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Bring Me To Life

Features of This Track

acoustic rock instrumentation
a subtle use of vocal harmony
use of a string ensemble
acoustic rhythm piano
acoustic sonority
minor key tonality
a vocal-centric aesthetic
melodic songwriting
the subtle use of a horn section

These are just a few of the hundreds of attributes cataloged for this track by the Music Genome Project.

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Comments

I liked this take of a song I already loved. The slightly classical spin was well worth a listen. Though I'm not very familiar Ms. Jenkins or her other work, this prompted me to check I out. FYI: this popped up in my station based on the artist Matt Ulery (who I found in the music tracks of the xBox game "Watchdogs". ) .

I'm a bit disappointed read that there are some who prejudged this track because it includes some aspects of operatic treatment. When an artist cover s a piece, they aren't
i like the cover
treysonsherr a t t
I love the mix of opera and pop! Towards the end when she sings opera, chills up and down my body.
This is the first song of hers I won't thumb up. You shouldn't cover a bands archetypal song, it rarely works.
The chorus is great. No, there is no way Katherine Jenkins is better than Amy. Amy nails it with her strong, unpretentiou s voice; Katherine is a bit cold and stuffy because she sings opera, and opera singers tend to get so highbrow.
Though it does sound a little like she has a cold. Do all opera singers do that?
Katherine Jenkins is singing Evanescence? ! ? ! ? Unbelievable . This is the only song of hers that I like. Interesting take on it.
If I may add, this version cannot exceed the original, and conversely, the original cannot exceed this version, because they belong to incomparable genres. If Katherine Jenkins had recorded this with a hard rock accompanimen t and a rapper instead of an orchestra and a choir, then I would say she takes the gold. As is, comparing the songs would be like comparing an ice dancer to a hockey player, and trying to decide who skates better, when both are actually quite excellent in their own sport.
Whoa! When I heard the intro to this song on my classical crossover vocals station, I thought that Pandora had botched. Yes, I like Amy Lee and her work with Evanescence, but she's not a classical crossover artist and has no place on a classical crossover station. Then I heard the voice, and realized it wasn't Amy Lee. I listened closely and was blown away. Katherine Jenkins has really brought new life to this overplayed mainstream hit. In my opinion, this version almost exceeds the original.

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