Rating: 
Summary: Find your voice
Review: This is the first book I have found that actually has enabled my voice to find some new life. After too many years sounding like Mark Knopfler, I am finally finding more range, color and most importantly reliability in my voice. While the voice exercises themseleves are workable, it is really the basic advice that seems to have made a difference in my case, namely breathing and drinking regimens. Diaphragmmatic breathing is difficult to perfect without some supervision, and I would recommend getting someone who knows about these things to ensure that this is in place. Any voice coach should be able to do this. As for drinking sixteen glasses of water a day, it takes a little getting used to but definitely keeps those cords hydrated. The CD is a terrific feature and really allows you to home in on particular problems, and then focus on eliminating them. (My goog and gug were fine, but I ran into problems on the moom and mum). I also lowered my larynx, raised my base register and regulated my breath. This book was a wonderful discovery for me. I would happily recommend it to anyone who wants to rid themeselves of bad habits. While not all this material is suitable for everyone, you'll be surprised how effective some of the simplest exercises can be.
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Summary: Singing Like the Stars (Some of them, at least)
Review: What makes a good singer? Honesty and the ability to manifest emotion into art. Can one become a good singer by reading a book? Of course not. Can one become a better singer by folowing the prescription of Seth Riggs? That depends on your definition of "better." Among his clientele, he counts Micheal Jackson, Madonna, Bette Midler and Rob Thomas (lead singer of "Matchbox 20").
His "Speech Level Singing" has gained a huge following in the United States, and he is probably one of the most sought-after figures in the popular vocal music scene today. His popularity has achieved almost cultish proportions; those who teach his technique pay him yearly dues, and those who study with those who teach his technique, are willing to pay twice as much for his methods than they would for most other voice teachers.
So, what exactly is the attraction of this man? "Set Your Voice Free" offers an overview of his mindset in approaching the art of song. If you can overlook the name-dropping (which he is famous for, unfortunately), one realizes what is being offered. This isn't a technique for "legitimate" singing - ie., classical singing technique. It is a technique that will allow one to sound like the pop stars listed above. With its throat focus, modulated support, vibrato controlled by the will of the singer this is a technique most "legitimate" singers would find quite scary.
Yet, this is the very thing that has garnered Riggs his praise: it allows one to sing like those pop stars listed above. The voices have in fact become signatures of the singers. Madonna sounds like Madonna - little or no vibrato (somewhat constricted, many would argue), and focused about the nose. Midler sounds like Midler: focused int he throat and nose almost exclusively. Yet, these are singers that are constantly looked upon as "unique."
There is, however, an unfortunate thread throughout Rigg's teaching that manifests itself in "Set Your Voice..." Apparently, a singer can only BE himself if he follows Rigg's suggestions. If one should get classical training (gasp!), one would lose their individuality and their voice. "Legitimate" (I use quotes, because I am not fond of that term) singers are cookie-cutter and don't keep it real.
This simply isn't true. Classical training brings out the voice's innate characteristics, without bombarding the vocal mechanism with mannerisms inflicted by many pop singers. Compare the voices of Franco Corelli with that of Placido Domingo. The voices are still unique, despite being both tenors and sharing similar repertoire.
And here is a secret Riggs does not want you to hear: there are popular musicians whose techniques are based on the classical school, and they are arguably comparable (if not much more revered) artists to those Riggs mentions: Aretha Franklin, with her low-larynx, well supported sound. Whitney Houston with her spiraling, free vibrato and her utilization of both breath pressure and release. Sebastian Bach (singer for the 80's band "Skid Row") and his powerhouse support and outward bound focus. Ella Fitzerald with a well-focused, and gentle breath pressure. Ian Gillan (lead singer for the '70's band, "Deep Purple") with a well-produced baritone voice. Stevie Wonder, Elton John, and Frank Sinatra all sang with classicaly sound vocal technique. The common denominator in this diverse and eclectic catalogue of singers: a low larynx, and phonation ON the breath rather than against. Many have beautiful release and a "spin." Yet, there is certainly no lack of individuality there.
If you do choose to look into the classical school which inspired the singers cited above (which is what I suggest), aside from work with a qualified voice teacher (one who has an open-mind in regard to all genres of music, including classical and all popular styles), there are several good books dealing with technique. Among them are Lilli Lehmann's "How to Sing", and Jerome Hines' "Great Singers on Great Singing", and the more recent "The Voice" by Miriam J. Arman - all available on Amazon. Singers should look to gain a wide listening-experience as well, through recordings by classical and contemporary artists. Find an Edith Piaf recording, browse the Blues section, and try to take in an opera every now and then. You won't know what you're mising until you do. If you do choose Riggs' technique, this book is probably a good place to start.
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Summary: Have access to a top-notch vocal trainer 24x7
Review: When I purchased this book, I had not heard of Roger Love or Donna Frazier. Not even one week into using the book, however, I feel like I am cheating them by paying so little for the critical knowledge contained in this book.
This book will give you tools and confidence you need to develop your own ability. Even if you have had extensive vocal training and think you know it all, I believe you're certain to learn something worth at least the cover price of the book.
The bottom line is: This book provides an excellent road map to becoming a better singer. The work is still yours to do, however, and I'd say that anyone who doesn't see positive gains from his/her investment in this book either already sings like Ella Fitzgerald or simply doesn't practice enough.
Oh yeah - and don't be lazy about using the CD...it is an integral part of the book.
Rating: 
Summary: way off base
Review: While there are some good seth rigg's based exercises in the book, Mr. Love's understanding of physiology is way off base. This is especially true when he discusses the "zipper" (vocal fold dampening). He attributes it to phlegm (yuck!) and shows total ignorance that the folds damp to to a lack of elasticity after they have first of all lengthened (due to increased cricothyroid involvement). His description of vibrato is also way off. The events he desribes where he makes the analogy of the secondary vibration being similar to the rippling effect caused by blowing air across the surface of a sheet of paper is ridiculous. If that is analagous to anything in the production of voice it is the mucosal wave which is present in all phonation (unless a stiff spot, or lesion exists) regardless of a lack or presence of vibrato. He attributes this to the Bernoulli effect. This is also way off. The Bernoulli effect is an important part of the myloelastic aerodynamic principle of voice production, but it involves the constriction in the glottis when the folds are in the closing phase of the vocal cycle. This creates negative pressure as air passes through them which sucks the folds together. Mr. Love may be an ok teacher but as a pedagogue he comes up way short.
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