I’ve always found that some people are more into music than others, but despite this, everyone appears to have a voice they can hit on that really makes them feel something or simply “gets” them somehow. I present the voices that mean the most if you ask me, for a number of reasons.

1 – Bjork: My personal favourite, but also one Personally i think has been sadly shoehorned into that rather Philistine category of “kooky” by those that deem her music too “difficult”. In truth she is an exceptionally versatile performer, seemingly a female of one thousand voices and yet only 1 all at exactly the same time. It may make sense more to think about her voice around an instrument as much as any guitar or piano, not really a vehicle on her behalf lyrics. With this thought, it brings a real humanity to songs such as “Joga”, a swooping techno-ballad ode to friendship, and fierce political conviction to the apocalyptic thud of “Declare Independence”. Most of all, it is shown at it is best when she wears her heart on her behalf sleeve, which she does more regularly than her detractors may think, giving a song like “Pagan Poetry” an air of fantasy, longing and most importantly, real eroticism. Few singers have the guts to be so bold, period.

2 – Shara Nelson: Hearing this voice for the very first time is bound to impact anyone. Coming along at the same time when British soul music (with the notable exception of Soul II Soul) was in dire straits, Massive Attack brought something truly British to the table. True, there were the influences of dub, rap, hip-hop, soul and electronica, however the amalgam and unshowy nature of it had been something new. And as british female voice over of this operation was Shara Nelson, a woman with an almost frightening level of emotion in her vocals, even the simplest “yeah” or “uh” conjuring up shivers. Even those familiar with the true divas of the past like James, Fitzgerald, Franklin, Simone and Knight couldn’t deny that was a once-in-a-lifetime voice. Upon hearing “Unfinished Sympathy” it is clear of her (and their) genius; the lyrics – “Like a soul without a mind/In a body without a heart/I’m missing every part” – could be abstract,, but everything you don’t doubt may be the emotion behind them, what ever has happened to her protagonist, it hurts, and you also actually care. It really ranks among the best singles (and songs) of any period. Even in her short-lived solo career she managed some interesting feats: creating a debut album of such depth and uncompromising openness that even her undertake Motown with (rather oddly) Bob Stanley and Pete Wiggs gave birth to the haunting “One Goodbye In Ten”. Only in Britain.

3 – Roisin Murphy: Mostly known on her behalf rather eccentric wardrobe choices not to mention the mega-hit “Sing It Back” as the voice of Moloko, Ms Murphy is an artist of underrated vocal and musical ability, being both an instrumentalist and producer-arranger as well as a singer.Early Moloko treats such as “Fun FOR ME PERSONALLY” and “Dominoid” may not have been to everyone’s taste, being in a hip-hop/trip-hop style very of it’s time, but did show the first promise within their wobbly vibes and Roisin’s rather Earth Kitt-esque stylings, nonetheless it was “Sing It Back” that quite rightly got her (and partner Mark Brydon) noticed, albeit through an Ibiza-inspired remix by Boris Dlugosch. As stylish since it still sounds, it is best experienced in it’s original incarnation, that is really nothing more than a bongo, bass and diggeredoo, giving centre stage to her unashamedly sexy lyrics (“While you are ready, I’ll surrender/Take me and do as you will”).

By enough time of third album “WHAT TO Make And Do”, songs like “Absent Minded Friends” and particularly “The Time IS CURRENTLY” showed her being an artist of real emotion but without losing her edge. But her crowning glory came, ironically, in the groups final album “Statues”, in essence today’s update of ABBA’s “Voluez-Vous” album, dealing with the non-public and professional fall-out from end of her relationship with Brydon, and her most upfront lyrics yet, the album closing on “I Want You”, a song about the confusion of a partnership ending and being in limbo, and “AGAIN AND AGAIN”, a lush string-led ballad. As a soloist she has been equally as individual; debut offering “Ruby Blue” confusing as many folks since it pleased, based of minimalist beats and tribal drums, and featuring the wonderfully teasing single “If We’re In Love”. For now though, she seems to have finally found her niche as an adult dance-pop artist,, that is not as anachronistic as it might sound; second album “Overpowered” showing more prominent singers such as Kylie Minogue and Sophie Ellis-Bextor how it should be done. And what’s not to love about an artist who can turn a greasy-spoon cafe into a one woman nightclub in a video and still be cool?

4 – Gene Pitney: A genuine original, Pitney for some still remains an acquired taste: instantly recognisable vocal stylings and red-blooded passion, but resoundingly un-macho in delivery: this was a man unafraid to show everything. Songs like “I’m Gonna Be Strong” and “A DAY From Tulsa” proving that male failings need not end up being Elvis-style gloop-fests of the time. “Town Without Pity” is undoubtedly one his “signiature” songs, but one than stand repeated listens as a result of deceptively simple arrangement, and some truly emotionally complex vocals: it is a man in a doomed love affair that just wants redemption (“Let’s they help us?/Really help us?”) no matter what. But for most, his stand-out is “Something’s Gotten YOUR HANDS ON My heart”, where he reaches his natural conclusion,; after those years searching, he’s got found the love he needs, and this is among the most outright jaw-dropping declarations ever recorded, not for the faint-hearted as he howls “You touch me and my heart goes astray” for the planet to hear. And, in a touching final flourish, the re-recording of this track with Marc Almond sees him passing on the baton of “World’s Foremost Torch Singer” in style; a man of little ego, but much talent.

5 – “Mama” Cass Elliot: Carrying it out for the outsiders everywhere, and particularly at the same time when female vocalists really only had two routes, the Diana Ross/Dionne Warwick diva or the Sandy Shaw/Petula Clark ingenue, Cass found epitomise the feisty persona that is sometimes overlooked in modern pop. But most of all, behind the (admittedly groundbreaking) image was THAT voice. Perfectly pitched against Michelle Philips’ sweeter tones, she was the core of all of the Mamas And Papas’ biggest hits, from the genuinely timeless “California Dreamin'” and “Monday, Monday” to her later solo rendition of the viciously satirical “Disney Girls”, proving she had a self-awareness that made her stand out. Significantly less documented but often more affecting, may be the breadth of the solo material she recorded; even when indulging in her love of vaudeville, she effortlessly lifts songs like “Coming To The Best Part Of My Life” from a potentially cheap show-tune to a celebration of simply being herself, and you also can’t help but urge her on. But, also to prove it wasn’t always sunshine and rainbows, she also pulls no punches on songs like “IF YOU ARE Gonna Break Another Heart”, with a steely reservation worth contemporaries like Grace Slick and Janis Joplin; her legacy plain to see in everyone from Madonna to Beth Ditto.

6 – Boy George: When there is a very important factor that depresses me it’s hearing Boy George and Culture Club’s music referred to as “cheesy.” OK, so no-one is denying that songs such as for example “Karma Chameleon” and “Church Of The Poisoned Mind” are almost aggressively upbeat pop tunes, but this is usually a man who know his way around a lyric. What sort of song such as for example “Do You Really DESIRE TO Hurt Me?” has become viewed as camp is anyone’s guess because the lyrics certainly are a straightforward appeal for a truce in a stormy relationship, delivered for the reason that soulful croon that so often gets overlooked. That is heard even better on “Time (Clock Of The Heart)” and “Victims”, songs having George admit their own personality flaws while pleading to be loved likewise.

His solo material has taken in a lot more complex and open themes; his debut single may have been a cover of “Everything I Own” accompanied by a version of “The Crying Game”, but these are hardly covers that are taking the easy route, the former showing a barely concealed life in freefall, the latter being utterly convincing but never once self-piteous. He has been unafraid to speak from issues near his heart; take the wonderfully upfront “No Clause 28”, however in particular the truly wonderful “Same Thing In Reverse”, most likely the most touching explanation of the blossoming of young gay love, and the pleasures and pitfalls that go with it. If he is able to get himself back a studio and obtain his groove back, we may just be fortunate to hear several new stories from the Boy, and God knows he’s got enough material to draw on.