NQC 09: Thursday Night

And so, dear readers, we meet again like this, me writing in a far-flung suburban hotel in Louisville, and you  reading … from wherever it is you read the internet when you read it.  Before we get started, I’d like to give a big wish-you-were-here to MNP, whom many of you will recall from years past as my faithful wing(wo)man with a capacious handbag and well nigh perfect pitch (just about the ideal combination in NQC pals). She’s had to sit this year out, and though that probably doesn’t matter much to you, I miss her a great deal. Next year, Diana!

Now, off we go …

THE BIG STUFF
The Lesters:
They’re performance tonight was not itself what’s behind my putting them this high up on the list. Rather, it’s that they’re too good to be relegated to a handful of minutes at the beginning of the show when everyone is still finding a seat and milling about and generally paying no attention. The Lesters have a solid lineup again with Ginger Pritchard Pitchers, her daughter Jenny, Brian Lester, and Lester’s son Jonathan (who has a lovely, sweet voice that might have long enough to settle down and soar if given more than a few hasty bars in a rushed NQC set). This particular mix of voices allows them to create some really nicely voiced harmonics. More Lesters, please.

The Greenes: Tony Greene began their set tastelessly and ended it tackily, starting with a catheter story and a joke about whether he had to squat to pee now that he had his wife’s kidney, and ending with a screechy pitch for his latest contribution to tea-bag wear, a tshirt that allegedly rebuts the (dubious) claim that the president (according to Tony Greene) recently declared the United States was no longer a Christian nation. Uh huh. Aside from whether or not it’s even allowable by NQC rules to pitch product from the stage, methinks Tony’s tea may be brewed a little strong, or maybe it’s the Faux News Blend. But no matter, though I couldn’t help but imagine the actual good he have done if he had taken the time he used to rattle his tin for tshirts and instead would have encouraged people to consider organ donation, his clumsy Jerry Glowering was nevertheless marvelously upstaged by his marvelously gifted wife, Taranda, who (I’m ready to say) is the best single female vocalist in gospel music today. I have nothing to say here that I haven’t said before … indeed, at some point tonight, when she stood a few feet to the side of Tony while he was working his way through a verse and annotated his lines with little vocal filigrees and descants, I just started giggling delightfully and stopped writing anything (for those of you listening at home who groaned when she sang “O Holy Night,” you have to believe me that live it simply doesn’t matter). Her voice and what she does with it have a way of  dissolving the intellectual filter typically required in order for us to suspend our disbelief about the artificial nature of entertainment, especially pietistic religious entertainment. In its place, she constructs within the performance space a chamber of near perfectly pure feeling, of grace mingling among us. Do I gush? Yes, I gush. It’s that good.

The Collingsworth Family: There is an air of ascendancy about this group, and not for no reason. They entertainingly put on what amounts to a Christian variety show (part Lawrence Welk, part Liberace, part America’s Christian Family’s Got Talent) that appeals to a number of different types of fans simultaneously, and they make the show mostly about music, with not a lot a talking about the music. The song selection tonight was uneven – lurching around from anthems to kids’ ditties to instrumental solos – but I suspect that’s mainly because they’re still introducing themselves to some extent to NQC. The father, Phil, could stand to lose some of the music-minister tics and tricks, and there’s a certain humorlessness to their very intense piety that might ultimately need leavening as the kids age (and no, laughing after you ask people if they know how they healthcare debate is going to turn out doesn’t count as humor, no matter what you think the answer is). But that’s all ambient noise really: Simply put, the Collingsworths sing really, really well (it’s all about the details: Phil Jr. held a single note in a straight tone out for several measures while the other voices variously resolved around his, and the pitch never wavered or warbled, which I note because even though the older sister is clearly the best singer of the kids so far, it’s impressive that even the among the kids who get cast in supporting roles, there’s the talent and discipline to pull something like this off), and at NQC in these latter days, good singing is far rarer commodity than it should be.

Gold City: This was not a great night for quartets. The Dixie Echoes’ set was a titch stale, compounded by sound issues (they’re two microphones seemed barely to be on). Tribute sang several average songs and was memorable for nothing so much as the way one singer makes his face into the shape of a guppy fish when singing the word “blow.” There must have been others, but that I don’t recall is sort of the point. But Gold City had a very good night. A well-paced group of songs (“Cast My Bread,” “After A While,” “I’m Rich,” “Truth is Marching On” and “In My Robe of White”) with very little talking and a lot of enjoyable music. Tim Riley’s return is of a course a big driver for the energy and enthusiasm the group generates right now. And I can’t say I blame anyone for that. I’ve never really been a big low growly gravelley bass kinda guy, but there’s undeniable satisfaction watching someone like Riley in his seasoned seniority mastering an aspect of his craft with ease and command to a degree few of us – whatever we do – can ever hope to achieve. It’s nice to see him have this moment.

The Perrys: I don’t have a lot to say about their set since the showstopper was “If You Knew Him,” and I’ve said my piece on that already. But they clearly continue to occupy a top spot among audiences. I continue to believe the response is as much about the group’s poignant vocal style in general and Joseph Habedank’s interpretive ability as a lead singer in particular (to say nothing of the vast orchestral soundtrack behind them) as much as the songs themselves (and the rambling, disconnected logic of the story Tracy Stuffle told to set up “If You Knew Him” – something about the pledge of allegiance and the principal reading bible verses at school and Christians still serving a risen savior and not wanting to be controversial – only reinforces my sense that the lyrics are both confused and confusing), but this hardly matters. It’s marvelous to witness and experience, as I knew it would be. As a songwriter friend of mine said tonight after the set: if it gets that kind of response, why bother getting better material? A very good question.

 

BONUS STANDOUTS AND OTHER THINGS WORTH MENTIONING
The sound
: It still sucks on a regular basis (typical scene: half a dozen instrumentalists are being featured on stage, and the only instruments to be fully miked and on are the backup players, so while we see the dobro player picking his wits out on a solo, all we hear is a bunch of drumming and strumming), but slightly less than I recall from last year.

Ivan Parker: Easily the worst performance of the night, and even though I haven’t followed him closely, I’d wager that this may have been among the worst of his career. He went from struggling with pitches to missing them to simply laboring to get through the final song. I honestly wondered if he might actually stop singing during “Midnight Cry” there at the end. A real debacle.

HisSong: Too bad they got the short shrift. The schedule said they’d get 7 minutes, by no means the mother lode, but by the time Ricky Atkinson and Compassion and the Lesters got done joining HisSong for one of the regular singalong segues (about which more later on this weekend), the group barely got one song (“I Still Have it All”) in under the wire. Sure, they probably should have chosen a more upbeat tune for that short a slot, but still. Not much later, we were subjected between sets to several minutes of some strange video of sandpainting set to some soupy smooth-jazz, which made the HisSong thing all the more frustrating.

Loren Harris: He’s now with Ricky Atkinson and Compassion, of course, and they’re ok, but tonight it just seemed like a case study in professional misfortune to watch Greg Cook and Harris singing backup in someone else’s trio, and not singing very well, at that. Cook is badly out of shape vocally and Harris sounded tonight like someone trying to fit all the Loren Harris Trademark Vocal Moves into two verses of a single song. An a cappella encore is not what this situation called for.

The Whisnants: I had some (too much?) time on my hands for a while tonight and I got to thinking about this group. They have lots of personality and energy on stage, and they appear to try hard. I imagine in most of their typical venues, this works well for them. But they rely too much on the stack and tracks musically in a space that demands more than just charisma and showmanship. The results is that they don’t always seem to project a sufficiently live vocal presence to match the size of the room, or the scale of their own personalities on stage, and their sets seem to fall in the space between. To be fair, they did get the crowd on its feet ultimately, but it took five encores of “I’m Getting Ready,” many friends, several sport coats thrown into the audience, and two pianists to do it.

 

GRAB BAG
The Hoppers:
Did NOT close with “Shoutin’ Time” (instead: “Yes I Am”). Meanwhile, it looks like “I Wish I Coulda Been There” is ramping up to become the new “Shoutin’ Time.” Enjoy it while you still can.

Echoes I: With the backing of Ivan Parker and Ben Speer, a kid named Cody Logan Smith sang “What a Lovely Name.” The best way I can describe it is that it sounded like Vestal imitating Johnny Cook imitating Vestal. It was, of course, a huge hit.

Echoes II: Bryan Hutson (the KINGSMEN! that was the other quartet I was forgetting) seems to be fashioning himself as a bit of a Hamill Come Lately, abusing the new young piano player (who got the full Anthony Burger solo treatment tonight) as Hamill was wont to do and conspicuously calling the shots during the KingsGold Lite portions of the show.

Live bands: There were a lot of solid (some ad-hoc) bands backing up several groups tonight: Jeff & Sheri, Gold City, Dixie Echoes, and Kingsmen, among them.

Recession watch: When I picked up my media badge, I noticed that instead of the nice woven cloth lanyards we usually get, this year there was just a plastic bin of DIY metal-bead strings. Parking has gone up to $6 a day (a pass is available that, depending on your usage, may make it more affordable), and Jerry Goff spent nearly 10 minutes tonight singling out 20 able bodied men from among the crowd to help move pianos at the end of the night. That’s right folks, 20 lucky ticket holders will get a back stage pass to lower-back strain!

Quote of the night: From Les Beasley, regarding The Song of a Lifetime Showcase, “I don’t know what it is but I know it will be good.” I’m sure at least half of that is true.

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Comments

  1. Alittlecloser wrote:

    I see lots of singers moving things around in their mouths while they’re on stage (Bryan Hutson is one), maybe something that is under their tongue or between their lower gum and lip. What is it (a mint or something)? Does it just help to keep the throat lubricated?
    The early part of Thursday’s show was rather dull. HisSong has a likeable song – largely because of the arrangement – in “I Still Have It All.”
    The Lesters did a solid job on “When I Thank Him For What He Has Done.”
    Ricky Atkinson and Compassion tried to take people back by doing “Outside The Gate,” but the delivery wasn’t as good as I’m sure they hoped. They ended it acapella. Maybe tenors just get lower with age, but Greg Cook just can’t get there. He may have been able to back in the day, but that was before my time.
    The Greenes had a tough task in trying to follow up Wednesday’s emotion-filled set with another performance on Thursday. They came out strong and robust with “I Am Redeemed.” Jeff Snyder did a decent job with a good song, “Without the Cross.” Taranda did a great job on “O Holy Night,” as did Gerald Wolfe later in the evening. I know the old folks love to hear them do it, but put that song to bed. It’s played out.
    What’s the deal with Matthew Holt playing piano for the Mark Trammell Trio this week? Is Holt just at NQC hanging out and thus playing for the MTT in the process? Their set was a snoozer. It consisted of three hymns plus the orchestrated “If Only Just a Few.” What is Trammell’s fascination with trying to hit notes at the tip-top of his range? He’s such a good baritone, actually adds depth to the group’s sound unlike most present-day baritones. But he always wants to hit something uber-high. I just don’t understand. Maybe it just has to do with the showy nature of Southern Gospel performers.
    This has been out for a few years now too, but “Even In the Valley” is a good live song for the Whisnants. Susan delivers it well. I take some issue with Aaron Hise, because he sounds like he’s singing out of the back of throat. He probably isn’t, but that’s the way it sounds (like he needs to clear his throat). Susan Whisnant is a lower alto to start with, but she can’t hit many high notes. Her range is minimal, but she’s solid with a verse, due largely to the fact that she communicates the song well to the listeners. “I Thank God For Grace” is a good song. The Whisnants get very good material. They just aren’t that good vocally, not bad just average. “King Jesus Is Coming” fits the Whisnants’ sound and fits their voices well. “New Day Dawning” – well, I’ve heard enough of it, but the fans seem to still love it. Give the fans what they want, right? However, what was going on with Eric Ollis and Matthew Holt? Ollis always wears out the top end of the piano on the last couple of tags of that song, but throwing his coat into the crowd, then ripping his tie off and tossing it too (followed by Holt doing the same). And I believe they restarted the song – no exaggeration – five times. Oh my gosh. Let it end. By the way, Holt was playing with Ollis because the MTT joined the Whisnants on that set-ending song.
    The Collingsworth Family did better than they did earlier in the week. They were one of the stars of the night. They did a solid job on the acapella version of “Holy, Holy, Holy.” Phillip Jr. was solid on “I Know,” and they were just great closing with “The Blood of Jesus.” Phil Collingsworth Sr., Kim and Brooklyn are all far better than average singers. Phil and Kim have great ears, and Phil’s depth gives their overall sounds a fullness that most mixed groups do not possess.
    The crowd really enjoyed “Yes I Am” by the Hoppers. They really got into it. I was surprised. They don’t usually get that into that song. Average renditions of “Yahweh” and “It Is Well With My Soul” preceded that.
    The Dixie Echoes do a solid job of singing the “owld style,” but without trying to be insulting, they’re just not very relevant in Southern Gospel music. I listen to them at NQC and think they’re solid, but then I don’t hear about them for the next 358 days. “Miracles Will Happen On That Day” is a good tune for them, and Barker did his normal solid job on “How Big Is God” and also on “I’d Rather Have Jesus.” Barker is a good “singer.” I have always respected Randy Shelnut, Sr. too. I’d think he’s a guy you either like or don’t, but I always have liked him. “Little Is Much” wasn’t quite as good as normal, but it was still solid.
    Greater Vision’s set was boring minus Gerald’s rendition of “O Holy Night.” Gerald surprisingly had some serious vibrato issues near the end of that rendition. Rodney did a solid job on “It Pays To Pray,” and “I Want To Know That You Know” was adequate. The song that the Booth Brothers and Legacy Five joined GV on off of the “Jubliee” project wasn’t even very entertaining.
    Please don’t do KingsGold if it’s going to be that halfway done. Have the Kingsmen done “God Saw a Cross” both nights on the main stage? I believe so. Why…that’s the better question. Reed did a decent job on that song, but it’s not that darn good. Sing some of the old stuff. That’s what the blue hairs want to hear…and the rest of us too. And Hutson is easily the best singer (on a lead and harmony-wise) in that group. Have him lead something please.
    Gold City’s set was almost a complete repeat of Monday night’s set, with “I Cast My Bread Upon the Water,” “I’m Rich,” and “After Awhile.” Tim Riley was still better than good, though not as unbelievable as Wednesday night. Thought it was funny when he was talking with Jerry Goff and said that he doesn’t miss singing. I guess that will hush the minimal chatter about him possibly returning to the group. “Truth Is Marching On” was decent. I’m really wondering about Cooper, but I’m going to give him some time. When the Kingsmen joined them on “In My Robe of White,” it wasn’t real pretty.
    Jeff and Sheri closed with “Thank You Lord For Your Blessings On Me,” which always pulls at the heart strings of many. Talley Trio closed with Lauren leading a big number, “He’s Alive.” Neither set was very notable.
    The tenor singer for Tribute – Brian Alvey, who is apparently dating Lauren Talley – is quite solid. He’s just not that high, but his tone is very good. He has improved a lot. “I’ve Been Blessed” fits Tribute well, and “He’s Been Faithful” is a decent song. Alvey was unspectacular but solid on “Who Am I.”
    Oh, I forgot to say that the kid – Cody Logan Smith – who sang “What A Lovely Name” with Ben Speer and Ivan Parker…kudos kid…you’ll always remember that moment. It really sounded relatively tight, and you did a great job. For those who weren’t there, this kid was probably 11 or 12 years old and intentionally sounded much like Vestal Goodman in his phrasing and inflections.
    Then, the Perrys stole the show to conclude the night. It’s amazing how well-respected the Perrys are. It’s a good indication when you look around the stage and see the number of artists watching a Perrys set (especially at the end of the night – guys like Scott Howard, Rodney Griffin, Pat Barker, Tim Lovelace, Jeff Easter, etc.) that they are held in high esteem. Also, there were still a lot of people in the seats hanging around for the Perrys set, far more than normal. Loren Harris was on the main stage with Ricky Atkinson and Compassion earlier in the night, and he was sounding good as always. It was the first time he had been on the main stage since leaving the Perrys I believe. I didn’t know if the Perrys would ever fully recover after he left. Now, I still believe that the Perrys still have some minor issues, but Habedank’s progress is helping them stay near the top of the Southern Gospel mountain despite the group’s overall decline in vocal ability. No offense to Nick Trammell (who dramatically improved during his tenure with the Perrys) and Troy Peach (a total team player who brings great energy to the group), but it’s hard to top a group with three marquee voices like they had with Harris, Habedank and Libbi. However, Habedank’s progress has been steady and impressive. He’s so under control. He did a solid job with “If You Knew Him.” “An Old-Fashion Altar” is a good song for them too. After they brought the crowd to their feet with “If You Knew Him,” they ended the night with “I Wish I Could Have Been There”…and the crowd more than loved it. Tracy said they sang it because it’s Morgan Easter’s favorite song, and then Libbi set it off by tossing her mic to Morgan Easter during the first chorus for her to sing the high part…and Morgan did. Tribute and the Easters joined the Perrys on stage for the last couple of times through it. I’m not sure who the guy was who Joseph brought up on stage to sing with him, but Tracy gave his mic to Pat Barker. It was fun to watch. It really looked like those individuals on stage were having a good time, and that type of thing is contagious. That’s another reason why the Perrys are fan favorites.
    I thought you couldn’t pitch product on stage, but Tony Greene did.
    Also, what happened with the old-school notion that you need to have a tie on if you’re going to sing on the main stage. Many have appeared on stage without the tie this week. Was that ever an actual main-stage stipulation?

  2. thursdaynotes wrote:

    best female solos: taranda greene
    best male solos: pat barker
    o holy night by taranda was wonderful, while i haven’t heard a bass singer with such a beautiful solo voice as pat. sure tim riley and others have the extreme low end, but i prefer a good solo bass singer personally.

    best mixed group…perry’s, no doubt.
    best male quartet…dixie echoes. very solid traditional group. (btw..to the previous poster about the DE’s not being relevant the rest of the year, do you not see that they work pretty much every major event and for every major promoter. so i don’t get your reasoning?)
    biggest mistery to me at nqc is still the pfeifers. 3 times? why?

  3. thinkin-aloud wrote:

    honestly i think everyone who has sang on the NQC main stage has given their very best and not tried to hold anything back….i would gladly invite anyone that criticizes and second guesses them to start a group and hit the road, maybe then in a couple years i can write reviews on how you did at NQC

  4. spaceace wrote:

    Regarding Ivan Parker, you are right that he struggled his entire set. I think he must have had a cold or something because I’ve never heard him so pitchy before. He didn’t have to stop singing during “Midnight Cry” because I noticed that Bruce Taliaferro from Gold City went and got a microphone right before the song and sat down next to the stage. Bruce clearly sang the last note as the applause started and Ivan dropped his mic to his side as Bruce was still singing!

  5. jbb wrote:

    Alittlecloser: I enjoyed the post. One thing I disagree with….I think the Perrys are way better now than they ever were with Loren. Just my humble opinion. Each one brings their own personality to the stage now and is very comfortable with it. I have always been a Perrys fan and now call them friends. Joseph is getting so solid and Troy brings so much energy. Libbi and Tracy…I just don’t know what else you can say about them. They truly connect to the audience because they are “connected” to the one they sing about, as they all are.
    There are groups that I don’t enjoy each night, but, my only real negative comment is those running the sound. You know when people are on a stage and they have a mic in their hands, they’re gonna be doing something with it. GET THE MICS ON BEFORE THEY ARE INTO THE FIRST WORD……

  6. jlm wrote:

    Does anyone know who the piano player was for Gold City last night? Very Solid. Please keep the live band!!

  7. Aaron Swain wrote:

    The sound wasn’t as bad last night, but it has been really crappy all week.

  8. really? wrote:

    #5 - You think the Perrys weren’t better with Loren? I may not “get it” at times, but I don’t “get that” at all. With Loren, the top three had great leads potentially. Also, all three sang a good full part in the harmony where needed. I’m not taking anything away from Habedank’s lead now, because he’s still better vocally than many that have weathered the southern gospel storm for a great number more years, but he sang a full baritone part that was knocking on Scotty Inman’s door. For age and quality they’ve got it. I like Peach. I liked him with the Steele’s, but when you say they are more solid now…you can’t bury that past.

    I’ll end with this…#3. Go to one of the major search engines and type in “averyfineline.com”. I’m quoting from yahoo, “Criticism and commentary on southern gospel music and culture”. What don’t you get? No one on this thread picked on anyone’s wife or kids or called them fake that I’ve read. Have you ever watched a football game and said, “they should’ve passed instead of ran”, or “they need a coach who will get them in shape”. That’s what we do here. No ill will just simple criticism and commentary, so don’t start harpin’ about us needing to jump on a bus. If you don’t like the criticism don’t read it.

  9. HP wrote:

    Having been with a group at NQC as a sound guy, I tried very, very hard to push the Artists, whoops I mean people in charge of the production aspect, to do many different things that could take care of these problems. It’s disappointing to hear that it hasn’t changed still. When they want to fix it, give me a call. Yep, I’m pretty confident in my abilities.

    As for GC’s band. They are available anytime. It’s just an upcharge if you want them for a concert. Makes sense to me. You want the band? You pay for the band. This is nothing new. Other groups do it, including in other genres.

  10. spaceace wrote:

    Agree with jbb…quite possibly the worst sound they’ve had in many years. EQ on the vocals was way harsh and although I know that everybody mixes a little delay in the house for vocals, the delay was excessive and distracting. But the worst part as jbb mentioned, was that the engineer kept all the mics muted until time to sing, with many not getting unmuted until well into the singing. For the “KingsGold” set, they were over half way through with the song before they ever got Tim Riley’s mic on and he had a lead. The mix all night was uneven and inconsistent. I have no idea who runs the house, but how long do you think the soundman for Gaither’s Homecoming concerts would have a job if he ran it like that every night? We have a similar problem here in KY for our State Fair. They have a quartet contest each year, but the contract with the union requires them to use contract sound. Those people know nothing of how SG should be mixed, and don’t really care. This sounds like a similar deal. Was so much better in the years that Ben Speer and Robin Mew ran the house at NQC.

  11. Alittlecloser wrote:

    Habedank’s baritone part was not what I would consider full when Loren was still there, but different strokes for different folks. He was learning how to sing at the time. He’s had the voice, but he now is continually understanding better of how to use it (aka “how to sing”). A baritone - when he has a big, full voice like Habedank - should fill out the song (giving it a full sound, not just complete the chord), not merely just find his note. I’m still not sure he adds the fullness to the part he’s capable of (at times when Troy takes a lead), but his solo work is impressive at times. Again, you deserve all of the attention you’ll soon be receiving Mr. Habedank.

    When it comes to the Perrys, it’s not about what you like more. It’s about what was more quality. That’s the discussion. Some fans like chocolate, while some like vanilla. Some people don’t care for Loren Harris’ voice. Some don’t care for Habedank’s. But the material was better then. The overall sound was better then. The solos were better then. We’ll call entertainment even. The Perrys rose to prominence with Loren Harris and Curt Davis, and Habedank helped continue that rise and has helped maintain it. I wish them nothing but the best…and Loren, we’d love to see you back in it full time at some point if God ever wills it for ya man.

  12. jbb wrote:

    As someone stated…”some like chocolate while others like vanilla”. Guess I like butter pecan because I say, leave the band of gold at home. Enjoy them much more without the band.

  13. thinkin-aloud wrote:

    to poster number 8…i have been guilty of doin that at a football game yet that wasnt my intention by the post…we know when we are bad and know when its just plain sub-par but honestly if you have anything to say why not just confront an artist, since we are all very easy to find…wait that would take the power to cut folks down away from ya….jus thinkin outloud

  14. oldtimer wrote:

    I am a Habedank convert. I was never anti-Habedank, but when Loren left the group I was skeptical about the decision to promote Joe to the lead part. I was wrong. He is vocally at least equal to Loren and maybe superior - Loren had gotten to where it seemed to be all about phrasing and vocal acrobatics. Joseph is a singer - he delivers the goods. And (I know I am going to hear about this) the Perrys have IT today. I saw no one else in the first four nights about whom I would make that statement. If the Perrys keep their personnel intact for a few years - look out. They are headed for a Happy Goodman like prominence in the industry. And it couldn’t happen to better people. It is so great to see the good guys win from time to time.

  15. jbb wrote:

    I am listening now to the Pianorama(or whatever it is called or however spelled). Please, please..Let someone else emcee. Not saying Dino can’t play, just not a very good emcee.

  16. SGFAN65 wrote:

    In my opinion, I have always thought that The Whisnants would sky rocket to the top - if they would only add a higher female to mix! Along the lines the Perrys were with Nicole or maybe what the Nelons used to be with the 2 females. There are many soprano females that could be just the right fit for them. They have just always missed that “high” voice. Jeff and Aaron both are great voices - as Susan is certainly solid - just can’t reach the higher notes. It might would mean letting Aaron go and hiring the female or Jeff learning the bass part - if possible - but I think it would be a tremendous asset for them to add another female voice… or feature the Aaron more - maybe in a higher range - if it’s even possible for him. I am so proud of the success that they have had - but feel like they have just always been on the edge of really taking off because they miss the higher female voice ! Of course - again - this is just my opinion for whatever it’s worth. Is there anyone else that might agree with this ?

  17. really now...really? wrote:

    #13 - I didn’t cut anyone down…and I don’t think anyone else on this thread has either. If you want to talk, I’ll be glad to chat with you; but, from the sound of your post it seemed that you were against the whole aspect of discussing SG realistically (i.e. some sound good and some sound bad). I don’t doubt that most on the main stage participants do try hard, but some are better than others. Why is that hard for you to accept? I sing at small venues and because of that no one on here cares if I am good or if I am bad. Basically, I’m playing ‘Fantasy League NQC’. However, these guys (and apparently you) sing in front of many thousands of people at NQC…do you not expect some to like and others not to. I don’t dislike you if you don’t fill out a harmony, but I’m not deaf because you’re singing about Jesus. Just because it’s Christian music doesn’t mean people can’t have realistic opinions about it. For instance, Dottie Rambo was a great talent in her day. She was an awesome song writer up until she passed on. That said, I didn’t want to hear her sing all the time. Did I listen when she did special stuff? Yes, but it did not sound that great. Now don’t get me wrong I’m not picking on Dottie, but be real. This is not the place to say everybody did their best and is singing for the Lord. Hopefully, that is obvious. The rest is just critique.

  18. Jeff wrote:

    Sitting in the “artist’s circle” which is currently annoyingly filled with everybody’s bus driver and their aunt they brought to sell merch.

  19. Just Me wrote:

    Jeff, why are you sitting in the “Artist Circle”?

  20. tjt wrote:

    I have been watching the Live feed from the NQC this week on my computer. I must say that this years feed has been much better, than in years past. Only real problem has been sound issues but that’s not the live trucks problem. The only problem thus far tonight is McCray Dove and Dove Brothers, and Get Away Jordan.
    Pleazzzeeee enough already!!

  21. fridaynotes wrote:

    to poster #20, i may not be the biggest dove brothers fan, but as the old saying goes “nobody likes it but the people”. you were blind if you didn’t see the ovation of people standing and clapping (something that DID NOT happen at all when Signature Sound was on stage).
    Actually, Sig Sound nor GVB received any real standing ovations (I’d say at best maybe 200 people standing after a big song, but it was pretty pathetic) GVB did sound great, and I was extremely impressed, but could not understand why they did not receive much response.
    I enjoyed the Diplomats, just wish they could have sang longer.

  22. Tyler wrote:

    On another note: I spoke with Daniel Addison of GC (steel guitar) and he told me that “Curt” (sp?) is just “filling in” as a piano player.

    They’re still looking.

  23. tjt wrote:

    Fridaynotes, # 21 least we agree on one thing, I too enjoyed the Dilpomats one song, would liked to have heard several more from them and the band. Regarding your comments about Gaither and EH&SS, the may have not recieved a big standing O, but they didn’t have to go into a 5 minute intro about a song from 1999, that people still might want to hear. Makes me wonder if EH&SS had stage Get Away, would Dove Bros. have staged it? I find it very odd that Dove Bros did the same set/same everything for 2 days in a row, but changed the set out on Friday, Guess it’s called Show Biz!I just have a problem with songs you can’t understand the words too. Like Get Away and Didn’t It Rain. But hey that’s why have a mute button on the computer.

  24. busdriver wrote:

    18 & 19. Hey, I’m a bus driver, but I also sing with my group at most shows, I play an instrument with my group at most shows, and I played an instrument on main stage this week. Why are you in artists circle? If you want it to be no one but artists, then don’t come in there. You know what, if I knew who you were, and I caught you in artist circle, this bus driver would escort you out.

  25. KEW wrote:

    Hey Avery, I am sure you can blame it on an intern but it should be Ginger Pitchers not Ginger Pritchard.

    I don’t think there has been a finer family in sgm than the Lesters from Mom & Pop and the generations that have followed in their footsteps.

  26. Faith wrote:

    My question is…can ANYONE make out the words to Get Away Jordan when McCray is singing/wailing? I have it on the NQC ‘99 CD, and the words are indecipherable. Fast-forward to 2009, and I STILL can’t make them out. UGH.

  27. TJT wrote:

    #26, Faith…I don’t think McCray cares if you can understand the words or not. It’s more of a “show” than anything, with the wailing and the dance moves! I think he’s new thing is going to be the song he’s doing now, where he thinks he sounds like George Jones. He mentioned it all 3 times he peformed on stage at NQC.

  28. Ed wrote:

    Yeah, McCray’s auctioneer voice on “Get Away Jordan” and “Didn’t It Rain” borders on NOISE. Isn’t singing supposed to be pleasing to the ear?

    Joseph Habendank is finding his place as a great lead singer.

    Agree with #1 post: Disappointed that Hutson (Kingsmen) didn’t sing any features.

    Hearing Tim Riley singing with Gold City was a real treat. He was the best bass singer to walk across the stage all week. (sadly he is retired.)
    Bruce Talifarro (Gold City) is a great vocalist.
    Their tenor wasn’t loud enough in the house mix.
    The sound problems were unreal. Get some professionals in there.
    We wonder why other forms of music think we are a joke.

  29. IvanParkerFan wrote:

    I agree with you really…now really?.These guys are criticizing these artists.It’s not about judging about who sang what and how,it’s about having a good time and watching and listening to the best music ever made!GC,in my opinion was the best ones ever!And a little FYI Avery and spaceace,I totally DISAGREE!I LOVE IVAN!!!!!!! no matter what.He did NOT sound bad,in facet he was NOT the worst singer there,HE WAS THE BEST.Avery,do me a favor.DON’T EVER IN YOUR LIFE POST ANYTHING ABOUT IVAN ANYMORE!!!!!!! >:( I respect him..this IS DEFINITELY NOT the place to say good things.This is definitely NOT The Good Place,This is
    The Nasty Gossip Place.

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