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  • Elvis Presley had a much higher pitched voice on his earlier 1950s rockabilly recordings, compared to the deeper voice of his later hits. The latter is the voice with which most associate Elvis (e.g., the deep-voiced "aw, thank ya, thank ya very much").
  • Wynonna Judd started out with a sweet, girlish alto when she was one-half of The Judds. By "One Hundred and Two" (the Judds' last Top 10 hit, in 1991), her voice had started getting a little deeper. When she went solo a year later, she began singing in a much fuller, throatier, husky contralto. Her voice still managed to get even deeper yet in the late 90s-early 2000s, adding Elvis Presley-esque quavers and growls that often result in her sounding like a man.
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  • Kenny Chesney is a pretty extreme example. He started out with a high, twangy voice as was common for most male country singers in the mid-1990s. By the end of the decade, his twang was starting to relax, and his voice became mellower. Since about No Shoes, No Shirt, No Problems, it's very mellow and almost completely devoid of twang (although he still sings out of his nose, and often sounds as if he has a really bad cold). Just listen to the re-recordings of his mid-90s songs "The Tin Man" and "Fall in Love" on his first Greatest Hits Album in 2001 versus the originals, and the change even in that timespan is noticeable.
  • Aaron Tippin began with an almost comically heavy, nasal twang. But starting with "That's as Close as I'll Get to Loving You", he began singing in a deeper, less nasal register with vibrato that made him sound somewhat like Marty Robbins. Even when he does go back into twang mode (e.g. "Kiss This"), it's still way deeper and less exaggerated.
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  • Myles Kennedy has an incredible range and can sound different from one song to the next, but on the first Alter Bridge album, One Day Remains, he tended to employ a sort of post-grunge yarl that was a bit cleaner but still reminiscent of Eddie Vedder or Chris Cornell. In later recordings, starting with Blackbird, he kicked it up into a sort of Metal tenor and sounded more like Bruce Dickinson. Just compare "Open Your Eyes" to "Ties That Bind" or "Cry of Achilles".
  • Freddie Mercury's voice was youthful and almost ethereal in the early 70's; his voice gradually became heavier, and he started smoking in 1980, which caused his voice to gradually turn huskier. However, when he was diagnosed with HIV/AIDS in 1987, he stopped smoking, and his voice lost a little huskiness and became somewhat angelic again, although still very mature.
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  • Mick Jagger is another pretty noteworthy example. Early on, he didn't have quite as shrill of a voice, and could somewhat alter his singing voice occasionally when the song called for it, (as most noticeable in the soft tone of ballads like "Ruby Tuesday" and "As Tears Go By") but over time, the signature throaty and guttural "roar" became Mick's default style of singing. Smoking, and to a lesser extent, age have done little to help, and by the time Jagger quit smoking some time around the 80s, tobacco had already clearly taken its toll.
  • Dan Auerbach of The Black Keys started out with a rather gritty Blues-Rock voice, which has lost most of its bluesy tone over time. Listen to The Big Come Up from the Keys, and then Dan's solo album Waiting on a Song and the change is very obvious.
  • Tim McGraw's singing voice became lower and far less whiny starting with Set This Circus Down.
  • Alan Jackson also became deeper and less whiny throughout the 2000s. He's also lost a fair bit of range, and sounded rather weak on "Long Way to Go" in 2011.
  • Alt-metal band Kutless's lead vocalist Jon Micah Sumrall had a much scratchier, lower voice, and sounded a lot like Scott Stapp from Creed on the band's debut album. He sounded like Scott to a point where if you were half-asleep, you'd mistake the two (the chorus for 'Tonight' is a good example). On the second album and beyond, his voice was higher and much smoother, probably because he wanted the Creed comparisons to stop.
  • One extreme example came entirely by accident: Bonnie Tyler originally had a fairly average singing voice as heard on her early hits such as "Lost in France", but vocal cord surgery in 1976 left her with an extremely husky and raspy delivery, as exemplified on her Breakthrough Hit "It's a Heartache" and especially on her Career Resurrection hits in the 1980s, "Total Eclipse of the Heart" and "Holding Out for a Hero".
  • For his first few albums, Tom Waits' singing voice was really only slightly low and raspy. He's become more and more of a Guttural Growler ever since.
  • Roger Daltrey! There's a huge difference between his voice on Tommy and Who's Next. While hinting at this in earlier songs like "My Generation," his tenor became richer and more powerful in the 1970s and beyond.
  • Aerosmith's Steven Tyler deliberately modified his own singing voice for most (though not all) songs on the first two albums (Aerosmith and Get Your Wings). His voice for the song "Dream On" (from Aerosmith) is very different from the more raw singing voice he used for, say, "Walk This Way" (Toys In the Attic, just two years later). He can still turn the trick (live performances of "Mama Kin" and "Dream On" sometimes have him briefly switch back to the modified voice), but unlike the early years, it's no longer his default singing voice.
    • Even stranger is hearing Steven Tyler's vocal style with his little-known pre-Aerosmith band Chain Reaction (whose single "When I Needed You" appears on the Aerosmith box set Pandora's Box): Not only does he sing in a lower, smoother voice similar to the one used for much of the first two Aerosmith albums, but he also has a bit of a Fake Brit accent, seemingly imitating Keith Relf of British blues-rock band The Yardbirds.
  • Metallica's James Hetfield, compare his vocals on Kill 'em All to The Black Album.
    • Even more jarring: Compare his vocals during the band's live shows in the 80's to those of their live shows during the 90's. Particularly in 1993-1994, his voice really struggled with the high notes he used to effortlessly sing in the 80's. And his voice, during the 90's, became quite a bit deeper and huskier due to a combination of heavy smoking and many years of constantly screaming off the top of his lungs (which eventually led to his voice blowing out while recording Metallica's infamous cover of "So What" during the Black Album sessions). In fact, his gradual Vocal Evolution is cited as the main reason why Metallica started tuning their guitars down half a step after Woodstock '94.
  • While Bob Dylan has more-or-less always had the famous nasal gruffness, there have been some subtle changes over the years. On his first two albums, Bob Dylan and The Freewheelin' Bob Dylan, he has a Woody Guthrie-influenced drawl. On his other pre-electric albums he almost shouts a lot of the lyrics. On his first two electric albums he went with a plain but forceful way of singing, emphasizing certain syllables. On Blonde on Blonde (1966) he exaggerates that style almost to the point of self-parody. On John Wesley Harding (recorded late 1967) his timbre begins to sound like that which pervaded his 70's work: a sharpness in his louder sections, a hoarseness in quieter ones. A major departure from that was his crooning voice on Nashville Skyline (1969). Bootleg tapes confirm that this was very similar to the voice he used when he first started playing folk clubs in his Minnesota college days, so it was a deliberate change on Dylan's part. Dylan went so far as to hang a Lampshade on this with his version of "The Boxer" on Self Portrait, done as a duet between Classic Dylan and Skyline Dylan. The close of the 70's gave us a wavering, sneering quality to his singing voice, raspy as ever. Starting in the late 80s he developed a strange slurring style that led to all the jokes about him needing a translator. Since Time Out of Mind in 1997 his voice is more noticeably hoarse, so he's adopted a softer style of singing to compensate.
  • Van Morrison originally sang in quite a high register, and even went falsetto on a couple of songs. From the early Eighties, he began to sing lower down to take it easy on his throat, and started sounding like he does now.
  • This was also the case for David Cassidy during his stint with The Partridge Family. A variant of the puberty trope above, his singing voice started out somewhat nasally throughout season one of the series and gradually matured into a lower, more smoother baritone style by 1972.
  • Ray Stevens originally sang in a high, goofy, somewhat nasal voice in the 1960s. By the 1970s, he still used the nasal voice on novelty songs, and used a more traditional delivery on ballads that still came across as rather strident. Come the early 1980s, he dropped all affectation and just sang in a smoother baritone.
  • On his first four albums (barring his first release "Indian In-Laws" b/w "Swingin'"), Cledus T. Judd usually sang in a slightly off-key, nasal twang that one critic described as "Junior Samples on helium". Around the release of Just Another Day in Parodies (his first album for Monument Records after leaving Razor & Tie), he began using his normal voice more frequently, while the more twangy affectations became more subdued and stayed in-key.
    • Judd also parodied this trope on "My Voice", a spoof of Child Popstar Billy Gilman's "One Voice". In the parody, his voice gets deeper and deeper throughout the song (the last verse by way of studio tweaking), and he laments that he can no longer sing in the childish upper range.
  • Gary LeVox of Rascal Flatts has always had a very high and nasal voice, but on their first three albums, his delivery was a lot lighter and more relaxed. Once Dann Huff took over as their producer on Me and My Gang, Huff's notoriously bombastic production all but forced Gary to become equally bombastic just to be heard over all the noise. As a result, he quickly devolved into extremely whiny, high-pitched, melismatic delivery that sometimes spilled into an an ear-splitting screech (most notoriously the Title Scream on "Bob That Head"). Starting with their move from now-closed Lyric Street Records to Big Machine, the production finally dialed back down a bit, while Gary's voice more-or-less toned down to where it was before.
  • Similarly to the above, Richie McDonald of Lonestar changed from a fairly average tenor voice to whiny over-singing once the band shifted its sound from solid country-pop to Power Ballads and strident "family"-oriented songs starting with "Amazed" in 1999. They, too, were brought to their sound by way of Dann Huff.
    • Former bassist and occasional lead singer John Rich started out with a high, somewhat twangy voice, as heard on "Heartbroke Every Day" (the only single on which he sang lead). After he was fired from the band in 1998, he became much more breathy and less twangy on the solo album Underneath the Same Moon, whch he cut in 1999 but did not release until 2006. After he and Big Kenny formed Big & Rich in 2003, he kept the breathy tone for ballads, but his voice on up-tempos is still noticeably lower and less twangy than it was in Lonestar. It's likely that he changed his voice somewhat to make it more harmonious with the deeper, more forceful delivery of Big & Rich bandmate Big Kenny.
  • Brian Johnson was able to hit impressive high notes at the beginning of his tenure with AC/DC; however, at some point in the mid-80s (most notably since Blow Up Your Video), he would devolve into the raspy, not-so-high voice newer fans know him for.
  • Craig Morgan has gotten increasingly loud over time, starting with "Little Bit of Life". This song also started his bad habit of exaggerating his twang ("A little bit of me and yeeoooooouuuu doin' all right"). "Love Remembers" has a nearly operatic Incredibly Long Note at the end, and nearly all of "International Harvester" and "Bonfire" are shouted instead of sung. He can still rein in the histrionics, as some tracks on This Ole Boy (2012) proved, but he got all belt-y again on "Wake Up Lovin' You" in 2014.
  • Over time, Brad Paisley's voice has gotten much softer and lower, also losing the slight twang. Time Well Wasted seems to be the approximate turning point.
  • British singer Tony Mills of TNT and Shy fame has a voice that evolved from extremely high in the 1980s to a Queensryche-like lower tenor in the 90s and 2000s.
  • Martina McBride started out with an above-average soprano, only belting when the song called for it (most notably on "Independence Day"). Starting with "A Broken Wing", her sound became increasingly pop-oriented, and she began relying more and more on bellowing out melismatic Incredibly Long Notes that showed off her upper range á la Céline Dion. While she's since reined in the belting a little bit, she did another very odd switch in mid-2011 with a chirpy, thin, almost Taylor Swift-esque delivery on "Teenage Daughters" (her first release for Universal Republic after 19 years at RCA) even though the rest of the corresponding album (Eleven) has her singing in her usual style.
  • Similarly, Reba McEntire became increasingly melismatic and theatrical throughout the late 80s-early 90s, developing a very twangy, vowel-bending style. Around 1996, she began singing in a softer, more straightforward voice, and almost never stretches out single words into twenty-some syllables. This was likely a deliberate choice to reduce vocal strain.
  • Bruce Dickinson of Iron Maiden started with a high voice that was capable of doing an Incredibly Long Note at a very, very high pitch. Now his voice is still powerful and operatic but it's noticably deeper. Most easy to notice when he performs the songs from the eighties (which he did then in a higher voice).
  • David Sylvian of Japan started off singing in a high pitched cockney voice which was supposed to be his punk imitation of David Bowie. By the band's third album he'd switched to a melancholic baritone, which got deeper as it went on. In the 2000s he frequently sings in a croaky whisper.
  • Captain Beefheart's voice was a spot-on Howlin' Wolf impression for most of his career, before it degraded to hoarse screeching for his last two albums. This is Harsher in Hindsight because he had multiple sclerosis at the time of those last two albums and didn't tell anyone about it. This disease led him to retire from music and eventually killed him.
  • Simple Minds' Jim Kerr started off with a sort of punk yell, before moving onto a deeper, more angry voice inspired by Ian Curtis, and eventually moving onto a crooning voice which has picked up a sort of Celtic burr. Many fans would say Simple Minds lost their unique appeal when his voice changed.
  • Red Hot Chili Peppers' Anthony Kiedis used to mostly rap and occasionally sing. These days, he mostly sings and occasionally raps. Kiedis has also developed a much softer singing style since the time of Californication, but especially starting with By The Way. Many fans feel that he does not put enough energy into his vocals anymore.
    • Alternatively, it seems that Anthony Kiedis puts all of his energy while singing into staying in tune, as he still raps the way he did back in the 80s.
  • Elton John's voice evolved and changed a number of times. He had a quite clear singing voice as a youth, occasionally slipping into his trademark falsetto. Eventually, at the height of his fame, it became more nasal/throaty and expressive, with focus on his high range and falsetto singing. It got smoother, deeper and twangier by the late 1970's and early 1980's, though falsetto was still used. His throat surgery in 1987 to remove non-cancerous polyps in his throat (antagonized by his bulimia, drug abuse and vocal misuse), led to him turning baritone, with little or no falsetto at all. The voice only deepened with age, particularly by the 2000's.
  • Meat Loaf began with a soaring, operatic tenor equally suited to soft and hard rock tunes when he sang on the Bat Out of Hell and Dead Ringer albums and although he struggled with voice loss and substance abuse issues during the 1980s, it was more or less intact when he recorded Bat Out of Hell II: Back Into Hell and Welcome To the Neighborhood in the 1990s. After that, though, his voice deepened noticably with age and he's developed a bit of a proclivity for using a lot of melisma when he performs live. When his concerts are reviewed, the thing they'll always question is whether or not he's still up to the task of tackling his older songs.
  • George Jones has had both evolution and decay. His voice was much higher on early songs such as "White Lightning", and got gradually deeper and warmer over time, even as early as "She Thinks I Still Care" in The '60s. With his hitmaking days pretty much behind him in The '90s, his voice became less expressive and more weathered, thanks to both old age (he died at age 81 in 2013) and drug and alcohol abuse at the peak of his career.
    • According to this interview with Billboard, he noticed a second change when he gave up drugs and alcohol in 1999: he could no longer hit lower notes like the ones on "The One I Loved Back Then", but he could once again reach the higher notes he sang on earlier songs.
  • Bob Seger's voice began to deepen in the mid-1980s due to aging, smoking and vocal strain. The change is noticeable as early as The Fire Inside and he deepened even more by Face the Promise to the point that he is no longer able to do the raspy shouting that he was known for and to compensate, his older songs are pitched lower when performed live these days.
  • Due to substance abuse, Jim Morrison's voice took on a more ragged and worn tone when The Doors went to record L.A. Woman. Oddly enough, it fits quite well with the album's bluesy mood.
  • David Bowie's voice noticeably started to deepen around 1973-74, beginning with Aladdin Sane.
  • The Hanson brothers' voices started out high-pitched (they started out in the mid-1990s when they were still teenagers), and have considerably deepened over time.
  • Mike Patton on his first Faith No More album The Real Thing used mostly a nasal voice, which ironically given the rivalry between the two somewhat resembles Anthony Kiedis'. He dropped that afterwards and starting with Angel Dust began his whole Man of a Thousand Voices thing.
  • Rage Against the Machine frontman Zack De La Rocha's voice on Rage's 1993 debut album was higher and sounded teen-like, however through the late 90's and early 2000's, his voice got a lot deeper as he aged.
  • Tom Delonge of blink182 has a rollercoaster case of this. His voice on blink albums has got slightly higher and more nasal through the years until Neighborhoods came around, having mellowed out to the level he usually sings at with Angels & Airwaves. Ditto for live shows.
    • He'll veer back into oldschool offkey and snotty territory if he's downed a few before a performance, regardless of which band he's playing with at the time.
  • Whitney Houston, in the 2000s, as drug abuse and personal problems began taking their toll, leading up to her death in 2012.
  • Sandy Farina had a youthful, crystal-clear voice when she starred in Sgt. Pepper's Lonely Hearts Club Band - cut to a few years later, when she sang 'Body Talk' for The Toxic Avenger, by which time her voice had become a rough rasp.
  • An obvious example is Barry Gibb, who until 1975, always sang in his natural voice. He discovered his falsetto ability while recording "Nights On Broadway," and made it a trademark of nearly every song.
    • Conversely, Barry's brother Robin sang in a surprisingly low voice in his 1984 solo hit, "Boys Do Fall in Love". Compare this to the traditional nasal Bee Gees delivery in songs where he sang lead for the band, such as "I Started a Joke".
  • Cristian Machado of Ill Nino. His screams were higher-pitched on the band's first 4 albums, but on Dead New World, his screams were close to a higher death growl.
  • Pekka Kokko of the Melodic Death Metal band Kalmah has over time shifted his vocal style from a high-pitched shriek to a deep gutteral growl.
  • Elias Soriano of Nonpoint's singing voice seems to get edgier and edgier with every album. Compare his vocals on the album Miracle to his vocals on Development.
  • Rodney Atkins started out singing in a smooth voice with heavy vibrato, similar to Roy Orbison, on his 1997 single "In a Heartbeat". After a long hiatus, he returned in 2003-2004 as a dead ringer for then-labelmate Tim McGraw on Honesty. Following a second hiatus, he came back again with a higher, more gravelly delivery from If You're Going Through Hell onward. The change in tone over time has also coincided with him finding himself artistically.
  • Buck Owens' phrasing became very slurred after he had throat cancer removed in 1993.
  • Carrie Underwood has gone from belting everything to a more dynamic range. Some songs have her singing more softly (e.g. "Temporary Home" and "Mama's Song"), and she uses a raw, growling tone on "Good Girl".
  • The Bellamy Brothers' voices were a lot higher on their early songs, such as "Let Your Love Flow", in which they also seem to slip in and out of a quasi-Latino accent ("Let your love fly, like a bird on the weeng…") Only three years later, with "If I Said You Had a Beautiful Body Would You Hold It Against Me", their voices dropped into their more familiar registers.
  • On her first two albums, Gretchen Wilson occasionally lapsed into an overdone, screeching tone (most notably on "All Jacked Up"). She became a little more relaxed on her third album, then became noticeably more raspy on her fourth album (which was self-released).
  • John Michael Montgomery's voice was a lot higher on his debut single "Life's a Dance" before settling into his familiar baritone. Starting in the 2000s, his voice continued to deepen a little. The change is most noticeable on his 2008 album Time Flies, where he sounds almost identical to his brother Eddie (of Montgomery Gentry).
  • Led Zeppelin frontman Robert Plant experienced this as the years went by. In the band's early career, he could reach high notes without fail. However, after surgery in 1973 to remove vocal nodes, he experienced difficulty in getting to those notes again whilst changing how he vocally approached songs.
  • Trace Adkins originally sang in a somewhat restrained baritone, and even went falsetto a few times (such as "Lonely Won't Leave Me Alone"). Starting with Chrome, it evolved into a bass-baritone with a more varied delivery, most notably a macho swagger on his up-tempos and a lighter delivery on his ballads.
  • From about "Mistletoe" onward, Justin Bieber's voice finally began to deepen a little.
  • As the lead singer of Boy Howdy, Jeffrey Steele had only a slightly gruff voice. By the time he went solo in the early 2000s, his voice became a lot more raw, and he began shouting a lot more.
  • Pat Monahan of Train became a lot higher-pitched around the time "Hey, Soul Sister" came out.
  • Given that Billy Gilman released his first single when he was only 12, the change was only inevitable. Compare "One Voice" (recorded in 2000) to "Everything and More" (2005) to "I've Changed" (2009). He's still a tenor, but the change from a typical childlike voice to the more mature delivery he developed in his 20s is very striking.
  • When Radney Foster decided to re-record his 1992 debut album Del Rio, TX 1959 in 2012, he found that many of the songs were too high for him to sing, and thus lowered the key on a few. He told Country Weekly that he noticed his voice deepening once he hit his 40s.
  • Charlotte Church once recorded a 'duet'- actually a blend of two tracks, both of herself- one aged twelve, the other being a harmony line to the same song that she laid down aged seventeen. Obviously her voice had developed and 'darkened' considerably in those five years... but it was also clearly damaged, mostly with overuse while still growing (though smoking and her famous Ladette lifestyle probably didn't help.) However, it was now more interesting and suited to the pop tracks that she wanted to move to anyway, as when she came of age she was allowed to choose her own songs.
  • Ryan Clark from Demon Hunter began using Slipknot-esque shouts on their debut album, but, after only one album, switched to an angrier, more nasal, deeper, and more sludgy style of harsh vocals. Compare his screams on Screams of the Undead to his screams on Storm the Gates of Hell.
  • Gary Allan was a lot less raspy on his first few albums. Around the release of Tough All Over (a Creator Breakdown fueled by his wife's suicide), his voice became more gravelly, and he began using falsetto more often.
  • Marianne Faithfull stands out as a prime example of this trope. In her famous cover of The Rolling Stones' "As Tears Go By" she exhibits her already pretty deep, but gentle and varied contralto voice which bears little resemblance to the alto croak she developed after years of substance abuse.
  • Daniel Johnston's voice became rather hoarse by the late 90s, due to him being a chain smoker.
  • MCA of Beastie Boys had a noticeably raspier voice later on in his life.
  • Puberty obviously affected Miley Cyrus' singing voice over the years, as her voice became lower, more raspy and lost a bit of her strong Southern twang. She also seemed to project more around the time of Can't Be Tamed. "We Can't Stop" is certainly very raspy and lower-pitched. She's taking to belting, and even some Melismatic Vocals more since Can't Be Tamed, and in particular on Bangerz.
  • Fellow Hannah Montana star Emily Osment sang with less projection or control and more of a high-pitched voice (granted, she was very young) in the "I Don't Think About It"/"Once Upon A Dream" phase of her career, but gained much more technique and projection by All The Right Wrongs. She still naturally has a high-pitched speaking and singing voice, but it has gotten more mature, deep and projecting over the years.
  • Johnny Cash's voice got a lot more ragged and shaky after he developed Parkinson's in the late 90s.
  • Country Music singer Jessica Andrews, who was 15 when she put out her first single in the late 90s, sounded reasonably sweet and girly throughout her first two albums (the second of which included her only big hit, "Who I Am"). But as early as 2003, she started to develop a huskiness, which was especially evident on her 2006 single "Everything".
  • Modest Mouse frontman Isaac Brock used to sing in a high-pitched pop-punkish manner not unlike that of Dexter Holland. Thanks to a combination of heavy alcohol and drug use, his voice became quite a bit deeper and huskier as the years went by. Listen to "The Lonesome Crowded West" and then listen to "We Were Dead Before The Ship Even Sank." It's hard to believe this is the same guy singing on both albums!
  • Joanna Newsom started out her career (on the albums The Milk-Eyed Mender and Ys) with a creaky soprano voice prone to cracking and squeaking that was a major source of divisiveness among indie-folk fans. In 2009 she developed nodules on her vocal cords that she had removed, which, starting with 2010's Have One On Me, left her with a voice that was similar in pitch but much smoother and reminiscent of Kate Bush. While many of her fans embraced this change, a vocal minority cried They Changed It, Now It Sucks! since Newsom made her name in the "freak folk" movement and her original voice was certainly freaky.
  • Frank Sinatra's singing voice evolved through his long career. From a mellifluous crooning sound in the '40s, to a cool swagger when he led "The Rat Pack" in the '50s and '60s to a maturity in the 70s, 80s and 90s.
  • Joe Nichols' voice was a lot higher on his little-known 1996 debut album, recorded when he was 19. By the time he released "The Impossible" in 2002, it had deepened to the range it is now.
  • Harry Nilsson lost his glorious original voice when he seriously injured his vocal cords during a drunken "primal screaming" contest with John Lennon, although general drinking and drug abuse didn't help.
  • Jocelyn Enriquez sang in an average "girl next door" freestyle voice on her first two albums, then shifted to the deeper range on her third.
  • When she was in S'Express, Sonia Clarke (Sonique) sounded like a typical black Euro-house diva; it wasn't until she went solo in the mid-late 90's that she shifted to her signature raspy contralto voice.
  • Kelly Clarkson's singing voice is higher in her early albums while the ones released a decade later where it sounds lower and huskier. Part of it is probably the natural aging of ten years. Compare "Since U Been Gone" and "Stronger" recorded seven years later, two songs with the same theme. While the former sounds like a girl is singing it, the latter is a woman.
  • Trent Reznor's singing voice has gotten noticeably lower over the years, especially in the slower songs. Compare him doing "Hurt" in the mid '90s to him singing it 10 years later and you'll see a huge difference. He also does less of the screamy parts as time goes on, to the point where he practically leaves the chorus of "Head Like a Hole" to the backing band.
  • Singer Adam Turla's voice seems to get lower on each Murder by Death album; the most noticeable difference is between their second and third albums, Who Will Survive and What Will Be Left of Them? and In Bocca al Lupo, when his singing voice drops almost a full octave.
  • On Black Sabbath's debut album, Ozzy Osbourne's voice is noticeably different; it's harsher and less melodic than later releases. Made particularly noticeable since he's sounded pretty much exactly the same from Paranoid to the present day(over forty years).
  • Scott Weiland's vocals on the Stone Temple Pilots debut Core was pretty much straight up a low baritone yarling style perfectly matching the heavy sound of the album. Purple contained this with a few exceptions. When their third album came along though, he noticeable developed a much higher voice, which also occurred in Velvet Revolver. He still occasionally came back to the old style though (mostly on their 4th album).
  • Daniel Johns of Silverchair has shown heavy changes from 1995's Frogstomp to 2007's Young Modern. Half of this can be due to the fact that he was only 15 when the former was recorded (granted he already sounded like a grown man when singing) while the other half is due to the band's stylistic change.
  • As a general rule, Death Metal vocalists pitch up over time as the genre's signature Harsh Vocals gradually cause damage to the vocal chords. The most jarring example is probably David Vincent, who commonly gets accused of having completely blown chords because of how different he sounds today versus in 1991-when he first started using deep growls, but it's practically everywhere among Death Metal veterans.
    • There are exceptions - Ross Dolan, John Gallagher, and Dave Davidson have actually gotten deeper with age. It's probably more a matter of technique than anything else - Dolan has always had a very smooth, relaxed vocal style that is not at all taxing on his vocal chords, allowing for him to preserve his voice into middle age, while the same is probably also true for Gallagher and Davidson (though the latter is much younger - Dolan and Gallagher are 47 and 44, respectively, while Davidson is 30).
    • Sven de Caluwe is an interesting case. His early vocals (circa The Purity of Perversion) were more gurgly and his highs were more mid-ranged; as the years went on, that gurgle smoothed out into a distinctive bellow, while the highs became less grindcore-esque and more of a howl. Compare, say, "To Roast and Grind" with "The Extirpation Agenda" and you'll notice a clear difference in approach. The easiest way to describe it would be to say that he moved his approach sideways while most of his peers were moving it up.
    • Chris Barnes' guttural vocals gradually became more decipherable and a little more throaty starting with The Bleeding, since his extensive marijuana usage combined with age made him lose a lot of his range overtime, while his screams have become much higher pitched with time, eventually evolving into a banshee-like shriek. His voice changes are especially obvious live when he performs old songs, as his vocal cords have been so affected that he has to change some sections since he can't hit some of the notes anymore.
    • Martin van Drunen completely changed his vocal style on the second Pestilence album Consuming Impulse. This one is especially obvious since he's sounded more or less exactly the same since then.
  • Michael Jackson. Though fans are quick (read: immediate) to hand-wave the change as proof of an impostor, the truth is that his voice became noticeably weak and strained in the near-decade between Invincible and his inevitable death as drugs took an increasing toll on his health, paired with known respiratory and dental issues that caused him to pronounce words oddly - most evident on both the oft-debated "Breaking News": 'Reportersh shtalking the movesh of Michael Jackshon.' and on the live recordings from Michael Jackson's This Is It, particularly "Smooth Criminal". The noticeable change in his voice is often pinned on the use of a vocal impersonator named Jason Malachi, whose voice is similar (but not exact) to the voice heard on Michael's later recordings; the biggest difference being a nasal quality, almost an exaggerated whine, that Michael never had. Later on in his life, particularly on "2000 Watts", "Hollywood Tonight" and "Breaking News," Michael began singing in a much lower register than usual - said by some to be indicative of his actual, private speaking voice.
  • Roger Waters' voice degenerated ENORMOUSLY between 1983's The Final Cut (still with Pink Floyd) and 1987's Radio KAOS (now fully solo), remaining a painful rasp to this day. For his long-running tour of The Wall beginning in 2010, he underwent vocal training to try and improve his abilities, but portions of vocals requiring a flawless and powerful voice (such as "In The Flesh?") were pre-taped while other songs (notably "One Of My Turns") were lowered in key to enable Roger to sing live as much as possible.
  • The smooth, pitch-perfect voice of Brian Wilson, heard on The Beach Boys' early hits, had turned into a gruff smoker's rasp by the late Seventies. He's spent the last couple decades working to overcome this, restoring a fair bit of range - but his tendency to speak and sing out of the side of his mouth corresponding with his hearing ear is more and more evident.
    • And, truth be told, he does enjoy his Auto-Tune. Fans, on the other hand, don't.
    • Brian's brother Dennis Wilson didn't sing on too many Beach Boys songs, but years of hard living had taken their toll on his voice when he released his solo debut Pacific Ocean Blue in 1979. At that time, he was singing in a deeper, rougher tone than he did in Beach Boys songs such as "Forever" (1970) and "Never Learn Not to Love" (1968). Clips of Dennis singing circa 1983, just months before his drowning death, are especially sad to watch, as his voice - speaking and singing - had been reduced to an old man's croak, again due to his penchant for drink, drugs, and cigarettes.
  • Axl Rose has gone through so many that you can tell what individual year any given performances is from. As part of Hollywood Rose, his voice was extremely high, fast, and uncontrollable. Once he formed Guns N' Roses, it had becoming more controllable and he used much more octaves while singing. From 1988-1990, his voice was powerful and could do just about anything. In 1991, throat issues caused him to sound like he was gargling glass and he could barely actually sing, instead sounding like he was yelling while spitting up blood. In 1992, his voice returned more to the "classic" Axl sound. In 1993, his voice started getting weaker, with him using a cleaner, less raspy voice more often than in the past. At a one off appearance at the Rock and Roll Hall of Fame in 1994, his voice was noticeably weak and soft. After returning in 2002, he sounded nothing like the Axl of old, altering his style to have no rasp and singing mostly in falsetto. 2006-2007 had a return to form, sounding closer to 1993 than any other era. Then came the 2009-2010 tours, where he was back to 100% razor blade rasp at all times, though most more controlled and in tune than 1991. Due to respiratory issues and possibly from damaging his voice in the 2010 tour, he has reverted back to the 2002 style of very little rasp, sticking mostly to falsetto and generally sounding weak. The GNR reunion tour (along with the one where Axl sung for AC/DC) in 2016 had his voice improving closer to the 2006 levels, be it for rest and preparation or just because he had more breath from standing still, as a broken foot forced Axl to sing in a chair. Still, the strain from those tours was taking its toll in the following year, with Axl's voice weakening again.
  • Rick Astley's voice got deeper and more soulful since his "Never Gonna Give You Up" days. This live recording makes it the most evident, as he sings the song in a lower key, and changes the melody somewhat so that he doesn't have to hit the higher notes.
  • James LaBrie started off with a high, boyish tenor with a very subtle vibrato, as evidenced on his stint in the late 1980s with Winter Rose. By the time of his first release with Dream Theater in 1992 his voice had become stronger and more soulful with a much more pronounced vibrato, as heard on "Surrounded". By 1994 his voice was deeper and more masculine in the lower end but he still retained his powerful high notes, and he had a gruff rasp that he could turn on and off at will, as on "Caught in a Web". Later in 1994 he ruptured his vocal cords vomiting after contracting food poisoning while on vacation, but went back on tour, where he would spice up the songs with additional Metal Scream at every opportunity, against doctors' orders. However, he found himself struggling with high notes and the band's signature epic "A Change of Seasons" was rewritten for the 1995 EP release in such a way that all the vocal lines were significantly lower. When the band returned in 1997 with their new album Falling into Infinity, LaBrie's voice had completely changed. His Queensryche-influenced operatic wail was now replaced with a much more modern rock style voice, the vibrato was all but gone, the soft voice he used on ballads was not as warm, and his high range was severely reduced, as evidenced on "New Millennium". By the mid-2000s he had regained some of his old range (often with the help of falsetto, which he had almost never used before), but his voice became increasingly nasal, as evidenced on the 2006 version of "Innocence Faded". Since then his voice has remained more or less the same (except for his range starting to contract again due to age).
  • Randy Travis sounded a lot more swaggering and forceful, almost like a cross between Conway Twitty and Waylon Jennings, on his 1978 album Randy Traywick (his real name). By the 80s, he evolved into the deep, reedy bass-baritone for which he would be forever known. His voice also started sounding more weathered and aged at the Turn of the Millennium, which was evident as early as "Three Wooden Crosses" in 2003.
  • Conway Twitty was always a natural baritone, but had often sang in a higher pitch during his time as a late-'50s rock 'n' roller. ("Only Make Believe," "Mona Lisa," etc.)
  • Neil Young started as a quite conventional 60s folk singer but after a series of small, subtle changes, he had found his own distinctive high tenor voice on 1969's Everybody Knows This Is Nowhere. Averted since then, his voice famously hasn't changed at all.
  • Project Pitchfork's Peter Spilles used a fairly normal gothic-accented baritone-tenor voice up until the early-mid 2000's, whence he switched to his present death growl style.
  • Decoded Feedback's Marco Biagiotti original performed Harsh Vocals in the tradition of the Hellektro subgenre, but on their recent material, he has mostly changed to a darkwave/futurepop influenced sound.
  • On Covenant's first two albums, Eskil Simonsson was mostly bass-baritone, but afterwards, he shifted towards the higher end of his range.
  • Shania Twain started to sound more strained on the new songs on her 2004 Greatest Hits Album. She later revealed that this was due to a combination of Lyme disease and dysphonia (personal stress tightening her vocal cords so much that she couldn't sing or even speak). As a result, she went on a long hiatus which also resulted in her sorting out a lot of personal issues. After she relearned how to sing, she still sounded very strained on "Today Is Your Day" in 2011, and 2017's "Life's About to Get Good" has her using a more sleepy delivery with vast amounts of Auto-Tune.
  • Rush's Geddy Lee notably has underwent several. in the early days, his voice was very raw and screamy, and he could hit some amazingly high notes, his voice was naturally an "astoundingly high" tenor. See the fourth movement of "2112" for proof of how dynamic his voice was in those days. However, around 1978-1979 during the Hemispheres tour, his voice deepened considerably, and he lost his raw, screaming power (Compare these two performances of "2112" for the shift), likely due to over-touring, which led to him singing in a much lower range starting with 1980's Permanent Waves. His voice then shifted to a lower, more "normal" sounding voice starting with 1982's Signals. With 1996's Test For Echo his voice got a lot thinner and more nasal. Most recently, with 2007's Snakes And Arrows, he started singing with a fuller, less nasal sound again, albeit significantly deeper than before. Naturally, fans are split over what era is his best.
  • Geoff Tate, of Queensrÿche had a similar case to Lee. In the '80s, he had a high, operatic wail similar to Rob Halford or Bruce Dickinson. Starting with 1990's Empire, however, his voice became deeper and huskier, and he lost the ability to hit the notes, due to a smoking habit that had started in high school, leading him to shift to a deeper range. He completely lost his bright head voice register around the time of 2009's American Soldier, shifting to a mid-range sound, and perfoms most of the old material in lower keys.
  • Descendents lead singer Milo Aukerman was 19 at the release of their first album, and his vocals mostly consisted of raspy, nasal half-singing not unlike many other punk singers of the early 80s. He kept this tone for much of the 80s, but since 1998's Everything Sucks and beyond, his voice is much clearer and he almost always fully sings.
  • Pantera: Phil Anselmo started out sounding like a cross between Rob Halford and "Justice"-era James Hetfield (with hints of a Southern accent). Thanks to the effects of heroin addiction and screaming/growling on a regular basis, his voice became deeper and more gravelly throughout the 90's. This is especially noticeable when comparing his clean singing voice on older ballads like "Cemetery Gates" to his voice on later ones like "Floods".
  • Europop diva Amber shifted to a deeper and more nasal vocal tone starting with her second album.
  • Though he still has a very impressive range and vocal power for a man in his sixties, Billy Joel has admitted to transposing some of his songs into lower keys in concert — something made easy by his use of a digital piano instead of a traditional one. Fast-forward to 45:25 for a demonstration.
  • Although he is rarely seen as vocalist (especially after 80's), Jens Arnsted (also known as Yenz Cheyenne or Yenz Leonhardt) is also an example. These are two songs he recorded with Brats in 1979 and 1980 respectively. As Brats were a Punk Rock band (although they started bringing Heavy Metal elements on the album, off which second song comes), Yenz voice was also a slightly lazy punk-accented snarl. Later, in the middle of 80's, he sang for a short-lived band Geisha and his voice was notably different: he sang in higher pitched than in his Brats days and also his voice was sharper, more suitable for Hard Rock or Heavy Metal. He also had that voice on a song he recorded with the band Zoser Mez in 1991 (that band also included two of his former bandmates from Brats, namely guitarists Hank Shermann and Michael Denner).
  • Tame Impala frontman Kevin Parker's vocal delivery changed drastically between the early pre-album demos and the released stuff. The early songs had a more booming and slightly nasal quality with lots of vibrato before evolving into the current more resonant and higher-pitched vocals.
  • A somewhat unfortunate example came with Marty Roe, lead singer of the Country Music band Diamond Rio. Starting in the early 2000s, the other band members began noticing that Roe had a terrible time staying on-pitch, and often gave a dreadful performance that frustrated the band, their fans, and promoters alike. They tried several means of covering it up, including lowering the key on some songs, lowering Roe's mic volume, employing a Vocal Tag Team, consulting vocal coaches, and even using Auto-Tune, but nothing seemed to help. Finally, another vocal coach convinced Roe that he had a small degree of hearing loss (not unusual for a musician who has spent a long time in live settings), and that he was straining so hard to compensate for it that he was only making his problems worse. This vocal coach was ultimately successful in getting Roe's voice more-or-less back to where it was in The '90s.
  • Tracy Lawrence's voice got noticeably higher and thinner around the release of his Self-Titled Album in 2002, eleven years into his career. It's most obvious on the re-recordings of his greatest hits on Then & Now: The Hits Collection in 2005.
  • Hank Williams, Jr. already sounded like a grown man even at the age of 14, but his voice grew much deeper and more swaggering over time. Compare the smoother delivery he takes on "Eleven Roses" in 1972 to his later reputation for macho party anthems such as "All My Rowdy Friends Are Coming Over Tonight".
  • Little Boots's voice deepened and matured significantly between Nocturnes and Working Girl.
  • Screaming Trees vocalist Mark Lanegan's singing voice transitioned from garage-y sneer to a deeper, fuller baritone starting with the band's 1989 album Buzz Factory, with the ballad "Grey Diamond Desert" from 1988's Invisible Lantern teasing that direction.
  • As the 18-year-old performer of the novelty track "Purple People Eater Meets the Witch Doctor," Joe South sounded every bit his age. He would switch to a lower singing voice in the early '60s as a country singer, adding some soulful swagger to it in the late '60s as he broke out on the pop charts with songs like "Games People Play" and "Walk a Mile in My Shoes."
  • Cyndi Lauper rose to stardom in the '80s, mostly sounding like a 15-year-old girl despite being in her early 30s, and still sounding younger than her age in ballads like "Time After Time" and "True Colors". When she released "I Drove All Night" as the first single of her 1989 album A Night to Remember, she was singing in a considerably lower register than usual, though this may be largely on account of the fact that the song was originally written for the deep-voiced rock 'n' roll legend Roy Orbison.
  • "Weird Al" Yankovic originally sang in a nasal, grating shout most of the time, but his delivery noticeably toned down and matured over the years without completely losing its "silly" edge. Some of this was due to him taking vocal lessons from Lisa Popeil after he noticed that he kept wearing out his voice in concert.
  • Robert Ellis Orrall's voice was somewhat thin on his 1983 pop single "I Couldn't Say No", but became more gruff on his only country hit, "Boom! It Was Over" a decade later. On the latter, his singing voice sounds a lot like Huey Lewis.
  • Phil Collins: He used a mellow, Peter Gabriel-like singing voice in his earliest days as Genesis' lead vocalist. From "Duke" to his solo album "No Jacket Required," he used the now-recognizable high, slightly nasal voice. From "But Seriously" and "We Can't Dance" onward, he changed to a smoother, more easy-listening voice.
    • Starting with the Invisible Touch tour, he had taken to singing many Genesis songs, including those from the album he was promoting like "Invisible Touch" and "Tonight, Tonight, Tonight", in lower keys than he had recorded them in, as his voice deepened in the middle of the tour.
  • Brazilian singer Tim Maia is a good example of how age and a wild lifestyle makes a voice deeper and more gruff. Just compare this song to a performance two decades later.
  • Lee Brice's voice has gotten softer and less forceful over time. His Breakthrough Hit "Love Like Crazy" had him belting a few high notes with considerable force, but this gradually softened on I Don't Dance and especially on his fourth, Self-Titled Album.
  • Billy Ray Cyrus did a lot of yarling on his earlier albums, but toned down his delivery around Trail of Tears.
  • Local H frontman Scott Lucas sang in a much higher register and did a lot of screaming in the band's recordings, but after his vocal cords were damaged in a 2013 mugging in Russia, he started singing in a considerably lower voice and, while still capable of some impressive screaming, toned down his delivery in general.
  • Kate Bush tended to use the upper range of her voice in her earliest recordings but later shifted to a more natural, mid-range voice. Compare the original version of "Wuthering Heights" to the re-recording used for her greatest hits album "The Whole Story"
  • Salt Ashes sang in a high girly voice until the single "Go All Out", where she adopted a much more mature tone.
  • When Leonard Cohen started making recordings, his voice was somewhat normally pitched. It was only during the early to mid-1980s that his trademark Basso Profundo voice came into being.
  • Mindy McCready's voice was very soft and weathered on her 2010 album I'm Still Here compared to the sharper, more youthful tone of her heyday. This was most likely due to years of drug abuse.
  • The Frozen Autumn's Arianna, otherwise known as Froxeanne, has evolved to a deeper, Siouxsie-esque voice in their more recent material.
  • Eddy Raven had a more quavering, Elvis Presley-esque delivery on early songs such as "Good News, Bad News" before developing his more relaxed, Cajun-flavored delivery in The '80s.
  • Lights used a cutesy Moe voice for her first three albums. By her fourth album, Skin and Earth, her voice had fully matured, bordering on soulful in some tracks.

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