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Oversinging is a term, sometimes derogatory, aimed at vocal styles that dominate the music they are performed in, including melisma and belting, and overuse of embellishments on one sound.

Definition

[edit]

Professor and voice instructor Melinda Imthurn writes:

"Since oversinging is not a technical term, it's hard to define. To one person it might mean pushing the voice beyond healthy singing technique, while to another it might mean embellishing a song too much, sometimes to the point where the melody is no longer recognizable."[1]

Oversinging is not a word found in common dictionaries, but it is a well-known phenomenon.[2][3] Some forms of oversinging, especially in the United States, can be traced and attributed to renowned soloists in the 1980s like Whitney Houston.[citation needed]

There are different opinions on what oversinging implies, though it is commonly recognized as one or both of the following:

  • Belting to an extreme by singing too loud by pushing one's singing voice "too much" (straining), or singing into a higher or lower range than is comfortable for one's voice (beyond one's useful vocal range).
  • Excessive use of runs, whoops, vocal falsettos and melisma.

Oversinging can be technically understood as pushing too much breath pressure through the larynx,[4] which is known as overblowing of the vocal folds. The result is the over-production of sound. Oversinging may also be termed "vocal gymnastics" when referring to usage of melisma.[5] Hollywood vocal coach Roger Burnley describes this type of oversinging as "using too many riffs, runs, and embellishments".[3]

Singers who try to impress or show off their vocal abilities may turn to this kind of singing.

Critique

[edit]

Many complain that contestants in shows such as Idol tend to oversing,[6] and blame some of the most prominent American female singers for inspiring them.[3][7] Some say it has been a rising trend following the many singing contests that started appearing in the early 2000s,[2][3] especially in the United States.[8] Essentially, oversinging can be considered a style, as trained vocalists might also use this technique.

Mariah Carey, Whitney Houston, Christina Aguilera, Kelly Clarkson, Ariana Grande, and Céline Dion are well known for their heavy use of melisma and belting, and the term "oversinging" is most often applied to well loved singers such as the aforementioned by people who feel negatively towards the singers of the style.[3][1][9] This criticism is mainly focused on too much "vocal gymnastics" which some feel degrades the artistic merits of the song,[10] and not necessarily that they strain their voices too much.

While [Roger] Burnley believes all of those divas to be oversingers in their own right, [Hollywood vocal coach, Chrys] Page argues the opposite. "They don't oversing, but some young hopefuls, trying to sound exactly like those artists, consistently do it because they haven't yet found their own voice and style," he said.[3]

When amateurs on shows such as American Idol are criticized for oversinging, it can be both because they use far too great "vocal gymnastics" and strain their voice beyond their vocal capability when trying to mimic famous singers with far greater vocal ranges and training.

Professional opera singer Sarah-Jane Dale on Whitney Houston's use of melisma: "You can't do it without proper breath control, and that's the one thing that Whitney Houston had bags of. Let's face it, singers like that do not come along every week."[5]

Vocal damage

[edit]

Straining the singing voice, for instance by using belting without proper coordination, can lead to forcing, which in turn can cause vocal deterioration, known as fatigue of the vocal cords, also known as vocal fatigue. Straining the voice can lead the development of vocal nodules, a form of scarring on the vocal cords caused by strenuous or abusive voice practices. Professional singers on extended tours with tight schedules run a substantial risk of damaging their voices unless they make sure to rest the vocal cords and get enough sleep and proper diet.[11][12]

Some famous singers known to have developed vocal nodules are Luciano Pavarotti,[13] Whitney Houston,[14] Mariah Carey,[15] Freddie Mercury,[14] and Joss Stone.[16]

Singers known to have had their vocal nodules surgically treated include Justin Timberlake, Sam Smith, Tove Lo, Adele, Björk, Shirley Manson, Keith Urban, John Mayer and Rod Stewart.[11][14][17][18][19] Julie Andrews is well known for her singing voice being permanently damaged by the surgery. Elton John is notable for having vocal surgery, as it caused his voice to significantly deepen.

Research by Massachusetts General Hospital which analysed a group of elite singers who suffered vocal cord damage, with a total of 240 Grammy award nominations among them, showed that 90% of those injuries was the result of vocal trauma and overuse.[20]

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Oversinging

View on Grokipedia
from Grokipedia
Oversinging refers to a style of vocal performance characterized by excessive elements such as volume, ornamentation, melisma, emotional intensity, or vibrato, which can overwhelm the song's structure and intent. This approach often prioritizes technical display over clarity and storytelling, particularly in genres like pop, R&B, and musical theater. Critics argue that oversinging undermines aesthetic value by obscuring lyrics, violating genre conventions without artistic enhancement, and sometimes appearing insincere, as the performer's virtuosity overshadows genuine expression. Notable examples include Christina Aguilera's 2011 Super Bowl rendition of "The Star-Spangled Banner," marked by heavy melisma and rhythmic alterations, and Michael Bolton's dramatic, embellished cover of "Yesterday," which amplified crescendos and repetitions beyond the original's simplicity. While requiring significant vocal skill, oversinging can raise moral concerns in ensemble or ceremonial contexts, such as prioritizing individual flair over collective harmony or cultural reverence. From a health perspective, oversinging involves pushing the voice with excessive breath pressure, leading to strain on the vocal folds and potential long-term damage like nodules or hemorrhages. A retrospective review of 18 Grammy-winning performers who underwent vocal cord surgery found that they had collectively won 80 Grammys from 242 nominations, with most issues resulting from phonotrauma such as overuse. Celebrities such as Mariah Carey and Adele have faced vocal setbacks linked to such practices, underscoring the need for balanced technique in auditions, recordings, and live shows. Though prevalent in contemporary music since at least the late 20th century, oversinging's acceptability varies by genre and audience taste, with calls for restraint to preserve vocal sustainability and artistic integrity.

Definition and Characteristics

Definition

Oversinging refers to a vocal performance style characterized by excess in one or more dimensions, such as excessive volume, ornamentation, melisma, emotional intensity, or vibrato, which surpasses the requirements for effective musical expression or adherence to genre conventions. This pejorative descriptor highlights singing that dominates or overwhelms the underlying music rather than serving it, often resulting in a strained or exaggerated delivery that prioritizes technical display over balance. While oversinging involves the overuse of certain techniques, it differs from deliberate stylistic elements like belting, which entails controlled, chest-dominant projection for power in musical theater or pop, or , defined as the singing of multiple on a single syllable for rhythmic or expressive phrasing. The key distinction lies in the of excess: oversinging implies an inappropriate or unnecessary that disrupts musical , whereas belting and are neutral tools when applied judiciously within stylistic norms. Oversinging is an informal term rooted in music criticism rather than formal vocal pedagogy, with critiques of excessive vocal display dating back to at least the early Christian era and recurring in 16th- and 17th-century polemics against florid singing as "empty virtuosity." In contemporary usage, particularly from the late 20th century onward, it has become a common label in popular and classical music discourse to denote performances that push vocal boundaries beyond aesthetic or technical appropriateness.

Key Characteristics

Oversinging manifests through several audible signs during performance, including forced high notes that produce a strained, raspy, or hoarse quality due to excessive vocal fold pressure. These notes often accompany physical indicators of strain, such as visible neck vein bulging and facial tension from laryngeal muscle tightness. Additionally, performers may overuse vocal runs, trills, or melismas—multiple notes per syllable—that embellish lines to excess, thereby obscuring lyrics and disrupting rhythmic flow. Inconsistent pitch control is another hallmark, resulting in wobbles, quivers, or an unstable mid-range as the voice fatigues under duress. From a technical standpoint, oversinging involves pushing the voice beyond its natural tessitura—the comfortable portion of the vocal range—leading to difficulty sustaining notes and increased effort without proper support. This often stems from reliance on throat tension rather than diaphragmatic breathing, where singers compress the larynx and neck muscles instead of engaging abdominal support for steady airflow. Volume spikes unrelated to the song's intended dynamics further characterize it, with abrupt increases in loudness that exceed appropriate levels and contribute to overall excess. Common triggers include high-stakes situations like auditions, where performers push their limits to impress judges, often without adequate training. In ensemble settings, a desire for individual attention may prompt singers to amplify their output disproportionately. Imitation of admired artists without equivalent skill level also frequently leads to oversinging, as vocalists attempt stylistic flourishes beyond their technical capacity.

Historical Context and Usage

Origins and Etymology

The term "oversinging" emerged in English-language music criticism during the late 20th century as a pejorative label for vocal performances deemed excessive in volume, ornamentation, melisma, expressiveness, or vibrato, often prioritizing display over musical integration. Derived from the prefix "over-" denoting excess combined with "singing," it reflects a longstanding aesthetic tension in vocal art, though its precise coinage in journalism lacks a documented first instance predating the late 1990s critiques of pop and soul styles influenced by operatic flair. A related earlier term, "oversouling," was coined by music producer Jerry Wexler to describe gratuitous and confected melisma that detracts from the song. The concept of oversinging traces its roots to critiques of vocal excess in classical traditions, predating the modern term by centuries. In the early Christian era, resistance to elaborate vocal music arose from fears that singers' artistry diverted attention from sacred texts toward personal virtuosity. By the 16th and 17th centuries, debates intensified over "empty virtuosity" in ornamentation, with composers and theorists decrying florid embellishments that overshadowed melodic intent. In the 19th century, bel canto pedagogy emphasized controlled beauty, with teachers like S.B. Mancini in 1774 warning against "shouting" or forced emission that strained the voice and deviated from elegant phrasing, a caution echoed by Rossini and Wagner against unchecked ornamentation in opera. This classical foundation informed mid-20th-century backlash in emerging genres like jazz and early rock, where oversinging became a shorthand for theatrical excess borrowed from opera-trained pop vocalists. In jazz criticism, excessive "overplaying" analogies highlighted vocal runs that disrupted ensemble balance, paralleling instrumental complaints of "too many notes."

Evolution in Music Genres

In the 1970s and 1980s, oversinging gained prominence in rock and pop through the rise of arena rock and power ballads, which emphasized dramatic vocal escalations and high-register "big notes" to create euphoric uplift in large-scale performances. These songs, initially emerging in pop recordings by artists like Barry Manilow before crossing into rock, featured sentimental themes and rousing builds that prioritized emotional intensity over subtlety, often critiqued for their excesses in volume and ornamentation. Such techniques aligned with the era's stadium-oriented production, where vocal showmanship masked structural simplicity in songwriting, as seen in overwrought covers like Michael Bolton's rendition of "Yesterday," which distorted the original's delicate tone through excessive melisma and crescendos. By the 1990s, oversinging evolved in R&B and hip-hop, integrating melismatic runs, ad-libs, and early auto-tune effects that blurred stylistic flair with perceived excess, rooted in African American vocal traditions from gospel and soul. Whitney Houston's 1992 hit "I Will Always Love You" exemplified this shift, popularizing elaborate melisma in mainstream pop-R&B and influencing urban music's emphasis on improvisational ornamentation to convey raw emotion. Auto-tune, introduced in 1997 and gaining traction in late-1990s R&B productions, further amplified these elements by enabling precise yet artificial pitch corrections, often critiqued for prioritizing technical display over lyrical clarity in ad-lib-heavy tracks. From the 2000s onward, reality TV competitions like American Idol amplified oversinging as a competitive staple, encouraging contestants to deploy vocal runs and belting in contests, which spilled into genre crossovers such as EDM and country where such displays were reframed as "vocal gymnastics." This era's shows popularized amateur overuse of melisma to impress judges and audiences, fostering a norm of emotional exaggeration that persisted in hybrid styles.

Examples and Notable Cases

In Pop and Rock Music

In pop music, Mariah Carey's extensive use of the whistle register and melismatic runs in tracks like "Emotions" (1991) exemplifies oversinging, where her virtuosic displays—such as rapid, ornamented high notes—have been praised for innovation but criticized for excess, turning simple phrases into elaborate vocal acrobatics that prioritize technical flair over restraint. Critics in the early 1990s noted how Carey's style, building on Whitney Houston's influence, popularized melisma to the point of ubiquity, often overwhelming the song's emotional core with layers of runs that some viewed as indulgent. This approach, while showcasing her five-octave range, sparked debates on whether such extremes enhanced or detracted from the music's accessibility. In rock music, Freddie Mercury's theatrical vocal flourishes during Queen's live renditions of "Bohemian Rhapsody," particularly in the operatic and hard rock sections, balanced dramatic intensity with moments of apparent strain, as his high-energy delivery pushed his baritone toward baritonal tenor limits in extended performances. Acoustic analyses reveal Mercury's vibrato rate reached 7.04 Hz—faster than the typical 5.4-6.9 Hz—creating powerful, resonant highs that occasionally tipped into tension during marathon sets, yet amplified the song's epic scope. His style, marked by subharmonic techniques for added depth, exemplified rock's embrace of vocal drama, though it demanded immense physical output. Modern pop-rock examples include Ariana Grande's vocal style, where her belts and upper registers have fueled discussions on showmanship versus necessity, with some arguing her reliance on airy, extended highs sacrifices grounded tone for spectacle. Live versions often feature strained transitions into these peaks, highlighting a pattern where pop performers amplify vocal intensity for visual impact, blending R&B agility with rock's emotive power. A recurring pattern in pop and rock is the escalation of vocal dynamics during award shows or concert finales, where artists like these intensify runs, belts, or ad-libs to elicit applause, transforming structured songs into improvisational showcases that risk overshadowing lyrical intent—characteristics akin to strained high notes but amplified for audience engagement.

In Other Genres

In classical music and opera, oversinging is relatively rare compared to contemporary genres, but it emerges in the verismo style of late 19th-century Italian operas, where composers like Giacomo Puccini and Pietro Mascagni emphasized emotional realism through gritty, naturalistic narratives that demanded forceful vocal delivery to convey raw passion and drama. This shift from the bel canto tradition's emphasis on smooth, controlled phrasing to a more intense, "open-throated" approach often pushed singers toward vocal straining, as the style required heightened expressivity to match the operas' themes of everyday tragedy and social upheaval. For instance, in works like Puccini's Tosca (1900), performers adopted a rugged timbre and dynamic surges that could border on overexertion, prioritizing dramatic impact over vocal purity and sometimes leading to shortened careers due to the physical toll. In jazz and blues, oversinging critiques often center on scat singing's improvisational excesses, particularly during the 1940s big band era when vocalists like Ella Fitzgerald and Cab Calloway expanded scat into rapid, bebop-influenced solos that mimicked instrumental riffs with wordless syllables. This technique, while innovative, drew criticism for uncontrolled phrasing and ornamentation that could overwhelm the underlying melody, transforming melodic lines into chaotic, "unseemly" displays of virtuosity with little regard for lyrical restraint. Jazz critic Leonard Feather exemplified this view, dismissing scat as an extreme departure from structured singing that prioritized showmanship over musical coherence, especially in ensemble settings where improvisations risked disrupting the band's tight rhythms. Such excesses highlighted scat's roots in bluesy emotional release but also its potential to veer into vocal overindulgence during live performances. Country music's 1980s Nashville power ballads frequently incorporated oversinging through amplified, emotive crescendos designed to evoke heartbreak and resilience, as seen in crossover hits by artists like Reba McEntire, where soaring choruses amplified personal narratives into arena-filling declarations. This era's production style, influenced by pop-rock cross-pollination, encouraged singers to push vocal power for dramatic effect, often resulting in strained highs that prioritized emotional punch over subtlety. In musical theater, similar tendencies appear in Broadway belting, as in Wicked (2003), where roles like Elphaba demand sustained, high-energy belts up to F5, and amplification systems tempt performers toward over-projection by allowing maximum volume without natural acoustic limits. Belting, when excessive, manifests as "screlting"—a harsh blend of screaming and belting—that undermines storytelling through uncontrolled strain, particularly in demanding scores where breath support falters under prolonged intensity. Globally, oversinging ties into dramatic performance traditions in Bollywood film songs, where playback singing enables exaggerated, lip-synced deliveries that heighten melodrama. This approach, rooted in the industry's emphasis on visual spectacle, allows vocalists like Lata Mangeshkar to infuse recordings with theatrical elements.

Critique and Perspectives

Criticisms from Experts

Music critics have long condemned oversinging for prioritizing vocal display over the song's emotional and lyrical integrity, often diluting its meaning through excessive ornamentation and volume. In a 2018 analysis published in The Journal of Aesthetics and Art Criticism, philosopher Jeanette Bicknell describes oversinging as an aesthetic excess that overwhelms the music, citing examples like Michael Bolton's rendition of "Yesterday," where dramatic crescendos and unnecessary melismas distort the song's subtle melancholy, reducing its artistic value. Similarly, critic John Eskow lambasted Christina Aguilera's 2011 Super Bowl performance of the National Anthem for "gratuitous and confected melisma" that "hollows out a song and drains it of meaning," arguing it showed a lack of sensitivity to the anthem's solemn tradition. This spectacle-driven approach, Bicknell notes, undermines sincerity and fails to provide aesthetic payoff, turning performances into mere showcases of technical skill rather than interpretive art. Vocal pedagogues criticize oversinging on technical grounds, warning that it relies on "pushing" the voice—excessive force and tension—rather than proper placement and balance, resulting in unnatural tone and loss of clarity. , developer of the Speech Level Singing method, emphasizes avoiding the strain of pushing upward into higher registers, which leads to inconsistent tone and vocal instability, advocating instead for a stable laryngeal position to maintain natural resonance across ranges. Renee Grant-Williams echoes this, decrying "painfully loud and meaningless over-singing" that obscures and , as seen in performances where singers belt competitively without regard for the song's . She argues that such pushing sacrifices and intimacy, with singers like and in their duet "Make a Wave" delivering an "over-loud, over-ornamented, mutually over-competitive and ultimately banal" result that prioritizes volume over meaningful expression. Cultural commentary highlights how oversinging critiques disproportionately target female singers in pop and rock, reflecting gendered expectations where women must demonstrate vocal power to meet genre demands but face harsher judgment for perceived excess. Music industry observers note a double standard, with female artists like Aguilera held to a higher bar for vocal restraint compared to male counterparts, often labeled for "ruinous oversinging" in ways that reinforce stereotypes of emotional overreach. This perspective aligns with broader feminist analyses of pop music, where women's vocal choices are scrutinized through a lens of patriarchal control, penalizing displays of strength that deviate from subdued norms. Experts like vocal coach Brett Manning further argue that oversinging erodes authenticity, alienating audiences who crave genuine emotional connection over exaggerated displays. Manning critiques over-trained styles as inauthentic and cheesy, stressing that true vocal artistry emerges from balanced technique that serves the song, not from forced embellishments that mask a singer's natural voice. As Grant-Williams puts it, ornamentation should "emphasize emotion when words are insufficient," not dominate to the point of banality, lest it distance listeners seeking heartfelt performance.

Counterarguments and Artistic Value

Defenders of oversinging argue that it serves as a powerful tool for conveying raw emotion and intensity, particularly in genres rooted in African American traditions such as soul and R&B, where melismatic runs and embellishments originated as expressions of spiritual and personal depth. In the 1990s, producers and critics often framed these techniques as demonstrations of "passion" rather than excess, highlighting how artists like Whitney Houston integrated them to elevate pop ballads with gospel-influenced fervor, thereby enhancing emotional authenticity without detracting from the song's core message. Prominent singers have supported oversinging as a controlled form of empowerment and self-expression when executed with intention. For instance, Christina Aguilera has described her vocal runs and acrobatics as a means to connect deeply with audiences and assert personal strength, emphasizing in her teachings that such techniques allow performers to infuse songs with genuine emotion and individuality rather than mere showmanship. This perspective counters criticisms by positioning oversinging as an artistic choice that amplifies vulnerability and resilience, provided it aligns with the performer's technical mastery and the song's narrative. Cultural relativism further bolsters the artistic value of oversinging, as intense vocal expressions are not only accepted but celebrated in non-Western traditions where Western notions of restraint do not apply. In flamenco, the quejío—a throaty, improvisational cry or moan—functions as a core expressive technique, embodying profound sorrow, joy, or defiance and drawing from Andalusian Gypsy heritage to create visceral emotional impact, with performers like Camarón de la Isla exemplifying its integral role in the genre's authenticity. Views on oversinging evolved in the 2010s, influenced by social media platforms that increasingly praised vocal runs as showcases of skill and innovation, shifting public perception from excess to virtuosity. Platforms like TikTok and Instagram amplified clips of melismatic performances by artists such as Ariana Grande, framing them as aspirational feats that blend technical prowess with contemporary pop accessibility, thus normalizing and valorizing what earlier decades critiqued as overindulgence.

Health and Technique Implications

Vocal Strain and Damage

Oversinging, characterized by excessive vocal force and volume, often leads to immediate physiological effects on the , primarily through heightened tension in the laryngeal muscles. This tension can result in hoarseness due to irregular vibration of the vocal folds, as the increased disrupts their natural closure and oscillation. Repeated from such strain contributes to the formation of vocal nodules, benign growths on the vocal folds that arise from chronic and trauma during prolonged or . In a study of over 400 injured singers, nodules were the most common , affecting 58% of cases, often manifesting after episodes of forceful singing without adequate recovery. Over time, persistent oversinging can escalate to chronic vocal fold damage, including polyps and hemorrhages, which involve swelling, bleeding, or fluid accumulation on the folds. Professional singers face an elevated odds ratio of 2.10 for polyps and similar risks for other pathologies like Reinke's edema, as documented in a meta-analysis of laryngeal issues in this population. These conditions, if untreated, may lead to career-ending injuries, though most cases resolve with therapy; however, studies highlight instances where severe, unmanaged damage has forced singers to retire or significantly alter their repertoires. Research from the Journal of Voice in the early 2000s and beyond links such long-term effects to cumulative overuse, with self-reported dysphonia prevalence reaching 55% among singing teachers. Several risk factors exacerbate the strain from oversinging, including dehydration, which reduces vocal fold lubrication and increases friction during vibration. Inadequate warm-up routines fail to prepare the laryngeal muscles for high-intensity demands, heightening injury susceptibility, while performing during illness—such as upper respiratory infections—amplifies tension and fatigue. Otolaryngology reports indicate that approximately 46% of singers experience self-reported dysphonia, with singing teachers showing 55.15% prevalence. A 2023 national survey in the United States reported a lifetime prevalence of voice disorders at 20.6% in the general population, higher among singers. Additionally, a 2023 study found that 62% of singers experienced vocal alterations during COVID-19 infection.

Prevention and Healthy Alternatives

To prevent oversinging, singers can incorporate targeted training methods that promote efficient vocal production without excessive force. Diaphragmatic breathing exercises, which involve inhaling deeply to expand the abdomen while keeping the chest relatively still, help build breath support and reduce reliance on throat tension for projection. For instance, practitioners can lie on their back with a book on the stomach, inhaling for four counts to lift the book and exhaling for eight counts to control release, repeating for 10 cycles daily. Range expansion techniques like lip trills, where the lips vibrate loosely while gliding through scales, encourage relaxed cord closure and prevent pushing into upper registers. Focusing on resonance—amplifying sound through natural cavities in the head and chest—allows for greater volume with less effort compared to increasing intensity alone, as it optimizes acoustic efficiency rather than straining the larynx. During performances, adopting dynamic variation helps avoid sustained high-volume delivery, creating emotional contrast that engages audiences without vocal overload. Singers can practice alternating between full voice and softer elements, such as whispers or breathy tones, to build control and prevent fatigue; for example, mapping peaks in a song to crescendo gradually rather than blasting from the start. Proper microphone technique further minimizes strain by allowing singers to maintain a consistent distance of 2-6 inches from the mic, reducing the need to over-project in amplified settings and preventing feedback that might prompt compensatory shouting. Professional guidance emphasizes proactive health maintenance to sustain long-term vocal integrity. Regular check-ups with an ear, nose, and throat (ENT) specialist, ideally annually for serious vocalists, enable early detection of issues like inflammation through laryngoscopy. Hydration protocols are crucial, with recommendations for 8-10 glasses (about 2-2.5 liters) of water daily to lubricate vocal folds and maintain mucosal pliability, especially increasing intake before performances. Incorporating rest periods, such as 10 minutes of vocal silence for every 90 minutes of use or full relative rest (minimal speaking) between high-intensity sets, allows recovery and prevents cumulative wear. Healthy alternatives to oversinging include restrained styles that prioritize intimacy and nuance over power. "Under-singing," characterized by subtle phrasing and controlled dynamics, fosters emotional depth without strain, as seen in indie folk minimalism where artists employ whisper-like delivery and sparse instrumentation to evoke vulnerability. This approach aligns with genre-appropriate restraint, enabling sustainable expression in acoustic settings.

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  53. https://pmc.ncbi.nlm.nih.gov/articles/PMC4157110/
  54. https://www.bbcmaestro.com/blog/vocal-rest
  55. https://berkeleybeacon.com/minimalist-music-folk-antidote-maximalism/
  56. https://www.treblezine.com/history-best-indie-folk-albums/
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