Kai pointed out the call of a tufted titmouse, which he noted was a bit scratchier than a chickadee's cry.
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American Epic: The Best of Blues (Lo-Max/Third Man/Columbia/Legacy) Anyone interested owns somewhat fainter and scratchier versions of tracks on this definitive country blues compilation.
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Where the EP gave it Plant's rich tenor core, the album leaves him shriller and scratchier, closer to Vince Neil of Mötley Crüe or Geddy Lee of Rush.
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She announced she was "really, really sick" and asked for forgiveness if her voice cracked, and her singing was scratchier, less velvety, than the way she sounds on her album and in live videos.
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As you might expect from a diverse group that ranges from scratchy-voiced white men in their forties to even scratchier-voiced white men in their seventies, other coaches' musical inspiration covers a wide spectrum.
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While at 71 his voice is gruffer and scratchier than ever, the album is unapologetic about it; vocals are recorded close-up over sparse arrangements, with melodies that relax into cozy countryish territory and sometimes stray toward speech.
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After the third chorus, the band plays an extended outro: the guitar shifts into a faster, scratchier progression, and the keyboard plays a circular hook whose artificial cheer seems to wag its finger at you, reminding you to heed the song's advice.
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Using xerography, animation drawings could be photochemically transferred rather than traced from paper drawings to the clear acetate sheets ("cels") used in final animation production. The resulting art style – a scratchier line which revealed the construction lines in the animators' drawings – typified Disney films into the 1980s. The film was a success, being the tenth highest-grossing film of 1961 with rentals of $6.4 million.
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Herriman drew with what cartoonist Edward Sorel called a "liberated, spontaneous-looking style ... a cartoon counterpart of expressionism". It was organic, and his pen strokes had a dynamic, thick-and-thin range which Sorel describes as instantly recognizable and difficult to imitate. The Krazy Kat Sunday pages showed Herriman experimenting most freely—each had a unique panel layout and logo, and the jumbled panels could be circles, irregular shapes, or borderless. In his last few years, Herriman's arthritis led to an ever-scratchier style of art; he used a knife to scratch out whites from inked surfaces, giving the artwork the look of a woodcut.
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It was his work on the Legion that rocketed him to comic book artist fame and gave him a creative control with the national companies that few artists achieved. He peppered his artwork with in-jokes such as upside down Superman logos, hidden Marvel characters, eyeball creatures, and scrawled humorous messages on signs in the background of his panels in the alternate futuristic alphabet Interlac. As Giffen's style loosened up, he found himself drawn to the work of José Muñoz (see Controversy). Soon thereafter he developed a scratchier, more impressionistic style, using a highly stylized method of drawing directly with ink, on titles such as Trencher, Lobo Infanticide and Images Of Shadowhawk.
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