water leaving and creating a not as much of a mess because it’s water it’s carbonated water Topo Chico should probably sponsor this channel because of how much I talk about it but at least it’s not soda and you don’t have sticky goo to clean up [Music] my senses that is just so typically baby baby oops I love the her eyes her body expression and the vocal flip up on oops it really sounds like she had so much fun right this is so much better than the Britney Spears version it it’s hilarious it makes you want to have fun [Music] too it’s so fascinating listening to the way she shifts between uh not just different vocal registers meaning ch or head or some people call mixer register she navigates essentially what uh muscle or set of muscles is dominant in the creation of sound uh very easily she also is playing around a lot with Fingal space it’s really affecting the Resonance of the sound sometimes you’ll have a much deeper sound all of a sudden and she is maximizing this Dynamic variation in her sound from so many different perspectives whether it’s muscle activation spacing um breath effects lots of breath not as much breath just the breath there’s so many different facets of tone quality that she’s bringing and has a very Dynamic movement between all of them there’s a lot of Fingal space so check that out one more [Music] time that’s [Music] [Music] there’s that breath in again she’s so deliber with her breaths I have to mention one other thing though she lets this air come in between almost creating different onsets with the air as she’s coming down here it’s uh it’s an interesting [Music] effect right there she’s essentially letting the phonation stop between notes there and adding a little air again very playful with how much breath is in the sound or maybe just having pure breath as the sound I’m from above I’m not there inoc [Music] oh yeah [Music] yeah the little slide up on that [Music] one you see my problem is this I’m Dreaming away wishing that exist I cry watching The Dan did you see I’m a fool in so [Music] many wow it’s just it’s so rapid all of these little switchings back and forth you guys hear me talk about coat switching sometimes when I’m describing clean vocals and harsh vocals and the ability to switch from one set of muscles to another set of muscles very very quickly she’s doing something that’s similar in the way she’s so rapidly going back and forth between different tambers it’s really cool in so many that’s so light and forward that’s just so baby oops and when she goes into that section she has a much much heavier tone and she’s also adding a little bit of rattle there probably a written noid in probably some some written noids in there but it’d be hard to really know for sure unless we had a camera down her [Music] throat that that rattle is [Music] nice oh baby baby oops you think I’m in and I’m s from [Music] the so fascinating how much movement she’s coordinating with this too right she had a lot of the same movements during the chus that time that she did the first time so I think that this isn’t just sort of off the cuff fun organic movements I think she’s actually choreographed quite a bit of this maybe she did that with the team and and I don’t know maybe that was something that they put together for this video just specifically or maybe they were going on tour and she was putting that choreography and I do know that in the performance I saw of them here in Tucson they had some f fantastic choreography the whole through line of the show was just totally brilliant very very worth watching you think I’m in and I’m sent from the I’m [Music] not I love the flute in there yes [Music] oh my gosh she’s just having a great time the whole band is too though even though they look so chill it’s like they’re chill but they let the emotion flow still it just was so nice it almost had a Samba kind of feel we went into here [Music] so interesting how she plays with her vibr there too she’s really brought a lot of different styles from great jazz singers into her voice obviously that rattle sound really became particularly popular with Louis Armstrong but the way she brings in uh or plays with rbr reminds me a lot of Ella Fitzgerald as well as she was starting her sound here um she started and immediately went into a very wide vibr and then brought it [Music] back right there and has just a tiny bit of that wide vibr at the end oops again I with your that last in again baby baby oops you think I’m in love that I’m s from I’m not dir dir again I live with your [Applause] heart baby [Music] baby from I’m not [Music] that wow okay we’re going to go back a little bit here this is a great example of the difference between really belting something versus flipping up into your head voice there we go oh I could have stopped at a better spot nailed it right there right when she flipped over there that was going into her head voice she’s belting the other time now a lot of people ask me what is belting and uh different people will Define it in different ways I usually describe belting as going higher going higher in Pitch while maintaining a lower register so uh people can totally belt in their chest voice and oper singers will often just belt in their head voice but they’ll be really much much much higher when they’re belting in their head voice uh it often in a female’s voice in particular oh that it counts for male too it tends to involve more of a thicker vocal fold connection some more ta thyroid dominance in the sound so it’s just a a heavier more power powerful sound and flipping over means that you let that dominance switch and the sound will suddenly become much much lighter which is what the flip into head voice is she’s belting there flip there all right that when you are able to hear the difference really in the tamber and hear how suddenly it becomes a little more clear and fluty when she flips over over over time those things become really really obvious to hear especially if you’ve worked on that in here and you can almost feel like a light switch that can be turned on and off yeah I play with your [Applause] heart baby baby Bel [Music] there and she mixes nicely there [Music] and that’s all that that moment where she went up there again head voice it got a lot more uh pristine essentially flip there I’m back in she is navigating between her registers phenomenally well enough that I can’t say words [Music] [Applause] [Music] I like the way she really shifted the focus here to more rhythmic singing CU she’s done all of these crazy awesome runs and so even in the the group they’ve shifted it to be much more direct hits a little less [Applause] complex you in game baby [Music] that from I’m not that in the pap a heel let’s go back one more time I know it’s uh wrapping up in here but check out again the way she’s using that registration this is such this is such a great performance to listen to How female registers can work and if you are a lady trying to train your registers and learn how to cross those a little bit more especially if you’re working on some of that really high belting in your chest voice o this would be a great song to work on there’s some beautiful head voice and then she mixes it back down one more time you can almost even hear exactly where it breaks in there I’m not one other thing that’s really interesting I know sorry I keep I keep stopping so many moments but she has so many details and voice uh that are really worth exploring one of the things I hear frequently is that when she uses an O vowel it seems to be more willing to flip that is really really common with people having a preferred vowel in one register versus another register uh ooh can be a really great one for the head voice in particular and having something a little bit wider and more open literally having your mouth more open and wide that can work a little bit better for belting for some people but everybody is different every body is literally different so if you find yourself just finding it easier to sing a in head Voice versus e in chest voice run with it just figure out what your preferences are and then lean into that to help you discover how to uh play with more colors more Crossing and more control of register flips that’s back is this let’s go back a little [Music] more there’s that beautiful really good cross I’m not that in nice singing through your in oh it’s so mysterious I like this version so much more than the original and I especially love Haley singing it she is exuberant in her Expressions they’re just teaming overflowing with joy and exploration it’s so much fun and if yall have never seen pmj live I highly highly recommend it if you want to see some more analysis of their music check out this playlist over here and may you fall more in love with music every day [Music]

Those that have been here a while know that I’m a huge Postmodern Jukebox fan, and have even seen them on tour. Haley Reinhart herself has a special place in my heart (her duo with Puddles Pity Party is legendary) so listening to her cover Brittney Spears would be an absolute treasure!

Join professional opera singer Elizabeth Zharoff, as she listens to Postmodern Jukebox ft. Haley Reinhart covering “Oops!… I Did It Again” for the first time.
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Performed by Postmodern Jukebox, Haley Reinhart – Words and Music by Brittney Spears
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I definitely recommend watching the original video without interruptions. Here’s the link: https://www.youtube.com/watch?v=g_HN50TLuaI

Show PMJ some love: https://www.youtube.com/channel/UCORIeT1hk6tYBuntEXsguLg
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Elizabeth Zharoff is an international opera singer and voice coach, with 3 degrees in voice, opera, and music production. She’s performed in 18 languages throughout major venues in Europe, America, and Asia. Currently based somewhere between Los Angeles and Tucson, Arizona, Elizabeth spends her days researching voice, singing, teaching, writing music, and recording TONS. She also plays Diablo and Dungeons & Dragons.
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