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RARB REVIEW

School: University of Georgia
Group: Accidentals
Album: Songs from Uncle Paul's Cabin

Total time: 48:17, 17 songs
Recorded 1995

Ordering Information


Track Listing

  1. Behold Man (5.6)
  2. Crucifixus (5.6)
  3. Lazarus Unwound (4.2)
  4. Colorado Trail (6.2)
  5. When I'm 64 (4.8)
  6. Somebody (6.8)
  7. She Is My Slender Small Love (5.4)
  8. The First Noel (5.6)
  9. Lo, How A Rose E'er Blooming (5.4)
  10. Psallite! (6.2)
  11. Good Lovin' (5.2)
  12. Conjunction Junction (4.6)
  13. You Don't Love Me Anymore (5.8)
  14. Bad Case Of Loving You (Doctor, Doctor) (6.0)
  15. Take A Chance On Me (6.6)
  16. Untitled
  17. Untitled

Reviews

Overall

Alison Berube Sullivan

Start with several sacred selections such as "Behold Man", "Crucifixus" and "Lazarus Unwound", add to that some religious Christmas music including "Lo, How a Rose E'er Blooming" and "The First Noel", then throw in a few pop songs like "Good Lovin'", "Conjunction Junction" and "Bad Case of Loving You", and what you end up with is a very odd mixture of songs. The sacred selections have their merits, just as the pop songs have theirs, but these are not necessarily songs that you want to listen to all in one sitting. They just don't flow well on the same album — it is a bit of a jolt to the listener every time the style takes a complete turn.

The Accidentals are part of the UGA Men's Glee Club, and they sound like exactly that. Their sound is very trained and very regimented. They are solid and consistent, with nice harmonies and blend. The soloists are fully supported but not overpowered by the rest of the group. Overall, the balance of parts is not bad, but I would prefer to hear a stronger presence of the basses, and less falsetto.

A couple of the more classical tracks have a meditative quality that I quite enjoyed, but my favorite tracks were "Somebody", which is beautiful and almost haunting, and "Take a Chance on Me", which is done with Noteworthy, a UGA women's group, and is just plain fun.
Rating: 6 (6.4)

Joe Oliva

What an eclectic album! On it I found many different styles including classical, pop, Christmas tunes, and even a hint of barbershop.

This group definitely has a knack for singing in a classical style. Tuning, dynamics, and rhythm are all there on almost every classical track. Unfortunately, some of the pop stuff suffers.

This group sounds like they are having a lot of fun with the music and I am impressed by their ability to sing live AND in the studio!
Rating: 7 (6.9)

Rebecca Christie

Before I get into anything else, I have to say gushy things about the cover art. The U Ga. Accidentals have these really cool caricatures on their CD jacket, plus a great photo of their director, and the whole thing is very well-conceived.

That being said, there isn't that much more that stands out on the album. The group's glee club roots are all over the place. In addition to the music, they also sectionalize their CD like a glee club — first sacred music, then the secular choral, then the doo-wop, followed by Christmas/madrigalesque and ending with live. I commend them for sticking with what they know and keeping almost half the repertoire classical — makes the album stand out in the collegiate soup, and it also sounds like they really enjoy that side of their material as well as the pop stuff. A lot of these type of groups do fine on the doo-wop but can't keep the classical stuff together like a class chamber choir — these guys are near the top of that type of group. The basses and lower parts sound particularly good.

Nothing glares at me too bad, and nothing will really move you to put it on your personal a-cappella-best-of mixes, but it's a solid effort with a little innovation here and there. Better if you like small ensemble glee clubs and can cope with the all-too-frequent over use of reverb.
Rating: 6 (5.7)

Gabriel Shabbtai Rutman

the accidentals are one of a handful of college groups that do it all: contemporary vocal pieces, religious motets, pop songs, songs of the old west, children's educational music, & abba. they succeed in a few of these genres, don't succeed in others, and basically put together a decent album of vocal music. not necessarily cohesive (in terms of an album's worth of cohesive material for showcase as an ALBUM), not necessarily amazing vocal performances, not terribly great soloists, but with some very nice arrangements and some interesting choices of music. this album is like a survey course: many different styles, but not too in depth in each style. it's like a collegiate a cappella sampler. if you'd never seen an a cappella group in your whole life, you'd die for these dudes. guaranteed. you'd leave the concert laughing, singing, and you'd buy the album. definitely. but if you've heard a group which has selected for themselves a niche, you'll find that their music, while confined to that niche, is a cut above what the accidentals provide. i wish i had a video, because from listening i can tell that i'm missing much of what the accidentals are about.
Rating: 5 (5.0)

Matt Cohen

Sometimes you CAN judge a book by it's cover. Take for example the new album by the Accidentals, who's packaging features a set of warnings to any potential listeners. Warning number one: The cartoon of the group on the cover has them all wearing tuxedos and standing in a semicircle. Warning number two: The trio on one of the songs, and I swear I'm not making this up, is sung by Thad, Skippy, and Russ! And that's just the liner notes! On the album itself, all of you worst fears will be confirmed. This is not an a cappella group, this is a glee club.

I'm Jewish, so when I saw the large number of spirituals and hymns on the track list I got nervous. I was worried, since I simply don't like that kind of song, that I would have a hard time being objective. So I promised myself that I would listen to each song on it's own terms. I still didn't like it. Jesus references aside, this is an unengaging album. You should only listen to this disc if you are very desperate to add some more "Christian A Cappella" (as the good folks at Primarily A Cappella call it) to your collection.
Rating: 3 (3.7)


Individual Tracks

  1. Behold Man (5.6)
    Alison Berube Sullivan

    The first of many sacred selections done as a group, this track has nice blend and full sound, but I found it difficult to understand the lyrics — the diction is a bit muddled.
    Rating: 5

    Joe Oliva

    Really nice chord progression to open this track with. Some of the ending consonants of phrases are being hit too hard for my liking, but nothing to cry over. Great dynamics! Some nice tuning at times, really locking in some tough chords. A good choral piece to begin the album with.
    Rating: 8

    Rebecca Christie

    What a lovely piece with which to begin the CD. A modern choral piece that is unique and engaging — the sort of thing churchgoing types would love to hear as an anthem but rarely get. The lyrics fit with the music and carry more of the mood in, say, a great work like Messiah than some trite piece of piano-accompanied Christian drivel.
    Rating: 8

    Gabriel Shabbtai Rutman

    this is the modern vocal piece on the album: modern sounding harmonies, heroic, balls out singing (chin up! balls out! check your diphthongs!), ron nelson (the dude who wrote it — not a member of the accidentals) was probably pretty psyched to have it recorded. this piece is the exact opposite of rhythm and blues. behold man sounds very much like a prep school choir number; the accidentals perform it well, and make their way through the difficult harmonies with only minor (no pun intended) pitch problems. a relatively good barometer of things to come in terms of style for the first couple songs...
    Rating: 5

    Matt Cohen

    "Behold man! God-summoned, yet God bound . . ." Heavy stuff, no? Well, it ought to be. This is a song that should put the fear of God into the listener. It doesn't. It ought to cause a stirring in the soul. It doesn't. It ought to at the very least strive for something better than soft diction and glee club style singing. It doesn't.
    Rating: 2

  2. Crucifixus (5.6)
    Alison Berube Sullivan

    This is a difficult and complex piece that is well-sung. Good control of dynamics and beautiful, smooth blend is exhibited by all parts.
    Rating: 6

    Joe Oliva

    Great tuning and sweet dynamics, however some hard "s" sounds throughout the mix make it difficult to follow the piece. The long reverb muddles the voices.
    Rating: 7

    Rebecca Christie

    Beautiful, legato sacred music. Not for everyone, but if I were at their concert this is one of the pieces I'd remember. Performed very competently — they aren't Chanticleer, but they are talented college students. Hats off too to the director — I'm sure he played a big role in why they sound as good as they do on these first two. (I'm guessing he's a faculty/staff director, maybe of the glee club too and doesn't sing, from the liner notes.)
    Rating: 8

    Gabriel Shabbtai Rutman

    i'm a huge fan of renaissance music, which this sounds like to me (i hesitate to label it so because there's no note indicating the author's place in history). [the composer is Antonio Lotti. — ed] it's rare to find a solemn madrigal on a collegiate album that isn't the school song. anyway, the reverb is nice, but again, their pitch suffers, and in this sort of piece that sort of error is harder to bear.
    Rating: 5

    Matt Cohen

    The lyrics, which are in Latin, translate to "He was crucified under Pontius Pilate, suffered, died, and was buried." If that's not enough for you, the track starts and ends as a ambient, tonal drone. In the middle it crescendos and finds some form, but never enough to catch your attention.
    Rating: 2

  3. Lazarus Unwound (4.2)
    Alison Berube Sullivan

    This tune is boppy and light, but could be tighter. The arrangement is simple but top-heavy. The high voices are in need of tuning.
    Rating: 3

    Joe Oliva

    Interesting arrangement. Lead vocal not bad, but the harmony has no blend with it and they are at times not quite in tune with each other or the background vocals.
    Rating: 6

    Rebecca Christie

    This doesn't grab me at all. Kind of James Taylor meets church choir, with arranging tricks from Chattanooga Choo-choo. Add 2 if you like contemporary Christian music.
    Rating: 4

    Gabriel Shabbtai Rutman

    more pitch. this group needs more pitch. remember the tv movie when you were growing up about noah's ark? noah's getting all pissed at his sons for not helping, and he yells "more pitch! i need more pitch!" anyway. back to our review. i've been told that lazarus unwound is an "inspirational" song, a style of which i was wholly unaware. regardless, the high tenors invariably fall flat amongst the usual pitch problems, and this song is one of the album's weakest arrangements.
    Rating: 3

    Matt Cohen

    The backing vocals are still too glee clubish, but the trio of leads have an easy going spirit when they take solo lines and, overall, the track has a cute stride to it.
    Rating: 5

  4. Colorado Trail (6.2)
    Alison Berube Sullivan

    The first thing that you will notice about this song is that it starts with piano music. Then, after getting used to the idea that this song is choral but not a cappella, you will hear the harmonica. So get past that, and you will enjoy the superb blend of the harmony, the smooth lead voice, and the richness of the bass part.
    Rating: 7

    Joe Oliva

    Piano AND harmonica found in this track! Anyway, some good piano playing, great dynamics and rhythm for a player. I understand that the harmonica takes over the 'lead' for a few bars, but it still could have been mixed a little lower. Nice blend and dynamics, but it drags just a little. Great lead for this style of music.
    Rating: 6

    Rebecca Christie

    Really a very pleasant college choir number — best to envision yourself sitting in a chapel of some sort, eyes glazing over as you listen to it. The piano is true to form and really not bad — fits right in with the glee club mood.
    Rating: 7

    Gabriel Shabbtai Rutman

    whoa! a piano! cool! i was getting sick of all that, whatdoyacallit? a cappella music? no instruments? what are you, crazy? this is the best track on the album! seriously! i loved listening to it. I OWN AN LP, A LONG PLAYING RECORD ON VINYL, OF THE NORMAN LUBOFF CHOIR SINGING THIS SONG AMONG OTHER SONGS OF THE OLD WEST! just thought you might like to know that. a beautiful arrangement, fantastic blend, interesting ending. the only thing this song suffers from is what has become a tired refrain in this review, bad pitch. when the piano re-enters it is most obvious that the group has drifted. HOWEVER, i didn't really care. i was gettin' into it. can't beat the old west, and the accidentals scored with this one.
    Rating: 8

    Matt Cohen

    The only interesting part of this song is the instrumental solo (and I don't mean that figuratively: there is a piano and a bit of harmonica on this cut). The group actually builds to a nice little harmony on the piano solo, and the decrescendo as the harmonica comes in is a good bit too.
    Rating: 3

  5. When I'm 64 (4.8)
    Alison Berube Sullivan

    This is a live cut, and is sung barbershop-style. The laughing is distracting, but that is always a chance you take with a live recording when the audience is having fun. However, the audience seems to enjoy this one more than the group. It's not bad, but could use some energy.
    Rating: 5

    Joe Oliva

    Classical meets barbershop meets The Beatles! Okay, I think I've heard everything now! An interesting classical/barbershop arrangement which would probably please any live audience. For a live recording, tuning is great.
    Rating: 7

    Rebecca Christie

    Quite glee club. No piano this time, but lotsa voices evenly dispersed and that barbershoppy bass line these things always seem to have. I was in the women's version of these glee clubs and smaller groups at a small women's college in Virginia; we sang with our male counterparts at other schools, so this whole thing is a bout of nostalgia for me.
    Rating: 7

    Gabriel Shabbtai Rutman

    a live cut. the only real difference between the live tracks on this disc and the non-live ones is the snickering of the audience, although i'm sure that these songs succeeded on a slightly higher plane live than they do on a cd. the melody seems to get lost in the barbershop-style arrangement. the performance is relatively lackluster, and the arrangement seems to lack any real ingenuity.
    Rating: 4

    Matt Cohen

    Apparently this group wishes they were in the Ivy League during the late 1940s. Glee club cubed. How hard is it to do a simple little arrangement of this song? But no, they had to go beyond simple all the way to unenergetic.
    Rating: 1

  6. Somebody (6.8)
    Alison Berube Sullivan

    I think this is my favorite song on the album. It is a pretty song to begin with, and this is a great arrangement. The sound is consistently full without being heavy. The lead voice is perfectly suited to the song, and the emotion really comes through. The background parts are maintained well throughout the song. This is a very enjoyable listen.
    Rating: 8

    Joe Oliva

    Great intro! The silky smooth lead vocal by the group's director "Uncle" Paul, could have been mixed a little louder and with less reverb to clear it up a little. Nice tempo that really suits the song.
    Rating: 9

    Rebecca Christie

    This is really quite good except for the parts with words. The background is smooth, rich and in tune — a good song for choral types. But the solo does absolutely nothing for me and the "somebody" accents (not in Depeche Mode original but a good idea) also seem to be rote rather than understood. Since this is a words-driven sappy love song they get low marks. By the way, this is the old UNC Clef Hangers arrangement, which I have heard performed many a time by said UNC Clef Hangers. Say what you will about their pitch, the Clefs had the mood this one is lacking.
    Rating: 6

    Gabriel Shabbtai Rutman

    i loved this arrangement (done, again, by somebody named b. wiles, not a member of the group), and would have loved the track more if the backups singing the "somebody" echoes had been on pitch. this song probably suffers more than most of the others in terms of pitch problems. every bar. still, i did enjoy the offbeat "nang" syllable sung by a 2nd tenor or two, and the basses were nice and thick. also, this is the first arrangement with space for a soloist, & he does an admirable job doing depeche mode.
    Rating: 5

    Matt Cohen

    I actually liked this one. The backing vocals provide a soft, low tone for the main vocals to float above. The effect is that the song comes off as serene and tender. A good song choice for this group.
    Rating: 6

  7. She Is My Slender Small Love (5.4)
    Alison Berube Sullivan

    This is another group choral selection, in which the blend and rich harmonies of the group, now familiar, shine. A well-executed madrigal, control and dynamics are tight.
    Rating: 7

    Joe Oliva

    Another great choral piece with very rich and thick power chords. Well sung and mixed. Unlike other tunes on the album, the reverb here is still long but suits the song and the vocals are NOT muddled.
    Rating: 8

    Rebecca Christie

    Whoopee, another English choral piece, like we all sang in high school. Tenors don't quite hack it on this one when their upper range is called into play. But it's what they do, I have no beef with them including it.
    Rating: 5

    Gabriel Shabbtai Rutman

    with this track we return to the more traditional styles of the first third of the album. i must say, the song itself was not terribly exciting. but for the secular lyric, i would've placed this as a church number. anyway. i don't know. not terribly exciting, but not bad.
    Rating: 4

    Matt Cohen

    Does the title not say "glee club" enough for you? Are you not taken back to a preppier time? Are you not visualizing a bunch of lads around the mantle of the fireplace at their all male school (co-ed schools being unheard of)? Well, if the title doesn't put that picture into your head, the song will.
    Rating: 3

  8. The First Noel (5.6)
    Alison Berube Sullivan

    Another live track, here is a standard arrangement and performance of a standard glee club Christmas song. The solo is smooth and confident, and adds some welcomed pizzazz to this familiar standard.
    Rating: 6

    Joe Oliva

    The tuning on this track is okay, but not up to par with other live tracks on the album. The soloist is so-so. Trying a little too hard to be smooth makes it not smooth.
    Rating: 6

    Rebecca Christie

    Liner notes seem to indicate this arrangement was done by Whiffenpoof guru Fenno Heath — score one for their having good taste. Lovely Christmas carol; I'd love to have a choirful of attractive men on a frosty street corner near my office singing this stuff. Ooh, though — solo can't make up his mind whether he's singing soul or classical — wish he'd kept it choral. And that last chord — I know it's a live recording, but its lack of tuning makes the listenability plunge.
    Rating: 5

    Gabriel Shabbtai Rutman

    another live one. nice. i began being bothered by the fact that the second verse was EXACTLY like the first verse, merely with different words. but then, whoa! out of the blue! tim edwards! the bass! rising out what could've been just another track on the accidentals' latest release! tim! thank you jesus! tim kicks ass. i like tim. finally, some real passion on this album. i'm not saying that the other tunes lacked passion, i'm just saying you can't TELL by listening to them. finally tim lets out what everybody must be thinking. a wonderful, passionate gospel solo in the middle of this otherwise standard christmas tune. thanks tim.
    Rating: 6

    Matt Cohen

    Oh goody! A Christmas Carol! Actually, that isn't sarcasm. While this lacks any merriment, spirit, and drive, at least the sound is full and they don't sound like a glee club. They're carol singers of the full period clothing/top hat variety. The soloist has presence and gives this track a lift.
    Rating: 5

  9. Lo, How A Rose E'er Blooming (5.4)
    Alison Berube Sullivan

    This is a beautiful and delicate sacred song which has always been one of my favorites from my own glee club days. Entrances and cutoffs are precise. With emotion and dynamics, this is how this song should be done.
    Rating: 8

    Joe Oliva

    What can I say? Another classical piece well done. The dynamics, blend and tuning are good, but it almost seems that this piece is not challenging enough for the group.
    Rating: 7

    Rebecca Christie

    This seems a bit light, without the resonance present in a lot of their music. This is one of the prettiest carols out there, so it's nice to hear, but it doesn't get anywhere, and the arrangment is really bland, particularly when you consider all the things that can do with this song.
    Rating: 6

    Gabriel Shabbtai Rutman

    maybe i'm not qualified to rate these homophonic old school numbers. maybe not. well. can't do anything about that now. i don't know, this song actually had remarkably good pitch. otherwise, i wasn't that psyched. neither were they, i gather.
    Rating: 4

    Matt Cohen

    There isn't anything to this track that I can particularly get a grip on. It takes focus and concentration just to listen to it.
    Rating: 2

  10. Psallite! (6.2)
    Alison Berube Sullivan

    Mainly "Joy to the World," with some other Christmas songs in there, this selection is brief but held my interest and attention. Rich harmonies, as usual.
    Rating: 7

    Joe Oliva

    A complex "Joy To The World" arrangement, arranged by the group's director. I love the chord progressions and the final chord of the song. The biggest complaint I have about this 51 second cut is that it is too short!
    Rating: 9

    Rebecca Christie

    Nice piece to hear in the middle of a traditional Xmas show — something pleasant yet a bit off the beaten path. It's an arrangement of "Joy to the World" (No actual Latin — the title is just a tease) with a few more interesting chords and rhythms, still very classical. Mega-reverb on ending was really unnecessary, especially since the song had no real power to speak of.
    Rating: 5

    Gabriel Shabbtai Rutman

    what if you were jewish and wanted to sing at uga? i don't know, maybe there's other a cappella groups there... sorry. let's continue, shall we? i never knew psallite was another name for joy to the world. i guess i'm an idiot. anyway anyway anyway this was very nice, a short and sweet rendition. the tenors stumbled over the interesting parts of the harmonies that director uncle paul tate arranged for them, unfortunately.
    Rating: 5

    Matt Cohen

    The harmonies are at their biggest here. It's a shame this track is just a snippet (as opposed to a full version) of what you and I call "Joy to the World" (NOT the 3 Dog Night Version).
    Rating: 5

  11. Good Lovin' (5.2)
    Alison Berube Sullivan

    I found this song choice to be a rather abrupt change from the religious Christmas music that precedes it. But I was glad to hear signs of real life from this group. Vocal percussion makes an appearance, and is very good. The men of the Accidentals let loose a bit on this one, and the result is fun for everyone.
    Rating: 5

    Joe Oliva

    A piece involving vocal percussion, and an acceptable job done with it. The lead vocalist over-annunciates at times for this style of music. The trio and the background are not quite in tune with each other. Really cool long-delay to end the song!
    Rating: 6

    Rebecca Christie

    Scrow? Hey, whatever works — great syllable for getting a rise out of an audience before the second half of a glee club concert, the traditional spot for these guys. Ditto for the "diggeda-diggeda-diggeda" overlays. Good solo, by the way, and the falsetto effects aren't such a bad idea either. I do question the jazz chord ending, stylistically and in terms of tunability. And honestly, was drowning the final chord in reverb really needed?
    Rating: 5

    Gabriel Shabbtai Rutman

    slightly unexpected after having heard another round of old school a cappella numbers, this song actually comes as a welcome surprise. i'm not sure there's a great way to arrange a three chord song played mostly on guitar, but i would've enjoyed something in addition to the syllable "ba" during the verses & choruses. ok solo, not such great percussion. energy though, this song definitely had some energy.
    Rating: 5

    Matt Cohen

    Hello! Is this Rock and Roll? Is that a percussionist? Yep and yep again. The percussionist is actually pretty good. The vocalist is in the right groove and there's a cute, brassy instrument section. Unfortunately, the backing vocals still have that glee club sound. It really sucks the steam out of this track.
    Rating: 5

  12. Conjunction Junction (4.6)
    Alison Berube Sullivan

    For a live recording, this song lacks energy. However, the lead voice is strong and right on the money — he has real personality. This is a fun song and a cute tribute to Schoolhouse Rock.
    Rating: 6

    Joe Oliva

    A live tune that simply drags. The background is not always in sync with each other. This piece may go over during the live shows because of some of the "schtick" involved, but I just couldn't wait for it to end.
    Rating: 6

    Rebecca Christie

    This is not in tune enough or campy enough to justify initial tempo — speeded up tempo later in song is by no means extreme but works. Begins with strange little piano intro, not really necessary for the CD, I think. Live recording, yes, but (hee hee — sorry) this shouldn't give you complete free rein over incidentals. Long monologue about park is best delivered of the tag lines.
    Rating: 5

    Gabriel Shabbtai Rutman

    this is a really really really fun song, but it wasn't really arranged that way for the accidentals, unfortunately. very straight. i've heard this song done by so many a cappella groups that it certainly is trite to even mention that fact, but i must say it, i've just heard it funnier, more energized, tighter, just better.
    Rating: 5

    Matt Cohen

    You know why the original Conjunction Junction was such a good children's song? Because it wasn't a children's song at all. It was a 100% sincere rollicking blues song with a dead on ringer for Fats Waller on vocals. The swooshy dooooo waaaaaa's on this version positively murder this song.
    Rating: 1

  13. You Don't Love Me Anymore (5.8)
    Alison Berube Sullivan

    Funny and irreverent, the simple, uncomplicated arrangement of this song allows the lyrics to carry the song. The soloist has a nice voice and sings this lost-love song earnestly, adding to the humor.
    Rating: 7

    Joe Oliva

    A good live mix for a humorous tune, apparently written by "Weird" Al Yankovic, but one which I've never heard before. The background is tuneful, but the lead vocalist isn't always. The arrangement is a little boring.
    Rating: 7

    Rebecca Christie

    Intro is ok this time. Otherwise I kinda like this song — sweet, in tune and totally deadpan — except for the vintage Yankovic lyrics it could be an Everything but the Girl song, or even a remake of Somebody. I guess the live reaction is a nice contrast to the deadpan and makes it stronger than if the track was from the studio.
    Rating: 7

    Gabriel Shabbtai Rutman

    if i was in the accidentals i would have chosen NOT to feature the pitches being played on the piano before the live tracks on the album. i realize that for continuity it might've been unavoidable, but the wonders of digital audio make that highly unlikely. i just thought it unprofessional, not that this group IS professional, but one would hope that they aspire to that level of performance. SORRY. i'll get back again. WEIRD AL! YES! well, ok. this is ok. it's ok! that's what it is. funny, but that's weird al.
    Rating: 5

    Matt Cohen

    Why cover a Weird Al song? Wake up folks — Comedy ain't easy. You can't imitate someone else's comic timing. Singing the words isn't enough to make a comedy track. A lot of the humor in this song (very much in the vein of "One More Minute") comes from the contrast of the melody with the violence of the lyrics. But here the background vocals are so lame that they're practically negligible. The minimal and controlled laughter in the background of this live recording ought to have tipped them off to the fact that this track doesn't have much of a reason to exist. It's a shame, because I like the lead vocalist.
    Rating: 3

  14. Bad Case Of Loving You (Doctor, Doctor) (6.0)
    Alison Berube Sullivan

    The strong start of this song will grab you. The group really dives into this one and delivers a punch. The vocal percussion really carries and stars in this song (mixing?). It is almost as if the rest of the group, both lead and backup, are actually backing up the percussionist, and somehow it works.
    Rating: 7

    Joe Oliva

    Another example of decent vocal percussion, perhaps mixed a little loud. The best groove on the album. The background tuning was really poor, which is really too bad because this could have been the best cut on the album if the tuning was there.
    Rating: 4

    Rebecca Christie

    Great intro and great energy — chord and percussion aren't bad either, though there appears to be little variation. Chorus sounds good — tenors lighten up an otherwise bottom-heavy (and loud-mixed) arrangement on the tag line. Hall and Oates should have sounded this good. (Yes I'm aware this isn't a Hall and Oates song, but the comment holds true.)
    Rating: 7

    Gabriel Shabbtai Rutman

    rock and roll. this song is injected with serious energy by way of relatively heavy percussion, but the solos lack the raucous passion that is the heart and soul of rock and roll music. whoa! there's a digital edit at the end of this song! the ending cuts in abruptly and is marred by digital noise. this is interesting, because the accidentals chose NOT to eliminate the starting piano notes in a couple tracks (which could have been accomplished with the greatest of digitalease), but left in a relatively glaring error at the end of this tune! anyway. i'm sure this rocker has great choreography and is a total crowd pleaser. makes me wanna dance. party. whoo!
    Rating: 6

    Matt Cohen

    If the rest of the album put you to sleep, this one's gonna wake you up on volume alone. The vocal percussion, which is again surprising well handled and very bass heavy, is unfortunately mixed too loud. But the lead vocals are all on track and, brace yourself, the backing vocals DON'T sound like a glee club! Yahooo! (This track gives me the strong impression that if you took these guys and locked them in a room and asked them to form an a cappella group, what they would come up with would be totally different from the Christian glee club that they're in right now. It's sad what people will force themselves to do in the name of tradition.)
    Rating: 6

  15. Take A Chance On Me (6.6)
    Alison Berube Sullivan

    It is always a treat when two strong groups join forces to double the result, and this final track is no disappointment. With so many voices, every part is covered and then some. The percussion is right on, too. Great energy — makes me want to dance. This song is solid, and a great way to end the album.
    Rating: 9

    Joe Oliva

    On this closer track, this all-male choir is joined by an all- female one. Putting two choirs together usually results in nothing short of disaster, but this was not the case and they do a good job on this Abba tune! The choirs are out of sync with each other at times but what can you expect?
    Rating: 7

    Rebecca Christie

    Well what do you know? Girl glee club extract meets boy glee club for an Abba song, and what do you get? An okay, chorally-influenced (but in an ok way) and rather inorexable version of this classic. Some nice sounds, some blown chords, a reasonably sexy spoken voice-over by one of the altos, and only one lyric flub. ("My love is strong enough to _relent_ when things are rough", not "to realize".) Ending is awfully, ah, major, and stylistically questionable if decently executed.
    Rating: 6

    Gabriel Shabbtai Rutman

    this track features noteworthy, the female version of the accidentals from uga. i can practically see the combination of both groups gettin' down on stage and the audience swaying and clapping. i hope that's true, 'cause as a musician, as a composer even, i find the arrangement pretty boring. straight through, takeachance takeachance takeachikachance chance. you've all heard this one before.
    Rating: 5

    Matt Cohen

    This track is sung with the women's group Noteworthy, and the track really belongs to them. For most of the track it doesn't sound like a coherent co-ed song. The women are clearly in the lead while the subordinate men linger in the background. They start to blend together more towards the end, but unfortunately they also stumble a bit in the process (it IS a live track.)
    Rating: 6

  16. (4.0)
    Alison Berube Sullivan

    [not reviewed]
    Rating: none

    Joe Oliva

    [not reviewed]
    Rating: none

    Rebecca Christie

    Studio blather unnecessary, unfunny and not even any in jokes to amuse their friends. Laugh track also a very, very bad idea. Song itself is really pretty funny ("Scrambled Eggs" to the tune of Yesterday, and their woes amidst a hangover) and decently done, but other things kill listenability. A cappella tracks should never, ever have laugh tracks. And if that was a real audience, I would encourage the group to sell them to a dog food company or bad sitcom.
    Rating: 4

    Gabriel Shabbtai Rutman

    [not reviewed]
    Rating: none

    Matt Cohen

    [not reviewed]
    Rating: none

  17. (2.0)
    Alison Berube Sullivan

    [not reviewed]
    Rating: none

    Joe Oliva

    [not reviewed]
    Rating: none

    Rebecca Christie

    Unfunny Linda Blair retake of the "scrambled eggs" theme. Uh-uh.
    Rating: 2

    Gabriel Shabbtai Rutman

    [not reviewed]
    Rating: none

    Matt Cohen

    [not reviewed]
    Rating: none

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