NQC 08: Tuesday open thread
I’m listening to the NQC Solid Gospel feed and Gerald Wolfe is doing his best to create for the new tenor, Jacob Kitson, a signature narrative like the one that Waldroup had (you know the one … how Wolfe auditioned Jason in that little concrete box of a stairwell over there in Freedom Hall etc). Kitson’s crucible will, evidently, be that he sang “Little is Much” on command in the studio one day not too long before Wolfe gave him the job. More interesting than the song is that Greg Goodman on Solid Gospel is trying to convince us that Kitson got “caught off guard” by Wolfe calling for “Little is Much” just now on the NQC stage, even though Kitson’s been flogging that song for the last two months all over the GV circuit.
For all of you who have something to say about NQC Tuesday, you know what to do.
Update: I only caught about an hour and a half total of tonight’s performances on Solid Gospel, and I was only half-listening much of the time while trying to get some work done. But I sure hope it sounds better in Freedom Hall than it does on the radio. I know nobody sings perfectly live, and the live experience can distract from a multitude of vocal inflecities. On top of that, maybe it was just bad levels on the radio feed. In any case, though, 9/10s of what I heard tonight ranged from mediocre to execrable. Susan Jackson wasn’t the only supporting vocalist to have her mic amped way too high, but listening to her drone over the top of Karen Peck and Devin McGlamery (who just really is a fine singer) was one of the more difficult things to endure. I say “one of the more,” because the Lesters letting those kids screech on and on was simply unacceptable. One song for the kids, ok. Fine. But send ‘em back to their seats to mug for the camera. Letting them stay on stage and yell their way through “Throw the Clay Away” was a travesty (and speaking of screeching, were the screaming Speers coming from a video feed or on stage? Solid Gospel’s man on the scene left it very unclear). The tenor for Doyle Lawson was nowhere near his pitch on that last tune, and am I the only person who wishes that Lauren Talley could just do the Talleys stands by herself? Or maybe that’s just the feeling I came away with after listening to Roger Talley shear the tops off nearly all his pitches. My point here is not to complain b/c people aren’t perfect singers, but to point out that the mix was really amplifying aspects of the sound that I don’t think normally would have stood out as much or grated on the nerves quite so badly. At least I hope that’s it. Can we hear from anyone who was in the hall on this? How was the house mix? Did anybody have a good solid stand?
Later Update: This is not encouraging.Email this Post