Tonsil-singing and too much vibrato
Reader Bryce on Triumphant:
Some of [Sutton’s] placement here sounds as though it’s focused directly behind his tonsils, which may be his trademark. Inman still has the vibrato that made it possible for Won By One to sing in multiple keys at once.
But there’s more to this than snark, I think. At least when I read it I felt like it helped explain key parts of what makes Triumphant’s sound just too much for me to take most of the time, like listening to a telemarketer who won’t stop trying to sell you something. It’s just so unrelenting. Everyone at every part seems to be singing for the cheapest seats and at least the first few rows of the parking lot all the time. I mean, compare Eric Bennett’s first verse of “Whiter than Snow” with Gene McDonald’s rendering of a very similar song, “God’s Grace Reaches Farther” (on GV’s Quartets album). Very similar songs, very similar voices, very similar abilities. And yet with Bennett there’s an unmistakeably aggressive element to the sound, even in the moments when he seems to think he’s backing off the notes, or letting up a bit. It’s not his singing ability (which is fine to often really good). But a question of delivery, inflection, and of course oversinging into really really hot mics.
And it’s not just Bennett. It’s all of them. I assume a lot of these particular tics are either intentional, or unconsciously symptomic of a larger strategy that probably has something to do with their time holding down the anchor spot at a theater. Those audiences don’t pay for subtle. And too, maybe it’s just what happens when guys sing together for long enough, they start adopting each other’s habits, which in this case seems to be to oversing together … covering tones with your tonsils and yodeling your vibrato and sticking every note to the back wall.Email this Post