A-Social Networking

I've spent the last week and some change setting up our Church's social networking site pages. It's been a challenge keeping everything straight, to say the least, but it has been fun for the most part.

However, I can't help but wonder if the unintended consequence of our increased use of social networking sites such as Facebook, Twitter and MySpace are worth the potential "virtual" touches. I can't help but feel that the proliferation of all things virtual will have a direct affect on our ability to connect with all things substantial.

Many times lately my wife and I have found ourselves staring at our own computers, connected to the same (facebook) network, with little to no interaction with each other. We pick up our blackberries and start typing away, connected, in a way, to other spheres of influence, while completely missing the one that we are existing in at that moment. My personality type makes me prone to such diversions.

My question restated then is: "Are the "virtual touches" that we have with one another worth the cost of actual encounters?" So much time and effort is spent on one, it seems impossible that something else won't suffer.

Who should win The Next Great American Band

anti-Spoiler Alert: There are no spoilers. Why would I do that when you can go elsewhere to get them. This is going to be an honest look, from my perspective, as to why each of the remaining three bands should win, and why they shouldn't. I'm taking the approach of the unique features that put them where they are. They are all able to play well, all great musicians. But what strengths does one band have that no other band has.

Let me preface this by saying that I do know who won. While I wasn't at the show, I found out by other means. I'm doing this in reverse alphabetical order. So try not to read anything into my placement.

One more thing. If you like any of the remaining bands, and are easily offended, or would rather not disagree, than don't read the "Why they should not win" section. I'm doing my best to be fair and honest.

Sixwire

From www.sixwire.com : Six-string guitars gave Sixwire the inspiration for their name, and with three guitarists at the helm of this Nashville five-piece band, it's more than fitting. Andy Childs, Steve Mandile, and Robb Houston along with bassist John Howard and drummer Chuck Tilley all did their fair share of touring and session work before coming together as Sixwire. But they're more than just a session band. Sixwire writes and produces all of their own material, and on occasion even directs and edits their own videos. Rather than try to pattern themselves after the many bands who influenced them, they prefer to follow a musical path that they themselves have created. Strong vocals, big guitars, memorable songs and tight musicianship have become a trademark of the group.

Why they should win

Of all the bands, Sixwire conveys the most musical maturity. On the show they have been the most consistent musically, stylistically, and technically. Without arrogance, they have been an example to the other bands what it means to be the best at your craft.

What's more, they are instantly marketable, and capable of putting out a recording with minimal amount of work. Track, overdub, mix, master and go. On the show we didn't hear much original music, but even if, contrary to their web site introduction, they don't have a lot of original material, there are so many great songs being written in Nashville every day, that it would take a producer just a few hours to pick the songs for the rest of the album.

I believe that Sixwire has the most potential to be a quick cash turn-around for 19 entertainment.

Why they should not win

Of all the bands in the competition, Sixwire has the most market competition. There is a reason why they are ready to go to market right away. It's because there is already a market in place for them. The problem is that market is already saturated with other bands just as good as them. It will be tough to find a distinct voice in the pop country market. Sixwire does have some unique features, but they simply aren't unique enough. This is probably the biggest issue they have to deal with.

As far as the show goes, they have also shown the least amount of diversity. It can be argued that Sixwire was smart to stick to what they do really well, and that's a good case to make. However, I believe that being a great band takes more than simply doing one thing well. I understand that the show is not all that conducive to showing depth due to the time constraints, but the chances that Sixwire had were not taken. They sounded the same each week. Sometimes they executed perfectly. Other times there were problems, primarily with the vocals.

Finally, there was nothing from the judges to push Sixwire beyond their comfort zone. There were never challenged to do something different. Never pushed to grow. They were static, some would say consistent, but can you say that they played better the last day of the competition than the first? I can't. They were great both times, but never did anything beyond their scope. Again, this touches on their depth. It's not a bad thing, but it's a reason to not win.

Denver & the Mile High Orchestra

From www.denvermho.com:

Formed by a group of friends at Nashville’s Belmont University in 1999, this exceptional group of musicians is comprised of three trumpet players, three saxophone players, two trombone players and a rhythm section. In the five years since their inception, the group has traveled around the globe, performing at churches, conferences, festivals—even at the Olympics—taking their electrifying horn-driven sound to the masses. The big band sound of the 30’s and 40’s had long intrigued Denver, who had played the trumpet for 16 years , so he assembled a group of musicians—friends to reinvent the style for the modern age. “I grew up listening to hip-hop, rock and pop, to all those genres,” says Denver, who is also the group’s lead vocalist and music arranger. “So I wanted to take the best of today and the best of yesterday and mix ‘em up.”

“In an age when new bands come and go with the wind,” bandleader Denver Bierman says, “the only way you can explain that a Christian ‘big band’ is still going strong after [nine] years is that God must be up to something. So our job is just to keep moving forward and make sure He gets all the glory.”

Why they should win

There is no band in the competition with the depth of musicianship of Denver & the Mile High Orchestra. All three remaining bands feature very good musicians, but DMHO's musical depth makes them unique. They were able to do more styles than any other band in the competition, and what's more, do them well. Obviously they had more players on stage, and that helps, but it would have been horrendous if a single one had a bad performance. There aren't enough players to cover up bad ones.

They were also playing styles of music that were much further out of their typical range than that of the other bands. A guitar based rock band is easier to cover by a guitar based country band, than a horn based swing band. How do you address instrumentation? How do you address vocal style? These were all handled deftly by DMHO. They were also taking unique approaches to the music that no other band was willing to take. While staying true to originals when they could, they arranged parts for each band member, and showed the audience that a "horn-based" band can perform rock and roll. What we never saw was a guitar based country band perform a big band chart. Let me pose this question, "What style is truly more American, Rock and Roll, or Jazz?"

Because of this depth, they have the most potential with a publishing company. It will be much easier to sell their recordings to movies, TV and the like because the style lends itself to classic and timeless longevity.

And yet, they suffered the most criticism from the judges, and viewers, but stayed in the show. If I remember correctly, there was not a single week when at least SOMETHING negative was said about the band by the judges. From "Your funk Skills are really limited" to "Denver reminds me of Ned Flanders". There were weeks that they were the only band criticized, even with Light of Doom still on the show. And through all of the negativity, the band listened, waded through the sometimes hurtful or simply wrong statements and attempted to improve and show the judges (and the audience) that they were listening and responding.

Why they should not win

Of the three bands, Denver & the Mile High Orchestra have the most amount of work to do from a production and marketing standpoint. The impression that people get when they are first introduced to DMHO is that they are a Big Band, which translates to swing music. The stuff my grandmother listens to. Or, perhaps something better suited for Vegas, or an extravagant Christmas party. So, what does a record label do?

First, they have to address the marketability. I believe they ARE marketable beyond the perceptions mentioned above, but the mass market needs to know that. This will require a record label and PR firm to invest time and money shaping the opinions of not only who Denver & the Mile High Orchestra is, but what the listener actually wants to here. This can be done. Just create demand. But how? A fad has to be created, which means a machine has to be built that will position a specific style, which cannot be a traditional swing/jazz style, in the minds of potential buyers. It's cool to listen to X, everyone is listening to X, and you must rush out and by DMHO's latest CD because they are the only band playing X, which is, of course, the style of music that everyone is listening to. That's a lot of energy to spend with quite a bit of risk if the general market doesn't accept it.

Finally, they do not have sex appeal. This is not a bad thing from an ethical standpoint, and it's the primary reason why I really don't like American Idol. But it's also not honest to say that they are the best looking band. What's more, while Denver is technically a great singer, his voice isn't going to make many ladies swoon or guys jealous. Stylistically, his voice doesn't reach out and demand your attention. My discussion of Clarke Brothers really addresses the reasons behind this.

The Clarke Brothers

While the Clarke Brothers do have a myspace page, they don't have a web site. Here is the bio of the Clarke Family Experience:

The brotherhood behind the Clark Family Experience shook up country music during 2001 with the hot single "Meanwhile Back at the Ranch." The six brothers, who were between the ages of 18 and 28, made history with the song -- it became the 13th best selling single in country music and pushed the Clark Family Experience into the spotlight.

The Clark Family Experience is comprised of the six eldest children of traveling ministers Freddy and Sylvia Clark. Alan (guitar/vocals), Aaron (electric bass/vocals), Adam (mandolin/vocals), Ashley (fiddle), Andrew (drums), and Austin (lap slide guitar/keyboards) were born and raised in Virginia. The Clark's 11 children were surrounded by music from an early age, but the boys started performing professionally in 1993.

Nearly a decade later, Curb Records inked the Clark Family Experience a deal. They went on to perform on TNN's weekly special The Oak Ridge Boys: Live from Las Vegas and appeared on Prime Time Country on several occasions. Opening slots for Faith Hill, Martina McBride, AC/DC, Charlie Daniels, the Dixie Chicks, and Tim McGraw allowed them to grow in a live setting; two summers with the George Strait festival tour also proved golden.

The Clark Family Experience gained momentum in the new millennium, and Tim McGraw joined them in the production of their first studio album. The Clark Family Experience was released in August 2002. ~ MacKenzie Wilson, All Music Guide

Why they should win

In trying to determine what makes them unique from the other bands, they are the hardest to technically pin down. It's obvious what they have, but let me start by start by saying what they don't. This isn't meant to be disparaging, it's meant to frame what makes them unique to this competition. They have three players. Technically so does Sixwire (3 + 2) and DMHO (3 + 9). They are playing an Americana style of Country Music. Sixwire is playing Pop Country - technically both of these styles fall under "Country". They are talented musicians. So are the other two bands. They aren't necessarily better musicians. To say so is asinine. Perhaps it's fair to say they are just as good. So, then what makes them unique?

Each week we heard something from them that almost no other band brought to the table. Connection with the listener. That connection was made through passion. They showed the viewers that they were passionate about what they were doing. This passion is something that can be related to. It's something that most people want. When you are passionate about something, and you are good at it, it resembles what is possible to the recipient of the art form. It's possible to find your place. It's possible to find your purpose.

The other bands didn't necessarily convey this. I really liked Denver's response during the finals to Dicko's question about what they are trying to convey to the audience. "Joy" was the response. That's great. More people need Joy. It would solve a lot of the world's issues. But there is a problem. Many people haven't found joy. I've written about this before. People typically gravitate towards what they can related to, and Joy is a big leap for many people. When someone is singing about what I'm struggling with, or conveying a message of pain, with an underlying sense of hope or purpose, I can relate to it, and am drawn to it. We  respond. A great, and current example of this, is Rockstar by Nickelback. While it appeals to the baser self, it showcases a desire for something better, grander, and the hope of a happier life (albeit resulting from "sex, drugs and rock n' roll"). There's an underlying sense of hope in that song that says "I'm just like you. We are all dreaming the same dream. Let's do this together." You're hooked. It's you. It's me.

Also, they are young and good looking. Another vicarious, relatable feature. It's the "I could be like" or "I want to be like" or "I want that" type of mentality that their presentation connects with.

Why they should not win

Stylistically, they will have a similar, although not to the same degree as DMHO, problem with defining and creating a market. Bluegrass is not as popular as those in that industry would have you believe, and neither is Americana Country. The Clarke Brothers, while capable (as is Sixwire) did not show much depth during the show. They stuck to what they did, and they did it well... for the most part.

Of the three bands, The Clarke Brothers had the most problems with their performances. The last three weeks they had more pitch problems with their vocals than any of the other bands. Ashley's vocals were much of the driving focus of the band's energy, but when he really wanted to convey passion, he would start to do a sort of sing/scream. Consistently, that's how he built the intensity. (Think "shine, shine, Shine SHINE! SHINE!!!) Also, at times the frantic playing, under the guise of passion, was at times too much and not detailed enough. The detail was lost in the energy.

Finally, and this is where my opinion will raise it's biased head, I felt it unfair to the other bands to allow them to add or remove band members. The week they added them, the difference between The Clarkes and Sixwire diminished, and hurt them. The next week the bass player and drummer were gone, and the judges said nothing about it. I thought this was strange since their biggest "problem" according to the judges was their lack of rhythm section. "Why do you hate drummers?" was how Rzeznik put it. So, when they fire their hired drummer, why weren't they called out about it?

Finally, they were most affected by nerves. While the other bands were most likely nervous, it didn't show nearly as much. My theory is that this was a result of nerves. But if they are going to be the Next Great American Band, they have to control their nerves.

Conclusion

I've enjoyed writing about the show. I have greatly appreciated your comments and responses. I do know that a few of the band members (and not just from DMHO) have read my blog, and to them, I'm even more grateful. I hope that, even when I've come across a bit harsh, that they know how much admiration I have for everyone that was on the show. It took courage, strength, and self confidence that, quite frankly, I don't posses to compete at this level. It's been easy for me to sit back and critique, but I don't have anything to loose.

Congratulations goes out to everyone, especially those who are able to move forward, integrate this incredible experience, and draw upon the lessons learned to hone their craft further, and use it to their success.

chs

Next Great American Band Taping #8 (ep9)

The best music so far...

I felt that, to date, this week featured the best music on the show thus far. Having eliminated Light of Doom certainly raised the musicality of the show by near infinite levels, but it was also nice to not have a fixed "theme" or artist being covered.

This was also my last time traveling from Nashville to LA for the taping. I'm disappointed that I will be unable to attend the final show this coming Sunday, but I have other commitments that I have to prioritize above the travel.

Like last week, they filmed the show out of order. They actually started with filming some footage for next week's show - so I guess I will be able to comment a little bit on my thoughts about the taping without officially being there. However, it made the taping about an hour longer than it should have been. Then they called each band and filmed all three songs back to back with the intention of spreading each band throughout the show when aired. While it's obviously the most efficient way to film, it's a little awkward viewing the show this way because you tend to forget what was previously filmed and how it's all going to come together. It's also strange when the judges say the same, or similar things they just said the song before. Once the show airs, it makes more sense.

The Bands

Denver & the Mile High Orchestra

It's no secret that this is the band I want to win the competition. I was beyond excited when they were called up first. That takes a lot of stress off. Keep in mind that the friends and family in attendance for Sixwire and Light of Doom had to wait until DMHO and The Clarke Brothers had performed their entire sets before they found out who made the cut.

September - Earth Wind & Fire

• Vocals: 4 - Some initial pitch problems, but once Denver settled into the style (this vocal style being very difficult for him) it I felt it was just fine. The BGV's were just a little weak, but it was great to see other band members singing. The reality is that a few of the guys can actually sing, and it's great to see this level of depth.
• Tempo: 5. I'm not going to comment on tempo unless there's a problem. Let's face it, the bands that really struggled with this are gone.
• Sync: 5. I felt that the pocket was great, and on par with the original. It's tough to compare the two bands, because EW&F have such a huge "presence", that it's impossible to believe a band could nail it as well as they did. But this was as close as it possibly could be.
• Arrangement: 5. I have it on good authority that this was the exact same arrangement as the original. So, if you want to knock the original, go ahead, but I thought it was very, very well executed.
• Presentation: 4.5. I thought everything was great, even the bit of dancing by Denver - he was getting into it. However, I could have done without the "kick". It felt forced and looked unnatural - especially in a suite. My best guess is that he did something similar during a rehearsal, and it looked good then, but didn't quite translate during the actual show.
• Overall Impression: 4.5. I personally thought this was a great attempt at an extremely challenging song. Very, very well done. And it was probably their weakest performance of the night.

Vehicle - Ides of March

I can barely rate this... it was unbelievably good.

• Vocals: 5 - Perfect and intense. Great style - not at all static or boring like others have accused Denver of being.
• Tempo: 5
• Sync: 5 - perhaps the best groove of the night. Fantastic.
• Arrangement: 5. Again - I'd rather listen to this than the original or Bo Byce's cover.
• Presentation: 5. Huge! High Energy! I loved every second.
• Overall Impression: 5 See above. It was little awkward giving all 5's, but it deserved it, so I that's what I gave it.

The Way You Move Me - Original

• Vocals: 5. Well rehearsed, well executed, and much improved upon over the first time we heard the song back during the auditions.
• Tempo: 5.
• Sync: 5. Great feel
• Arrangement: 5. Well done, well written, well executed. Great parts. And this time, the horns were up front, but Denver still sat on top.
• Presentation: 4.5. Very good, but just missing a little something, I can't quite put my finger on it.
• Overall Impression: 5. Another great performance. Although not their best of the night.

I spoke with Jared (the drummer) after the show and he said that he was so moved by the video package (showing the family and kids) that he almost missed the count-off. He said it wasn't so much what he saw, but what it all represented. Fortunately everything came together. It's been a long two months.

After this performance, it's very possible that Denver & the Mile High Orchestra could win this competition. I personally voted about 3,500 times.

Clarke Brothers

Change the World - Eric Clapton

• Vocals 3.5 This is the third week in a row that there have been pitch problems with the vocals. I'm chalking it up to nerves. At the show it's very obvious they are beside themselves about being where they are in the competition, and more so extremely nervous about it as well. But like Rzeznik said, "You're stars now, you need to get over it." (not an exact quote, but it's close to what he meant.)
• Tempo 4.5. Pretty good, but they need something to hold them a little tighter.
• Sync 4. See above, just not quite as tight and pocketed as it should have been. In spite of not having a rhythm section this week, they still need to groove together.
• Arrangement 4. I felt it was only ok. Part of the problem is that they come off of a huge arrangement by DMHO, and it felt really small. I liked the two acoustics, but it didn't feel like the parts were distinct enough.
• Presentation: 4. Ok, but fairly static.
• Overall Impression 4. Not their best of the night. In fact, it was probably the weakest.

In spite of my ratings, I think Eric Clapton is a good artist for these guys to cover. It's not so heritage/country sounding. I actually could listen to more, if it were slightly better executed.

Amazed - Lonestar

• Vocals: 4.75 - There were slight pitch problems at the beginning of the song, but they were quickly corrected, and easy to forget. He brought passion without screaming, so I went from 4.5 to 4.75.
• Tempo: 5. They held this ballad well together. Tempo drift is more acceptable in a ballad because it's less perceptible and can add to the emotion when done well. If there was any drift, I didn't notice it - which is exactly the idea.
• Sync: 5. Everything felt nice and tight. This slower tempo ballad songs really work to the Clarke's advantage. Well executed.
• Arrangement: 5. Soft, not overplayed, perfect for the song.
• Presentation: 4.5 - maybe we could do something other than stools. The show's not conducive to creative staging, however.
• Overall Impression 4.75. I loved it, in spite of the touch of "country cheese". (which is just one of the reasons why I don't like country.)

This Little Light of Mine - Public Domain/Spiritual

The only "Band Choice" song that's technically not an original. However, the arrangement is unique, so it's easy to forget about that.

• Vocals: 5. He's comfortable here. And, while I hope that when they get a deal, he doesn't yell on every song, when it's good, it's really good.
• Tempo: 5. Well rehearsed. No problems.
• Sync: 4.5. They're pretty tight, but it does get frantic, and some of the detail in what they are doing is lost. There must be a way to convey what they are doing while holding things a little tighter. It's not bad, just not perfect.
• Arrangement: 5. I like this arrangement. It's fresh, yet a great through back to a song I learned in Sunday School, but most likely originated as a Negro spiritual.
• Presentation: 5. I love the energy they bring, with so little, and it worked well here.
• Overall Impression: 5.

This is the Clarke Brothers that we first met. It's fast, aggressive, and passionate. It's what their fans are going to want. It's what I want out of them.

Sixwire

Reelin' in the Years - Steely Dan

• Vocals: 3.5 - lead straining too much, BGV's (a key feature of the band) not tight enough with some pitch problems. While the other bands have a touch more leeway about this, we wouldn't cut Denver any slack if the horns were off, it's their main feature.
• Tempo: 5.
• Sync: 5. No one is more consistent.
• Arrangement: 5. Well put together. The band played great.
• Presentation: 4 - they actually looked a little board during much of the song. It could have been how their nerves hit them, but it shouldn't. These guys are pros, and need to look like they are giving it every time (Even though their playing sounds like it).
• Overall Impression: 4.5 - awesome live, not quite awesome on TV.

I'd Really Love to See You Tonight - England Dan & John Ford Coley

• Vocals: 5. Well executed. Great pitch, and good emotional timing.
• Tempo: 5
• Sync: 5
• Arrangement: 4. I felt it boring, and too vanilla. However, the acoustic solo beneath the lead vox was very well executed, and a good touch. Another issue I had was live. The kick drum was just a thud, no attack. On TV, it worked ok for me, but live it was too boomy and distracting.
• Presentation: 3.5. Another stool song. Just not a lot of interesting stuff happening here. I understand it's a ballad, but it may as well have been a recording, because there was nothing else happening. At least I can listen to the song whenever I want, and not have to fit one of their concerts in my schedule.
• Overall Impression: 4.5 - a good, soft ballad. I'm trying to keep my style preference out of it - because I don't really care for this style.

It's Good to Be Back - Original

• Vocals: 5. Perfect. Great BGV's, it's what we come to hear (or at least some of what we come to hear.)
• Tempo: 5
• Sync: 5. This song has a particularly great groove.
• Arrangement: 5. Well thought out, and high energy that's well conveyed and showcases the band well.
• Presentation: 5. Excellent.
• Overall Impression: 4. WHAT? Why did I give them a 4 when everything else was a 5? Here's why. This was the third time we've heard this song. Once in the audition, then again when the bands did a cover and original, and again now. The other original we heard was Go On last week. This was a disappointment to me, so my overall impression of the song was lessened. While the performance was great, you'd expect it to be, but do they have anything else?

The truth of the matter is that all three bands performed the song they auditioned with, probably because all three felt it was one of their strongest. Ok, that's fine. But I think Sixwire then made a mistake when they performed it again. Franklin Bridge did the same thing. We heard their audition song twice. If they had been standing in the last three, would we have heard it again?

Closing Thoughts

I've had a blast. Thanks for following along and humoring me each week. I hope these reviews have been helpful. I'll do a review of next week's show as well. The show is going to be much broader stylistically than any previous show (believe it or not).

All three bands deserve to win this. All three bands deserve a deal. No matter the outcome, I'm proud of how well each of these bands have done. They are all from Nashville. And more than that, they (all three) have sacrificed, beyond comprehension in some cases, to compete and hopefully succeed. I have heard complaints numerous times that this show isn't about finding the best band. There are better bands playing in bars all over the country (especially when compared to the earlier bands in the competition). Yes, that's true. There are. But there are three primary kinds of bands that we didn't see in this competition:

1. A band that wasn't aware of the show
2. A band that wasn't good enough, or entertaining enough for the show. (This is where we have to accept the producer's prerogative. It's their show.)
3. A band wasn't able or willing to give up a life they already have established in order to compete.

Most of the guys in the three bands left have immediate family, jobs, friends and lives that they had to set aside for two months to do the show. And I can't imagine the weighing and balancing that each member had to go through to make their decisions. I know, if it were me, I would think about a record deal, a dream fulfilled, potential financial gain and stability, then I would be looking at my two incredible little boys, my gorgeous wife, and say...

chs

Next Great American Band Taping #7 (Ep8)

It was incredibly difficult not to start writing the moment I snuck out of the taping. But I was good. Besides, there are plenty of places online to get spoilers, and it sort of undermines the show's concept. For those who can't wait, it's ok, especially if you are still going to watch. The show's time slot has been changed in order to increase the number of viewers. I hope it works, because when the show does well, the other bands benefit. Sort of a "Good for the Goose, Good for the Gander" kind of thing. Where would Kelly Clarkson be if American Idol had only 2 million viewers a week, and then was canceled after the first season? I'm not saying that The Next Great American band will be canceled. I don't know. I'm saying that I hope enough people support the show to bring it back.

The Music

This week was Queen week, and to position my comments a little better, I like three of their songs. Bohemian Rhapsody, We are the Champions, and We Will Rock You. Of course, I own none of them. Quite frankly, I had heard the others performed on the show and didn't know they were by Queen. I'm still not going to buy one of their albums.

And last but not least, AN ORIGINAL!!! We finally, after about five weeks, got to hear original songs. It was obvious to me that this would hurt Light of Doom most, as they do not have the experience or longevity to have a decent catalog to pull from.

What a shake up this week

The Dots are gone! And what a frenzy that caused. All over the 'net people were griping and complaining. Here's the deal, while I have my band I want to win, it comes down to votes. And as unfortunate as it is, that's the way it works. However, a lot of complaints centered around Dot Dot Dot not having an exit interview on the show. I think that was unfortunate. There was no reason to not ask them what their future plans are, or another question along those lines. Adding insult to injury, many more fans for the Dots were in the crowed this evening than any previous show.

The Clarke Brothers

I had a feeling they would play first. They haven't opened the show yet, and with the controversial decision to allow them to add a bass player and drummer, it made sense. The show likes big openers.

Cover: Days of our Lives

• Vocals: 4. Pitch was pretty good, a few problems here and there. However, for the better part of the song it didn't have as much character as usual, perhaps because of holding the fiddle the entire time. It's interesting to me to note that Sheila didn't make any comments about it, but did to Denver.
• Tempo: 5. Click track? The best bands use 'em, and these guys were good.
• Sync: 4.5 Bass and Drums were tight, but they don't quite have the feel of the bands that have more experience playing together. They sounded like session players - very good, but not quite gelled like a band.
• Arrangement: 3.5 The chorus didn't climax enough. Ashley had to scream to build it, but the instrumentation, being more fleshed out, should have played a bigger role.
• Presentation: 5. I liked the "Dixie Chix" style. 3 guys with a backing rhythm section. Personally, for me it works, and it did allow Ashley to take a more commanding role.
• Overall Impression: 4.5. Again, talent. There's nothing holding these guys back but themselves.

Homestead (original)

• Vocals: 4.5 some pitch problems, but overall pretty good.
• Tempo: 5. No drift.
• Sync: 5 much better feel than the cover
• Arrangement: 4.5 I docked it half a point because I didn't like the solos that much. There were some fiddle pitch problems.
• Presentation: 5. They hold themselves well.
• Song: 4. While it had a good hook, it's not going to speak to as broad of an audience as it could. Dicko is right about it being too generically country lyrically.
• Overall Impression: 4.5.

My take on the two added band members: Well, they aren't really added band members. Just back-up players. If so, they would have been in the green-room with the rest of the bands. There are rumors that they won't be back next week - there will be two different players instead. While I prefer the sound a bit more, I think it lost the intimacy of just the three guys, and it also made them sound more generic and more like Sixwire (even though the instrumentation is different). Splitting the vote with Sixwire could hurt them.

Light of Doom

I'm disappointed, but I'm not going to belabor the point.

Ahh, so much to say.

Cover: We Will Rock You

• Vocals: 2. I gave them a one, because, while it was the worst performance to date, it was all over the place.
• Tempo: 1. Directly affecting sync, this was horrendous.
• Sync 0. no pocket. every band-member to themselves. save yourselves!!!
• Arrangement 0. The arrangement may have been fine, but it was so poorly executed, it was impossible to tell.
• Presentation 1. Here's where my heartstrings were pulled. I couldn't give them 0's across the board. Even though this was incredibly cheesy. We didn't have a whole bunch of talent contests in my Jr. High. But this is exactly what I'd imagine it would be like.
• Overall Impression 1

This song was the longest to tape. The producers really wanted the crowed to be involved in the opening "We will rock you" sequence and rhythm, so they instructed everyone to clap and fist-pump with the band. However, to make sure it was going to work, they had a quick rehearsal with the kids. Immediately, I knew it was going to be a problem. Crowds, when given the chance, will clap faster and faster. The kids, with their lack of experience, immediately start to follow. It got so bad that the music director had to come out and instruct the kids, then the crowd, not to speed up. Imagine how bad it would have been if that hadn't been done? (I'm not going to question whether or not they should have even corrected the kids before they played, as none of the other bands would have been - or would have needed to be.)

One more thing of note, Dicko made a comment along the lines of, "Whoever's idea it was to play those drums, never listen to them again." I'm sure it wasn't the kids who came up with it, and it was a bad idea. Light of Doom has been told to do a lot of cliche' d things, and I don't know who has been coming up with them, but they have finally caught up to them. Playing on the catwalk, walking through the crowed (and giving "hey everybody" hi-fives), sheesh.

A Matter of Time (original)

Vocals: 1.

Tempo: 1.

Sync 2.

Arrangement 2.

Presentation 3.

Song: 1

Overall Impression 0.5

One thing to note, and I won't ramble on here, is that the show didn't tape in order that it aired. We saw the cover, immediately followed by the original, from each band. It made for faster taping. Then the show was edited together to make for a more interesting presentation. That said, I felt bad for the kids. They just got slammed, finally, after being misinformed at every one of their previous performances, and now they have to immediately go into their original and expect to play it there best with no emotional connection to the previous song. They didn't have a chance to decompress and build themselves back into the next song. And while that's true for the other bands, it was definitely harder on the kids. Yet another reason why they should never have been put on the show to begin with.

Sixwire

Cover: Fat Bottom Girls

• Vocals: 5. This is tricky for them. When they really focus on BGV's it can go either way. In weeks past, they have been pitchy. They pulled it off very well today.
• Tempo: 5. No surprise
• Sync: 5. Again, tight, great feel, perfect.
• Arrangement: 5. Great version of this song. I'd actually listen to this.
• Presentation: 4. While good, not overly inspiring.
• Overall Impression: 4.5 I went down, maybe half a point here, because now that I've had a little time to think about the performance, it's starting to all run together. Pretty vanilla, but very, very well executed.

These guys deserve to win this show based on today's performance. They have such a great connection as a band. And that is, after all what this show is about. Right?

Go On (Original)

Vocals: 5.

Tempo: 5.

Sync: 5. Again, tight, great feel, perfect.

Arrangement: 5. Wow

Presentation: 4. Same thing, you've seen this all before. Not a whole lot new given to us tonight.

Song: 5. I think this song is ready for radio now. While I'm not divorced, we all have friends and family who are. This song is relevant and honest in today's culture.

Overall Impression: 5.

I won't be disappointed, or surprised if Sixwire wins this contest. However, it's not my favorite band in the show.

Denver & the Mile High Orchestra

Sitting in the crowed Wednesday, and having to wait until the end (remember that the other three bands had already performed their two songs) was near excruciating. There was a huge contingency of Dot Dot Dot fans in the crowd. They were a clear audience favorite when it came down to the final two. I knew about 12 people in the crowd there specifically to see Denver.

Cover: Sleeping On the Sidewalk

• Vocals: 4 - Each week Denver's vocals get more intense. They are smooth, that's his style, and it's not really the style of today. But I'm trying to see past that and understand that his pitch and timing were right on.
• Tempo: 5. Always solid
• Sync: 5. The band was as tight and in the pocket.
• Presentation: 3.5. I was disappointed in the look. It felt sloppy. One thing that was nice, on TV you didn't notice Denver carrying around his trumpet during the song. It was obvious during the show, and the reasons for Sheila's comments.
• Arrangement: 5. Another positive from Rzeznick. It was a great version of the original.
• Overall Impression: 4.5

White House (original)

• Vocals: 5 - Actually some growl. Great character and good all-around..
• Tempo: 5. perfect
• Sync: 5. The band was as tight and in the pocket. Great rock feel, and the band locked right in.
• Presentation: 4. Better than the cover (loss of the trumpet) but the look still bothered me.
• Arrangement: 5. This song relied on the arrangement to make it good, because of the three bands that were good today, this was the worst original...
• Song: 3. Hook? Chorus? Oh wait, there were both of those, but almost non-existent. I could barely remember the song name, which came from the first line of the song, not from the chorus or any other memorable part of the song.
• Overall Impression: 4. They have a huge catalog of songs to pull from. Why this one?

I also know that DMHO and Dot Dot Dot have developed a solid friendship over the last couple of months, and it was tough for them to have to sit together as the last two, one of them going to advance. You could see it on the faces of both bands, disappointment. It wasn't the Dot's time to leave. We can all think of at least one band that should be gone already.

closing

Well, I have one more trip to make out to LA. I'm looking forward to it, and a bit nervous. I have to believe that Denver & the Mile High Orchestra have made it through, but you never know. I thought Franklin Bridge could win this. We'll see.

chs.

Next Great American Band Taping #6 (Ep7)

Introduction

After yet another whirlwind flight from Nashville out to LA on Wednesday and back the next day, I'm feeling pretty good about this show. Still, disappointed in some of the outcome. So far, the bands that I felt have needed to go at some point have all left (with the exception of Franklin Bridge). However, no band has consistently performed as poorly as Light of Doom. I honestly don't know what the producers are trying to accomplish by having them in the show - but, it's their show and they can screw it up if they want.

Tonight was Rod Stewart night. Yet another British rock icon on a show searching for an American Band. And, with the announcement of Queen for next week, there may not be an end in site. They are also considering David Bowie as well, no real surprise there. Of course, we haven't even gotten to the Beatles yet.

The recap video from last week surprised me. It must have been put together between Wednesday and today's airing. The video shown at the taping covered more of the previous bands, recapping the show from the start of the season to this point.

I'm going to do my best to really focus on musicality, making a true attempt to judge the bands on a technical scale, with less personal opinion mixed in. I'm also not focusing on appearance or presentation (which I consider important factors for bands). I thought this would hurt Light of Doom's score, because they are exclusively about appearance, but then I reminded myself that they aren't doing anything original, and how copied and cheesy it looks. Plus appearance is even more subjective than musicality.

Now for the bands

Dot Dot Dot

Song: Young Turks

• Vocals: 2 stars. Not having the bass player sing helped this week, because, well, she can't sing. However, there were constant pitch problems from the lead singer.
• Tempo: 4 stars. Timing was good. But there wasn't really a pocket, or feel to fall into.
• Sync (band togetherness/tightness): 3 stars. They were a little soft, and not really locked in.
• Arrangement: 3.5 stars. Not a whole lot to listen to. It came across like they learned the changes and played them the way they would, instead of branching out and experimenting. This band is more about experimentation and discovery than it is a style. Pushing the boundaries IS their style - or at least what they seem to want as their style, so why so vanilla this week?
• Overall musical impression: 3 stars.

I still want to like these guys, but the last two weeks have really shown their weakness in the vocals. Dicko was absolutely right about the keyboard setup. (See my previous post - I made the exact same point a few weeks ago! - under Dot Dot Dot) It's nice to see a judge finally catching up. Maybe he's reading this. Good job Dicko. His comments in the taping were a bit longer, and were edited for TV, but they did get the gist of what he said. It was also refreshing to hear Sheila finally make a comment about tempo.

Denver & the Mile High Orchestra

Song: Baby Jane

• Vocals: 4 stars. Pitch was good. There was way more character than before, but his vocals are a touch vanilla. However, he did bring some more aggression, and it works well. It was also controlled, and, even when he's pushing himself, the requirements of pitch and timing are still well executed.
• Tempo: 5 stars. Locked into the pocket, and a great vibe and groove. No drift at all.
• Sync: 5 stars. They were right on. The bass, drums, guitar and keys were perfectly in sync, setting up the vibe for the whole tune.
• Arrangement: 4.5 stars. Every week the horns are fully arranged by Denver. Dicko was right about the chorus getting a little lost, and, while it didn't loose energy, it didn't build as much as it could have. Still, the vocals had great space, and it was awesome to hear the rhythm section (and guitar) clearly arranged for.
• Overall Musical Impression: 5 stars.

It was refreshing to hear all three judges have positive comments. Last week it really felt like The Mile High was unduly picked on. To finally have Rzeznick say they played well is refreshing, although his opinion - being very Paula Abdulesque - doesn't carry a lot of weight.

Sixwire

Song: Hot Legs

• Vocals: 5 stars - it was great to hear the bgv's on - which is key for these guys. So much hinges on their vocal harmonies, and they were toned down a bit.
• Tempo: 5 stars - tight as ever, with no drift.
• Sync: 4.5 stars, the bass and drums drifted just a touch at one point, but they are such a mature sounding band, that it's hardly noticeable.
• Arrangement: 5 stars - I liked having each band member solo - missed the drums though. The bass solo rocked, and is in the same place as the original, so Sheila was almost right. I don't like where it is, separated from the other solos, but it's true to the original. Also, lightening up the BGV arrangement made more room for the rest performance to shine, and really showcased the player's abilities.
• Overall Musical Impression: 5 stars. How can you not like these guys. A real band, real talented, and deserving of making it to the last show.

The really strong bands are standing out, and the others are simply hoping for votes. I love the fact that the best three bands (musically) are all from Nashville. While I'm not a country fan, the musicality that they are all bringing far surpasses that of all the other bands thus far.

Clarke Brothers

Song: You're In My Heart

• Vocals: 4.5 stars. In Ashley's case, the passion makes up for the pitch problems - almost.
• Tempo: 4.5 stars. Some drift when the chorus came up - a little speed up, but it translates so well musically that it doesn't detract from the song. The question is, do we chalk that up to a musical decision, or did they get excited?
• Sync: 5 stars. They play very, very well together.
• Arrangement: 5 stars. I felt the instrumentation for this song was perfect, in spite of the Dicko's comments about needing a fiddle. It was light, and left room for the feeling in the vocals. In weeks past the performances bordered on chaotic at times, and this week was much nicer. It connected with a broader audience.
• Overall Musical Impression: 4.5 Stars. I couldn't quite get past the pitch problems. But still, another goose bumping performance for me.

Dicko shocked everyone by changing the rules of the show and saying they could bring more band members. Certainly it would help them. However, it was unfortunate to put them on the spot like that, because to the best of my knowledge every band thought they were locked in when it came to players. I'm also wondering if, at this point, it wouldn't be better for them to stay as they are. They've built up their "following" as they are. (Recordings can be fleshed out in the future). Would adding another player this late in the game add a sense of desperation, when this band could be the one to beat as they are?

Light of Doom

Song: Infatuation

Seriously, I'm closing my eyes and just listening.

• Vocals: 2 stars. Not as many pitch problems as last week, but there was less singing and more rhythmic talking near a pitch.
• Tempo: 2 stars. Better than average for these guys, but still a lot of drift, and no pocket. None. Within the first 4 bars, their tempo sped up.
• Sync: 0 stars. They are so immature at this it's almost unfair to consider it, but they want to compete at this level. It is probably the most important part of the definition of a good band. Being able to play together. They don't listen to each other at all, and it shows.
• Arrangement: 1 star. No vocal harmonies. Just doubling. The verses felt really cut off, and the chorus was monotonously boring.
• Overall Musical Impression: 1.5 stars. Improved, but still far, far from deserving to be on the show.

I can't say this enough. They shouldn't even be on this show. I can't get over the gimmick. I can't get over the parents. I can't get over their unoriginality. I can't get over the lack of musicality. Actually, all of these things I can get over. What I'm struggling with is that they have been given the appearance of validation. The show is implying they can compete with real bands. It's disheartening. It's also a shame.

Those of you who are Light of Doom fans, I'm ok with your disagreeing. But it's important to be honest when it comes to the future of these kids. And they are being lied to, or at least, being misinformed.

Also, Sheila asked two questions that were cut from the show. "Who picked this song?" and "Do you know what "Infatuation" means?" Both times the band answered the same way... "uhh... I don't know..." Of course, that makes them look bad on TV, so it should be cut. It doesn't fit in with the "kid-glove" approach to the handling of these boys.

Final Thoughts

It's getting down to the end. There are three bands that are clearly better than the others. I hope America votes that way.

Since better than 50% of the bands left (3/5ths) are from Nashville, why not make it easier on the rest of the country, and the majority of the bands left, and film the remainder of the show in Music City? I know that will never happen, and probably hasn't even crossed the producer's minds, but it would be cool. The facilities are here, and there is a more diverse fan base as well. (The audience wouldn't be filled up with Light of Doom parents and friends of the parents.) The audience would better represent the bands that are left.

Oh, and I wouldn't have to fly out each week.

thanks for reading...

chs

Heading back to LA. Could it be the last time?

One of the big questions I have right now is, "Did enough people vote enough times for Denver & the Mile High Orchestra?" I'm leaving for LA tomorrow and am going to find out. It's been quite a ride so far, and I still have hope.

I was never under the delusion that contest/reality television is about finding the most talented individuals or members of anything. It's about ratings. My concern about The Next Great American Band is that, because the ratings have been so bad, they are willing to do whatever it takes to increase them (short of spending money promoting the show).

My unease stems from recent rumors I've heard about song selection and whether the bands on the show are going to be able to play originals. Denver's strength is in their originals. They have a huge catalog to draw from, and can address the "core proposition" that Dicko keeps referring to. Other bands do not have that depth, especially the "gimmicky" ones that seem to keep making it each week.

Well, we'll see. I voted, even though it was a holiday week. Did you? If so, thanks. If not, please vote as much as possible this week for the most talented band. I've never met anyone who is completely happy with the music industry, let alone the entertainment industry. We always gripe and complain about what they are offering us. So, it's time to step up. And, with whatever impact it has, send a message.

See you from LA.

chs

Next Great American Band Taping #5 (ep6)

This was my fifth time at the taping for The Next Great American Band. After all was said and done, I felt (during the live taping) that one band really deserved to go home, and that Denver & the Mile High Orchestra was really picked on by the judges. It's no secret I have a bias. But that's ok, I believe we all do. Here's an unbiased report as is possible for me to write. I have a band I want to win. I have a band I think SHOULD win, and I think you probably do too. It can be tough to keep that in mind when we espouse our opinions, but I'm doing my best to do so.

The Rolling Stones

Considering this show is called "The Next Great American Band", it's interesting that The Stones were the band to cover this week. In fact, more than once the English have been represented. I suppose this program will find us a good American band.

And now, the bands.

Tre's Bien!

A likable band - they performed Get Off of My Cloud. They have a great personality, but aren't the strongest in the competition by a long shot. While this week really favored them, there were some key problems.

Tempo, tempo, tempo! The key change was unnecessary, something the judges had right. They showed their lack of experience by not checking their tuning. This is something that shouldn't happen, ever. Great bands are in tune (instrumentally at least).

Overall, they had a descent performance. This week really played into their hands. Also, they are so likable it's hard to vote against them. No matter what happens, you want to see them do well and have a long, successful career.

Denver & the Mile High Orchestra

What does, "For the third week in a row you've gone off piece." mean? Dicko has a problem pinning down this band. He has never heard what they do, or can do, before. He is not familiar with their depth of style. So, his only complaint is that he doesn't know what they are all about musically.

The band did make a statement by performing I'm Free, and Denver's comments were on point putting Rzeznik in his place. Rzeznik's comments were edited a bit. He tried baiting the band, but Denver didn't fall for it. There is no point arguing with the judges.

The performance was technically perfect. The band was into it, and embraced it as if it were their own. There is no question about their musicianship.

The intro video package showed some humanity, normalcy, and humor to the band. It's not all "squeaky-clean", but they are very concerned with being a good example, providing clean, wholesome music that covers a broad demographic range.

Sixwire

Last week there were problems with both conviction and background-vocal pitch. This week those were all resolved. They played like a band that wants to win this competition.

This Could Be the Last Time isn't really a good choice, subliminally, but it was performed as well as any band could do it. I'd much rather listen to Sixwire's rendition that the Stones.

Nailed it. My question is, was this as good as Sixwire can be? It's a plateau that may not be able to be improved on. That's great, but it also does not allow for growth. They are also easily lost in a market already saturated with their style.

Light of Doom

The intro video did not endear them to me at all. Comments like "when he was younger" just says they aren't even close to having perspective. That's ok. It just reinforces how young they are.

Starting out Jumping Jack Flash in the wrong key does not help. Not hitting pitch doesn't help either. The tempo was all over the place. ugh... it hurt to listen to. During the closing of the song, the band was all over the place, completely forgetting that they are a band. And the judges comments were way, way too soft. It almost makes me angry. If they want to compete with the other bands, they need to be judged on the same level.

I've been hard on them in my previous posts. Here's the reality. This was their worst performance to date.

They needed to be sent home before we had to hear this.

The Clarke Brothers

Finally some diversity this week. Give Me Shelter may not have been the best choice, but it was so well executed. Stylistically, this is what I would prefer to listen to (as opposed to the traditional styling's they have played in the past), and they hit it hard.

While the mandolin solo was a bit thin, it was performed well. The lap steel was incredible. The vocals were incredible. I got chills listening to it. Man, I want a rhythm section. So far it hasn't hurt them though. What makes a great band? Do you need a true "rhythm section"? I don't think so, based on what these guys are bringing.

With a performance like this, they could win this thing.

Dot Dot Dot

Let's Spend the Night Together.

Wow, live this song came across pretty well, but on TV, it was weak. The BGV's were way off. The girls can't sing. They can play, but not sing. The lead was even off at times, even with a more settled performance. The guitar solo was about the most redeeming thing. Tempo was good. The bassist missed the last note, the most important of the piece. It's what you remember. Overall, a lack of focus.

It was fun live, but it did need a lot of work. They have a lot of energy... live, but they just cannot seem to control themselves to really focus on what they are attempting to do.

Cliff Wagner and the Old No. 7

A very classy exit. The judges were great to them, and were fair and honest about their variety and flavor they brought. Now, if they keep going, and push forward like they said they would, it will be great to see them become a success.

I'll be heading back to LA for the sixth week in a row to attend the taping. Thanks for checking in!

chs

Next Great American Band Taping #4 (ep5)

Again, I attending the taping of the show on Wednesday, and then sat with my laptop writing this while I watched the show. The taping was great. It went quickly, and the crew made the set changes efficiently. There were only a few pickups as well, which left plenty of time for me to have dinner with my brother and Denver from Denver & the Mile High Orchestra after the show.

With only one band going home, I was fairly confident my personal favorite would be ok. But then again, there were a fans of a really good band very disappointed. One of the (technically) best bands in the competition was sent home. I personally feel it was due to their performance last week. It was uninspiring, and sloppy when compared to the bar that they set for themselves the first couple of weeks. Good bye Franklin Bridge, and good luck.

The first band up was...

Light of Doom

This song was very loud live, and inarticulate. In person, you couldn't hear the guitar solo, which sounded better on TV. However, you couldn't hear the vocals either in the taping. On television they sounded horrible. It's almost a good enough excuse for what the judges said, or rather, the lack of what they said.

When Sheila talks about playing fast, what she should have said, is "I can't play with so many random tempo changes." Dicko eluded to something, without having the courage to really say it. "I still think it's going to end in tears recording-wise." How true. There is virtually no market for this band, and the show can't afford them to win. It will delegitimizes the competition, turning it into a joke.

I will say this, they were better live. The energy didn't translate to TV, and the problems (especially with the vocal pitch and tempo) were not so obvious.

If you haven't read my previous post about parenting, please do. It was inspired by the Light of Doom parents.

Clark Brothers

Another performance that came across better live than on TV. It sounded a lot thicker in person. The vocals were awesome and passionate. It felt like they were digging down into their Pentecostal Roots and drawing it out for a song that fit them like a glove.

However, the arrangement was a touch thin. I'm chalking it up to instrumentation mostly. But, the guitars were moving so fast (and very well) that it got tiresome on the ears. The violin solo didn't sound finished, it was well executed, but disjointed going into the dobro solo. It feels like they are trying to cram all of their talent into something that can't quite contain them.

There is no doubt about their musicality, some of the best on the show, and a band that (unlike Light of Doom) validates what the show is all about.

Dot Dot Dot

Dot Dot Dot is getting more polished as time goes by. They are one of the bands put together, basically, for the show. So there was room for improvement. It's good that they are showing growth, and have the ability to pull it off.

Toning down the eccentricity has helped with their polarizing nature. They are showing that they deserve to be in the competition. I don't know how much further they will go, but they're earning their keep.

Cliff Wagner & the Old No. 7

The performance was way better than last week. It was tight, punchy and had a good groove going. However, after the first verse and chorus I was done listening. It could be personal, I'm not really sure. I wasn't as familiar with the song, and didn't really enjoy it. Dicko was right again, the song wasn't inspiring. Where I was seated, I couldn't see how disappointed they looked after his comments. I felt bad for them after seeing it in HD.

The song was arranged well, and ended great. Again, I'm not sure if they will make it through next week.

Denver & the Mile High Orchestra

This song had some of the best drumming they have ever done, and, I dare say, the best feel that has been performed yet on the show. Yes, every bit on par with what Franklin Bridge did their first week. The groove was tight, the horns slamming, and, unlike during the live show's mix, the key's came through really well.

Unfortunately, Rzeznik showed how ignorant he is. First off, it wasn't funk. It's groove was so good, that it could be mistaken for such, but it wasn't. It was also the thinnest horn arrangement the band has had for the entire competition. Yet this was the only time he commented on the horns "outshining" him. Of course, keep in mind, that early in the competition Dicko or Sheila said to make more use of the horns.

Dicko, Dicko, Dicko... perhaps you could think of something original to say. Two weeks ago you said, "Build your brand". Last week you said, "try something new". This week you said (after they tried something new), "Build your brand." Are you out of things to say? Or has the musicality of Light of Doom blinded you?

Sixwire

This performance was their weakest so far. The bgv's at the top of the song were out of tune, and, while the band played well, there was a lack of conviction.

The show is coming down to the bands who are willing to stick it out (assuming they get the votes). It did feel like they were just going through the motions. Wow, Rzeznik had it right. By this point it was becoming obvious that the best bands were getting the hardest comments.

However, the song ended very strong. Great, Great guitar solo.

Tre's Bien

These guys are fun to watch live, but it doesn't translate at all to television. The vocals were all over the place, sounding out of breath, and out of tune at times.

Any song would have been a good selection for these guys from this series, and this was another one that I wasn't very familiar with. I think Sheila's comments about them having their own cartoon was appropriate. It was goofy at times.

There were a lot more comments from the judges that were cut out. It was tough because they appeared to be up against Franklin Bridge, and were surprised themselves to get through. The judges (honorably) took some time to remind the studio audience that Tre's Bien didn't necessarily beat out Franklin Bridge directly. They needed just as much energy from the crowd as every other band, in spite of the shock of Franklin Bridge going home.

Next Week

I've heard some rumors that if Denver & the Mile High Orchestra are still in it next week, they will be pulling out all the stops. Yes, they have more to show than we've already seen. Let's hope we see them again. I'll be out at the show to give my A/B comparisons again next week! Stay tuned...

Vicarious Parenting

beginning...

I started this blog a few days ago wanting to write my observations about some parents who's children are competing in a nationally televised competition called The Next Great American Band. If you have been watching the show, you know who I'm talking about. Originally, it was going to be a hard look at them specifically, but I'm not sure that they really deserve it. As I began writing, I realized that I was writing this to myself as much as anyone else. Sometimes it's good to remind ourselves what we believe in order to steer clear of mistakes we vowed we'd never make. So, I deleted my original paragraph that set this up to be a salacious article on bad parenting and started over. Here goes...

I thought I'd take a moment and share some observations I've had about what it means to see your kids succeed, and what that actually looks like.

The situation

I have two boys, who (according to my own "professional" diagnoses) are very advanced for their age, and incredibly talented. I mean, at four and two, you can tell these things. They are talking, eating, sleeping, playing and pooping so far above and beyond expectations, I don't know where to begin. Ok, enough sarcasm. I want to say I can relate. I'm proud of my kids when they excel. I hope they are successful in whatever they do. But here's the problem. How do we define success, especially when it's our kids we are talking about?

The problem

It's far too easy, and tempting, to compare the success of our kids in relation to what other kids are doing. So, when my pre-pre-school kid is writing his letters, I get on the phone and call grandma. When my pre-pre-school child swings his diminutive (real) golf clubs with a perfect takeaway and follow through that I envy, I call grandpa. When I see other kids attempt these things and not do as well, I'm secretly happy, and slightly jealous when they do better.

But what happens when our children do the things well that we wish we could do now? Or show the potential of being really great at something that we dreamt about when we were kids? There's a skewed perspective that must be taken into account. Here's what I mean: We compare their success to the level of achievement obtained by other kids their age. That's not healthy. Every child is unique with immeasurable value, and potential beyond our comprehension. The next thing we do is compare through the lens of our own love, ambition, relation and yes, pride, of their success to the level of achievement obtained by those already successful in the chosen field .

Is it difficult to see where this leads?

The result

What happens then, when talented kids are thrust (with or without their own dreams in tow) into a situation where the comparisons and lenses no longer apply? What is left for the kids? When a child grows older, they begin to find out that their parents had (perhaps only subconsciously) their own interest and dreams at play, never really exploring all options for their child and allowing for full maturation. Then the kids find out that, they either weren't quite as good as thought (the comparisons no longer apply), and there is always someone better, or that "living this dream" isn't all they were led to believe it would be.

It's a difficult situation for a parent. I want my kids to do so well, and the most obvious litmus test is the averages of the world we are exposed to. It's worse for our children who are exposed to our own vision for their lives more than any other, and when our own exposure to the world around us is, in reality for us all, limited.

ending...

I had intended this article to take a hard look at the parents from the band "Light of Doom" as seen on The Next Great American Band. But here's the reality. I don't know them. I only know myself. I have sat behind them and observed what appear to be two major issues that need to be addressed.

1. They are living vicariously through their kids. They want to be doing what their kids are doing. It's obvious on their faces, in their demeanor, and in their attitudes.
2. They are somewhat blind, or ignorant, to what will most likely happen to their kids when a record company is put into a position of finding something marketable about these guys. The band doesn't really have a market as it stands, and the most obvious option is to create a "Hanson Metal" band. But the thought of "Hanson" doesn't usually conger up fond thoughts to most people. This is a result of limited life exposure.

I feel sorry for the kids. I feel sorry for the parents too. They are missing out on a level of pride that comes when you see your child do right, not just well. I remember the look in my father's eyes when I achieved a level of success that was more advanced than those of my peers. And while I could not have possibly recognized it then, he has a world view that I'm a large part of, thus diminishing other aspects of that perspective. I get in the way, as it were. Kids BIG, everything else small. That's not bad. It's the way it is, and it's good. We want to be big in our parent's eyes. We need to be big in their eyes. But I remember with a fonder memory, and my own perception of self-worth soared, when he and I sat down and had heart to heart, deep discussions about maturity, life, discovery, and growth. When he saw that I was my own man, providing for my own family, and loving others as I love myself, my heart swelled because his had burst.

I want these kids from San Diego to have that. I want you to have that.

Thanks for hearing me out.

chs

Next Great American Band Live Taping 3 (Ep 4)

Billy Joel. A big challenge for most of the bands, as evidenced by not only the comments from the bands during the intro video, but also in how few of them really embraced the song and made it their own. Most bands performed the cover in their own style, but few acted like it was their song.

On with the show...

Franklin Bridge

For as tight as this band is, wow, another disappointing week. Vocally, it was horrendous. The bass and drums were locked in, but the vocals were incredibly loose, both in timing and pitch. The keyboard programming was beyond poor as well. The lead guitarist is a solid pianist, so why they didn't shake it up and have him playing keys this week is a wonder to me. It would have really shown their diversity, which right now appears to be lacking.

After this performance, I wouldn't be surprised if they don't make it. Taken as a whole, they took the biggest step back this week of all the bands.

Cliff Wagner and the Old No. 7

I'm glad these guys are still in the show, but their performance of "You May Be Right" was a little off. Dicko was right when he eluded to it being boring. It was. It didn't come across as a hit, it came out as a "filler song" performed for fans who like the song, but still an afterthought. The vocal harmonies at the end were off as well. If they squeak by this week, it will be on personality, and not because of the performance.

Denver & the Mile High Orchestra

Yes, this is my favorite band in the show. I'm biased. I also hope that the film of Denver's new baby has the same endearing effect that Cliff Wagner's videos have had on previous shows.

Their performance this week was technically as accurate as any previous show. In fact, this may have been the band's best playing yet.

Here's what may hurt them: Show placement - third isn't great placement, and the song wasn't overly memorable.

The judges comments were very edited for these guys. Dicko was almost right, the band is already making a living playing live. Let's hope they make it so we can see what they do next week to address the "timelessness" that the judges are looking for.

Dot Dot Dot

Pressure was a great tune for Dot Dot Dot to play. It fit their style, and was a fairly strait forward arrangement to put together. However, the TV mix was thinner than it was live. They sounded fairly tight which (pleasantly) surprised me. They are definitely listening to the judges and working on their musicality. The arrangement was a bit thin, I think the keyboard player could focus more on parts if his boards were stacked instead of across from each other. That would allow for more concentration on filling in some of the musical gaps because you can see both hands at the same time and visualize the sound more. They are making a good effort at showmanship, but have already proven that it can get in the way of their musicality. These guys should be safe for next week.

Sixwire

Typically strong, their vocal performance was not as tight this week. The song didn't sound like it pushed them either. However, these guys have to really blow it in order to be worried. Again, safe for next week. The question is, will their fans keep voting?

Tre's Bien

It's tough to follow Sixwire. Fortunately there was a commercial break to separate the performances, but it was difficult to listen to this song. Vocally, while not horrendous, had some big problems. Reznik was right about aggression though, "You ought' a know by now" needed a more intense performance.

Another instance when the judges were edited. Sheila took more time to explain herself and her comments about the guitar solo being too simple. I think Tre's Bien may have reached their musical limits.

The Clark Brothers.

Wow. "She's Got A Way" sounded better coming from these guys than Billy Joel. I had to stop typing just to listen. I really, really hope they are still in it next week. The performance was so intense with so little. I could have done without the solo at the end, it took away from the sensitivity of the song. But what it did do was remind everyone they can play.

Light of Doom

I was sitting behind the parents of Light of Doom, and that's a challenge by itself. I'm going to take some time and post my thoughts about them in particular for my next post. Right now though, here's how I feel about the band itself.

Starting with "sacrifices" that had to be made to be in a band as a 13 year old is almost a joke. It's like saying, I had to give up my cookies so I could have ice cream.

Live, they are a one trick pony. "Look mommy, we can "rock"!" And yes, at thirteen, they can. But it has a decidedly late eighties/early nineties sound, and at this stage, it would be impossible to ask them to do anything else. They simply can't.

I'm very, very disappointed in the judges for not having the integrity to say anything. But again, let's not hurt their feelings.

Stay tuned, let's talk about the parents next , shall we?

Conclusion

The show is definitely getting better. Hopefully more people will tune in and give these bands some exposure. I've been enjoying going out to LA and watching the taping, then seeing how it comes together on TV. My thoughts about the live performances don't always line up with the translation on television. Thanks for checking in...

GO DMHO!

chs

Next Great American Band Taping #3

After attending the taping of the show this last Wednesday, my opinions have pretty much stayed the same about the bands. I'll post a review of the individual performances later tonight. I've been formulating what I want to say for the last two days, and hope it resonates with you.

chs

NGAB Live Taping Week 2 (Ep3)

Here I am again, watching for the second time, The Next Great American Band episode #3. Second you ask? Yes, I attended the live taping, and am now watching the episode on television 2 days later. Let's get started with my band reviews. These ten made the cut and are in the show next week:

Sixwire

Again, they nailed it. The cover was solid, and the original even better. These guys have the best vocal arrangements in the group, and appear to be the most seasoned, mature musicians of the bunch. Gotta Get Away is ready today for radio play. A catchy hook, and well executed, it works both live and on the radio. Great tune. The cover was a touch slow though, and while it's an incredible song, I hope it doesn't hurt them being first. It wasn't very memorable, in spite of it's incredible execution. I do agree with everything the judges said, they were right on (as usual, although this episode there were a couple of things I took issue with - not including the regular Light of Doom oversights from them.)

One other thing I immediately noticed was the drastic difference in the mix between the live show and the TV episode. The drums were way hotter live, and could have been brought up a touch for TV.

Tre's Bien

The original was ok. In the interest of honesty and fairness, I'm just not a fan. The shtick works, they have found a niche, but the question is, does it have longevity? I liked the energy the lead singer brought to the stage. I actually thought they did the cover fairly well, but their style is really suited for this night. Performance wise, it's a bit raw, and that does add an edge, but Dicko was right, they needed a bit more practice. Again, the judges were all right. Fun, but a bit underplayed from a technical standpoint.

Franklin Bridge

For as good as these guys are, they don't listen. Perhaps they should, the judges are all very successful. The unsolved problem? Too complicated. And quite frankly, the original was boring until it built up, but it went from about 10 to 100 in less than a fill, and there was no real build up to the pay off. They needed some work in that regard. Honestly disappointed - especially after last week. As a side note, their original they performed twice due to a technical difficulty. However, they performed it identically both times.

The judges, again were right now. Now, can Franklin Bridge pay attention?

The Clark Brothers

These guys are really talented. I've said that before. Country time is a good tune, but it looses it's forward momentum too soon due to the lack of drums and bass. The cover, a ballad called "Country Comfort" was very well suited for them, but again, it's usually the bands with higher energy levels and better known songs that last. Live, the song went over really, really well. It was great to give my ears a break and have something really nice to listen to. I'm really glad to see them in this thus far, and hope they last.

The judges, again, right on.

Light of Doom

"We are gonna rock tonight,
Heads are gonna roll tonight"

How original. How quaint. I remember what I thought rock/metal was like when I was 13, and yep, that's it, right there.

I understand why people like these guys. It's the "Wow, I wish I was in a metal band when I was little" factor. But there is a reality here that keeps being overlooked. Next time, if you can, don't look at them, just listen. There is NO WAY that you can say these guys are nearly as good as any of the other bands. Vocally, they are weak, rhythmically, they are all over the place. Now, open your eyes and you see a bunch of kids and think, "Wow, they are really good, for being pre-pubescent boys." But this isn't "The Next Great American Kid" contest. I'm so disappointed with Sheila E. in particular. Yes, they rock, but they also need improvement to GET to the level that the rest of the bands are at. And Dicko was absolutely right, it feels completely unoriginal, and a gimmick made for TV. The parents should be proud, but at what cost to their kids?

Dot Dot Dot

A much improved performance. Far easier to watch and musical. Vocally it was ok, the guitar performances were good - and playing to a loop helps their rhythm and timing. As a keyboard player who attended Berklee College of Music and studied music synthesis, I thought the keys were pretty good too - not very original though. And they are the only band using a Korg, so it's not like they are grabbing some backline keyboard, spending a little more time on your sound selection and programming would bring a lot to their sound.

The cover was way, way bigger live. the guitars were too far back in the mix on TV to get an impression of how big it actually got. I didn't care for this band originally, but they are growing on me - if they keep going in the direction they are going.

The judges, again, were right on here.

Cliff Wagner and the Old No. 7

I felt they were a little better last week. However, one thing these guys really have going for them is their background/intro videos. They seem to have great personalities, and it's endearing. So, you get to like the guys, therefore wanting them to do well. The original got old quickly to me. But keep in mind, while I appreciate the musicality and technical ability of really good blue grass players, I'm not a fan of the style.

The cover was decent, and entertaining, but I honestly don't think the voters are going to embrace them simply on their personalities. It's like the age old answer to "Is she good looking?" "Umm... she has a great personality."

Again, I thought the judges were right on. They are fun. However, what can they do to improve and have a better chance of staying in?

The Muggs

I love the sound of these guys, but vocally, they need so, so much work. Honestly, I was most disappointed in their performance tonight than any other. I had high expectations. I'm sitting here listening to the jam at the end of the original, and I'm loving it. It's awesome. But the vocals are so distracting. His guitars are excellent though.

Unfortunately, the cover wasn't very well executed either. It's almost like they didn't have enough rehearsal time. I have the blues after this...

And, and and... never argue with, let alone boo the judges from the stage. This is key - LISTEN to the judges.

Rocket

Another style I really don't care for. But again, this is a style people do like. It sounds a lot better on TV actually. But, but... they are weaker rhythmically, and definitely vocally. Hopefully, again, they will listen to the judges. There's a lot of potential to this band, really. But they just have so much work to do.

The comment from the lead singer - "I am who I am" is fine and it resonates with kids with identity crisis. BUT, please, hone your craft. You should always strive to be better.

Denver & the Mile High Orchestra

The original was great - although the chorus sounds unfinished. They nailed it.

I have three points to make.

1. There is a reason they closed the show with these guys. It was awesome. Last week they opened the show.

2.They were bigger live. I wish it translated to TV better. It was huge when the horns stopped, then slammed into the closing phrase. And Sheila E. asked if she could play percussion with them if they ever needed one. That got cut from the show.

3. Dicko was wrong about the tempo change on the cover. Did you notice? He asked why they slowed it down, and Sheila started to contradict him. "No, No they didn't." It was cut time. And it was awesome that way.

The Mile High Orchestra still has my vote, of course, but I've changed my opinion about some of the other bands. It just goes to show that you can't formulate your opinions based on one show. Maybe next time I'll be complimenting Light of Doom... uh... no.

Heading out

I'm getting ready to head out for another taping of the Next Great American Band. Traveling this much is cutting into my schedule a little bit, but being there to support my brother is worth every minute.

I'll let you know my thoughts and impressions within the realm of my ability (and legality).

See you when I get back.

chs

NGAB Live Taping - The Bands

Denver & the Mile High Orchestra

Awesome with their Dylan cover - in spite of it being a "happy blues" tune. I think it will resonate well with the audience. The original, One Time Show - available on their album, STAND was well done, but too short (of course, the show requires that) and the horns did need to come down front sooner. GREAT JOB!

The Hatch

Not bad, but a touch boring. A friend just sent me a text that was fairly accurate - "like the wiggles meets rock." Technically not bad, and a lot of potential. Hopefully they'll stay in it and improve.

Light of Doom

They shouldn't even be in this. Dicko was right on. It's disgusting. Now, yes FOR 13, their good - not original, but good. But they have so much time to get better, and then they'll actually rock.

The Likes of You

A very mature sound for being together for 5 months. I like these guys, and briefly met the drummer and lead singer. Nice guys. I do agree... too much falsetto. I'd probably buy one of their records.

Rocket

Rocket, again has potential, but I have to think there are better all-girl bands out there. They aren't very tight, and their tone needs quite a bit of work. They have improved since their Vegas audition. I thought they were better in person, but seeing it on TV opened it up and pointed out the flaws. The lead singer really does need to hit it harder, they look like they want to be intense, which is great, now they just need to play like it.

Cliff Wagner & the Old No. 7

A pretty good bluegrass band. But like Denver & the Mile High Orchestra, I hope that their style doesn't get in the way too much. The style is very polarizing, and can interfere with people's impression of their talent as a band. Vocally Cliff was a bit pitchy - even for bluegrass. The reality is the style allows for some "sloppiness", but there is an art to it, and he almost has it.

One thing that didn't make it to TV was that they needed to tune. It took too long for a live performance.

The Muggs

Yes, vocally, he needs to be more aggressive. And it's cool. It would fit better with the sounds these guys get out of just three instruments. I dug them. They had a good groove happening. I ran into these guys at a restaurant after the show and they were very cool, really friendly. I like that - it makes the band easier to like.

The Clark Brothers

Another band that had to take time tuning. These guys are really talented, but I really miss a rhythm section. I can't help but imagine how awesome they'd be with drums and bass. This is another band I really hope stays in the competition

for a while... they are really, really good at what they do.

Tre's Bien

It didn't sound like they really wanted to do the Dillon cover. Personally, I don't like the sound of the lead singer's voice, but I DO like their concept and look. I don't see them lasting long, it's just not exciting enough, and honestly it was better live, so the TV audience doesn't really see them in their best light. (Recordings often show weaknesses better than experiencing things live.) Tre's Bien had the unfortunate slot and was followed by...

Franklin Bridge

My complaints: not a great singer - look how little he did sing. Rhythmically too complicated for the general public. My compliments - Unbelievable rhythmic intricacy and extremely tight. The use of electronic samples helps too. I was a little disappointed with the mix though. It sounds a lot bigger live. (Of course, by this time in the show my ears were about bleeding it was so loud.)

dot dot dot

Ok, their mix was a lot better in TV - which is fine, but... oh man, they are so loose - even playing with loops, and bad loops at that. The players are mediocre, and it feels like they don't take themselves as a band very seriously. It's one thing to be a band because you love it, and are good at it, it's another to do it for the attention. Another unfortunate slot. Right between Franklin Bridge and...

Six Wire

The most mature band (in performance skill) of the bunch. PLUS best vocal arrangements all around. These guys tore it up, and it really translated well both live and on TV. I'm hoping that it's not too boring for our current ADD TV audience. I'd love it if it came down to Six Wire, Franklin Bridge and Denver & the Mile High Orchestra.

Well that's it folks. Next week I'll give another update from the live performance and TV show combination perspective.

'night GO DMHO!.

chs

Next Great American Band Taping

A day later than I wanted, but I thought I'd quick mention that I had a blast at Wednesday night's "Next Great American Band" taping. It airs tonight and I'm really excited. Denver & the Mile High Orchestra ROCKED the house!

Plus, seeing the other bands I liked proved worth the four hour flight there and back.

I'm very curious to see how the show gets edited. The staging was excellent, and everyone was very professional. I also must say that I agreed with about 99.9% of what the judges said. My only concern is that if Light of Doom really wants to play with the real bands, they have to stop being treated like 13 year olds. (Yes, they are a "real band". But EVERY comment starts with "For 13, you guys are..." That's not putting them on a level playing field.)

I have more to come... after the show.

GO DMHO!

chs

Next Great American Band

While I typically shy away from the American Idol/Do You Have Talent? type of shows, I did catch most of The Next Great American Band tonight. I couldn't help myself, a number of bands where from Nashville, (where I call home) so I thought I'd give it a shot.

First, a disclaimer and diatribe on bias. I have bias. In fact, in the case of The Next Great American Band, I have a major bias. It has always bothered me when a writer, reporter, speaker delivers their impression or take on a topic as if they have no opinion on it. I'm not sure that is even possible, given that we are human, and as humans, emotional beings. I may not have a "dog in the hunt" if you will when it comes to a specific story or event, but I have a bias based on my exposure and life experiences. I apologize for getting off course, but, in the interest of honesty (and avoiding hypocrisy), let me tell you up front that I am a huge Denver & the Mile High Orchestra fan. How can I not be? My brother is their drummer. I want to be fair about this competition, but I also want DMHO to win. That said, let's get on with it.

I had a few friends over and we laughed and yelled and were fairly happy with the way Nashville was represented. Of course, when Denver & the Mile High Orchestra appeared we all started yelling, screaming and cheering.

I really got into Franklin Bridge, and hope they go far. But a band is very personal. I would listen to them, but I'm not sure if they will have the versatility to cover a whole bunch of styles. (Yet, is that what we - Americans - really want? We probably want one or two styles we really like).

I saw the "I'm A Believer" version that Denver & the Mile High Orchestra did online, but it didn't' air. The song they showed tonight was an original, and it was hot, but it really sounded edited. Check out their stuff here. I know they have the versatility to do a ton of styles, but it remains to be seen if we - Americans - have the capacity to listen to arrangements with that much depth. As a musician who studied jazz in college, I feel like I get it. I WANT to see them do well, if only to validate what they are doing.

Next week... more on The Next Great American Band. Perhaps I'll be more critical.... The problem that the show has now is the bands that get the "rubber - neckers" who like to sit back and watch a good train wreck are now off the show. I happen to be one of them. My baser self for some reason enjoys watching others make absolute fools of themselves. I suppose that's something for me to work on.

till next time...
chs

Clearing My Head

It's time to start blogging. A little late to the game, yes, but the internet has put food on my table for so long, I might as well start using the tools provided to clear my head. So here goes. My intent is to create a place of honesty. I'm not going to challenge the status quo. I'm going to challenge MY status quo. Life as I know it is a safe place. Now, it's going to be an honest place. I can't wait to bring you my clear head space.