“The Sing-Off” Recap, Episode 3: Ch-Ch-Changes

And so it goes, on nearly the 1-year anniversary of the elimination of one of my favorite a cappella groups ever (that would be Noteworthy, y’all) from the first season of “The Sing-Off,” that the first painful cut of Season 2 (at least for me) occurs. This third episode of the competition was a great one…but although all the groups left are stellar (I don’t even hate any of them), and they each had two songs to shine and wow us with, I couldn’t help feeling it was a little rocky tonight. Am I confusing you more than Nicole does when she does her ‘critiques’? Probably. Let’s just jump in, shall we? I’ll be trying a slightly different recapping format this time, btw…plus adding a little ranking-the-top-5 thing (yes! I can rank…sometimes) and…gasp, a poll!

The Backbeats

• “You Give Love A Bad Name”: I have to admit I missed the first half of this, so I’m not quite sure how it sounded, and thus I have no second opinion to add to the judges’ thoughts that it didn’t work quite as well as the first half. I did agree with them that the second part was indeed rockin’, and I really liked it. It was a slightly different side of the Backbeats (though not as different as their second number), and that was refreshing. The harmonies were solid, as always.
• “Love Shack”: Well, this was something. It was this close to falling apart for me, mostly because of Kenton (I’m sorry, but I just don’t dig his voice or his mannerisms), but it ended up being a really fun, inspired choice for them, and it really fit the “Guilty Pleasure” theme quite nicely. Courtney’s moment in the spotlight was a delightful addition, the juxtaposition of soloists worked really well, and I loved how this was a complete stylistic 180 for the ‘Beats…but they were just as harmonically put-together and vibrant at high tempos as they are with their ballads, which is something I could most certainly not say for last season’s SoCal-area group (called, naturally, The SoCals).
• Overall: I have to admit I wasn’t as wildly in love with them tonight as I was last week, but they’ve definitely continued to earn their place in the competition. I personally think their strength is in the ballads, but they acquitted themselves quite nicely tonight on more uptempo fare as well.

Street Corner Symphony

• “Creep”: Why hasn’t there been a prominent a cappella rendition of this song before? As Nicole noted (yes, I’m citing the crazy judge), it almost sounds better in a cappella setting. What I thought really worked incredibly well for Street Corner and this particular song was its stark intimacy. It’s a song meant to be stripped down and sung with rawness and power, but it’s also meant to be sung beautifully and with control and nuance. SCS really nailed both of those qualities tonight. The lead vocal really cut to the emotional heart of the song, and he really commanded the stage as well (especially during his belting moments). The rest of the group served as a terrific backdrop…or actually, more as an equal partner to the beautiful music being made. The shift in dynamic at the very end, after the climax of the song, was absolutely stunning. Radiohead would be proud.
• “Come On Eileen”: After this performance, I wasn’t quite sure what had just happened, but I knew I loved it. SCS didn’t just demonstrate their versatility with this number, they showcased it. I’m pretty sure they went through about 5 tempos and different styles…but somehow, it all worked, brilliantly. The arrangement never seemed to fall apart, they emanated fun (the square-dancing choreography at one point? Weird, but nice), and the harmonies stayed quite intact even with all the shifts in tone and style. It was a wild ride, for sure…but really showed what an inventive group Street Corner Symphony can be.
• Overall: They just keep on getting better and better. Stunning vocals, great blend, cool arrangements, charming performance energy…definitely a strong front-runner to win, in my view.

Jerry Lawson & Talk of the Town

• “(I Can’t Get No) Satisfaction”: Jerry & the boys let themselves loose on this Stones classic for sure, and I liked it…though Jerry’s vocal had a few rough patches, mainly because he was doing his best to deliver a high level of rock swagger. (I think he did a great job in that regard.) It was a great performance, with solid harmonies (as always), and a good level of performance energy. They put their own spin on the Rolling Stones, and I think it worked out pretty well.
• “Easy”: I’m not quite sure how this is a “guilty pleasure” (it’s Lionel Richie, for Pete’s sake!), and that kind of hampered my enjoyment of this performance, but once again, another solid, classy performance by a solid, classy group. The falsetto moment by the second soloist was a fun deviation, and the song just really came off as smooth and, well, ‘easy.’
• Overall: Jerry & the Talk are doing great, but the creeping feeling that they’re not as fresh and exciting as the other groups remaining in the competition continues to dog them, at least for me. They’re not really experiencing any growth in the competition, just showing their outstanding artistic chops and their veteran status, and that’s kind of a concern. I love them and their performances a lot, and they really have a distinctive, clear style (which is a great asset), but I just can’t see them winning the whole thing, which probably isn’t the best sign at this point.

On The Rocks

• “Pour Some Sugar On Me”: I’m not quite sure what to say about this one. I realized from the beginning that this song ain’t no wallflower, to put it gently (AKA: more innuendo than a marathon of “The Match Game”), and I definitely remembered that while watching the performance, but it still didn’t stop me from forming the opinion that On The Rocks laid it on a little thick. The lead’s come-hither faces didn’t quite work for me (I was having unpleasant flashbacks to both Pitch Slapped and the devil children those college kids I didn’t like alright, the Beelzebubs, which wasn’t good news), and the choreography got a little out of control, with the part where the lead got on his back and simulated humping motions being the nadir. I think me not quite digging this performance was probably a matter of personal taste…but On The Rocks just seemed to overdo the sex appeal of this number a bit too much. Add to that the fact that the harmonies were once again a bit thin and unfocused, and the pitch wasn’t perfect, and you’ve got a recipe for an under-par performance in my book. On a positive note, however, I disagreed a bit with the judges on the quality of the lead vocalist in this song…I thought he sold it exceptionally well.
• “Kyrie”: On The Rocks didn’t fare much better in the second set either. While it wasn’t straight-up serious and somber, it was a bit of a departure from the high-energy, no-holds-barred performance style that On The Rocks have showed off so far, and thus it put the focus on the vocals. (The judges dutifully noted the amusing irony of the fact that the group was focusing on their artistry…in the “Guilty Pleasure” round, where everything was supposed to be fun and crazy.) Putting the focus on the vocals, especially in such a stagnant, cheesy song as “Kyrie,” probably wasn’t the wisest choice for OTR, I thought. There were some weird pitch issues (was it just me, or did they go sharp quite a few times before the key change?), the lead vocalist wasn’t completely up to the challenge, and it just didn’t quite do it for me. It wasn’t a complete disaster by any stretch of the imagination, but it didn’t shine as much as OTR’s other songs have. At least when they weren’t all vocally there before, they had a bunch of energy and spark to fall back on. With this performance, that safety net wasn’t there, and it hurt them a bit.
• Overall: I’m still liking On The Rocks, but I have to say that they were definitely my pick to leave tonight. They’re fun, they’re energetic, they’re strong in numbers, they’re crowd-pleasing…but they’re just not the complete package. It’s a blast to watch them, but listening to them isn’t anything particularly special. They’re certainly a great, talented group…but they’re not cutting it against the rest of the (very formidable) competitors, and I think it’s about time for them to go.

Groove For Thought

• “Changes”: A very interesting choice of song by GFT, and admittedly not the ‘rockiest’ of tunes. Putting Amanda, a vocalist whose strength lies more in nuance and skill than in sheer vocal power, was a move that I think served this song very well, but also hurt the group just a tiny bit in terms of comparison. Jazz singers, however incredible they are, are just a different animal than more belting-oriented vocalists. (Also, she did flub the lyrics just a tiny bit at the very end, and her last line or two sounded a bit shell-shocked from that slip-up.)  Still, the arrangement really helped her (and the rest of the group, delivering incredible harmonic precision as always) shine, and it was yet another outstanding performance from Groove For Thought. Sadly, the judges disagreed by a country mile. I don’t really get Shawn’s sentiments that the performance didn’t rock enough, and that they should have stepped a bit out of their comfort zone. I thought it did an excellent job of merging the worlds of rock and jazz, and I also feel that GFT has done a terrific job of carving out a niche and distinctive style for themselves, but at the same time not being afraid to push their boundaries a bit. The balance between staying true to themselves and adapting to a different genre was very clear for Groove For Thought in this performance, and in that I took issue with the judges’ comments (which said otherwise).
• “You Make My Dreams”: Groove For Thought didn’t go as all-out crazy as some of the other groups in the “Guilty Pleasure” round, but they still managed to show a more fun, uptempo (both in terms of song speed, and personality) side of themselves while putting a really cool spin on Hall & Oates’ really pretty much un-hate-able song. The upright-bass-inspired beginning was hot (sorry to go all Paris Hilton on you there, but I thought that seemed like a good word to describe it ), the harmonies were complex and inventive, but never got in the way of the level of enjoyment, the soloists were all very solid, and I really dug that little momentary tone shift in the bridge (from what I remember, it seemed a bit like a five-second jam session) where the group definitely went all out. Fun, effortless, and classy.
• Overall: I wasn’t very happy at all with Groove For Thought’s elimination tonight, but I had been worried about them getting an early exit for quite a while. As much as I absolutely love, love, love vocal jazz music, it’s just plain out of the mainstream a cappella world. It’s more subtle, and slightly polarizing in some cases. This isn’t me trying to say something snobby like “some people just don’t get vocal jazz,” because I don’t quite think that was the case here. The judges seemed to really love it, which I really appreciated. I think in the end, the judges felt that GFT’s more subdued, solid approach wasn’t up to par for them, and sent them home over the more flashy On The Rocks. I disagree with this decision, and I definitely would have made a different cut had I been on the panel…but I had a feeling it was going to come, whether I liked it or not. The great thing is that Groove For Thought did a terrific job representing the vocal jazz world, opening new doors and gaining new fans (hopefully ones that might never have thought jazz was something they would end up liking in the first place), and although they didn’t make it all the way like I hoped they would, they definitely made some great inroads for the jazz community, and for that I’m very grateful.

Committed

• “Every Breath You Take”: Oh bother, the second half of this recap is ending up being something close to a novel. I’ll try to keep it down from here on out, but I can’t make any promises. Anyhow…here’s another time where I disagreed with the judges. I really dug Committed’s take on this Police hit (a song that I’ve loved for a while, as I grew up with the Police’s greatest hits CD in our house), and although there were a few shaky moments, I thought they really sold it. That reharmonization in the chorus (or at least thereabouts) made me audibly excited. I just love those little moments where the group delivers an unexpected chord or two, and turn the songs on their ears a bit. It really adds to the performance for me. The bridge went a little funky (I wasn’t entirely sure if they were exactly on key), but they quickly recovered from that small detour, and hit the rest of the song home. In short…I wasn’t in line with the judges’ comments at all. They weren’t ultra-harsh (after all, they coated most of their critiques with well-deserved praise for what Committed does right), but I wasn’t quite feeling them on this one. I thought Committed delivered another solid performance here, and continued to shine and demonstrate a great level of stylistic confidence and maturity.
• “I Want It That Way”: Solid, fresh, and fun. A nice touch to dedicate the song to Nicole, and the harmonies were (sorry if I’m sounding like a broken record here) top-notch. I don’t really have anything special to say about this performance…other than that it was really, really great. They made a Backstreet Boys song, of all things, sound wicked cool, and thus they deserve major props. (It’s also funny that Nick’s old group, 98 Degrees, was left out in the cold. Did they even have any major, major hits like Backstreet or N’Sync did? I do remember hearing a Christmas album of theirs, though, once upon a time in my high school carpool one winter, though. It wasn’t too bad.)
• Overall: And I go into a tangent. Of course. Getting back to Committed, they’re definitely one of my very favorite groups, and I still see them as a major contender for the top prize. It’ll be criminal if they don’t survive the next cuts on Wednesday, because they have certainly earned their spot in the finals, in my book.

So how would I rank the groups? All of them are terrific (finally! a show where I don’t hate/dislike any of the people left in the competition!), but I’m beginning to form stronger and stronger opinions of each of them as the show goes on, and here’s my current halfway-point ranking for the 5 groups left in the running:

1. Street Corner Symphony/Committed: I can’t really choose one over the other at this point…they’ve both delivered highly inventive approaches, tons of energy, lots of great vocals, and have a really charming group put together. Either of them are my pick to win at the moment.
2. The Backbeats: They started off strong, and they delivered some solid stuff tonight, but they have a bit of ground to gain on SCS and Committed. They’re awesome, but not quite up to a winning standard yet. A strong chance they’ll make the finals, however, and I really hope they do.
3. Jerry Lawson & Talk of the Town: I love them, they’re solid, and very, very classy. Still, I can’t shake the feeling that they’re a bit out of place at this point, surrounded by 4 other terrific groups with a bit fresher approach. I wouldn’t hate it if they made the finals, but I think they’re not quite evolving enough in the competition to warrant a spot. Talented, yes. Legendary, most certainly. But the future of a cappella? Not exactly.
4. On The Rocks: The boys from Oregon had a weak night tonight, and although I still very much enjoy watching them, their shortcomings are beginning to become more and more prominent. They’ve done quite well to come this far, but I think next episode should be the end of the line for them.

And now, to tide y’all over until Wednesday’s recap, here’s a poll asking who’s your favorite in the competition. Since I’m all undecided and whatnot over who should hold the top spot in my book, you can choose up to 2 faves.

See you on Wednesday with another recap! I’m looking to post tomorrow with either a new Artist Spotlight, or Song Shuffle Game, or both, so be on the lookout for one or two of those. Make sure to comment…I’d love to hear what you think! I’d also love for you to subscribe, so you can keep up with what’s cooking over here at Harmony Avenue. The more, the merrier!

“The Sing-Off” Recap, Episode 1: Everybody Wants To Rule The World

Before I started this here blog at Harmony Avenue, I was over at Blogger trying a few different things (a personal “here’s what’s happening in my life”-style thing, a poetry blog with some friends), and one of them was a blog devoted to recaps of “Dancing With The Stars” and “American Idol.” It’s still sitting there out in cyberspace, but since I wanted to completely throw myself into this endeavor blogging-wise, I’ve kind of left it pretty much alone. So why am I telling this story at the beginning of a post? Well, for a bit last year, I also included another fun reality show in the mix…”The Sing-Off,” the a cappella-singing competition NBC was running for a few weeks in December. The main reason I started watching was because one of the groups was from my very university, AND I knew the lead singer…but all the a cappella music goodness drew me in, and even after that particular group went home, I kept watching. The show has returned for a second season this year, and since I thought about it, and this is a music blog, and it’s a music program, in a little experiment that I hope turns out well, I’m going to try and merge my past and present blogging endeavors, and recap “The Sing-Off” once again. (If you aren’t watching the show, you should. If you refuse to do so…don’t worry, there’s only 5 episodes, so I won’t be writing TOO much about it.) So here we go! How did “The Sing-Off” premiere play out tonight?

• Eleventh Hour (a group from Kettering, OH): These high-schoolers kicked off the season (well, after the incredibly amazing intro song by all the groups, anyway), and at the time, I thought they didn’t too bad with (shudder) Justin Bieber’s “Baby.” Looking back, though, they don’t stand out as one of the front-runners in the competition. They definitely improved on the song a lot (then again, how hard is it to improve on a mop-top-headed teen that sounds like a girl? Harsh, but true…), and they had a pretty good blend from what I remember, but their sound was a bit too bright and unfocused, and they simply just didn’t create a huge identity for themselves. I liked it, but I didn’t love it. Major props to them for landing a spot on a national TV show in high school, but I have a feeling that with the level of competition we saw elsewhere tonight, Eleventh Hour likely won’t last even close to the stage of the competition with the same name as their group.
• On The Rocks (Eugene, OR/University of Oregon): Hey! That YouTube hit version of “Bad Romance” that they were talking about with this group tonight? I totally saw that a while ago. It was pretty fun. Their upgraded version, tonight, was just as much of a blast, but it revealed some flaws in On The Rocks that might put them, well, on the rocks (hey, I’m a sucker for puns… ) in the later stages of the game. Ben Folds was right in noting that their pitch wasn’t too perfect, and I also didn’t quite dig their “ooh! we’re crazy college guys singing Lady Gaga!” shtick at times. It kind of made their performance seem a little gimmicky. Their high-energy style is likely to be an asset to them as they go forward (it certainly brought up my personal enjoyment level a few notches), but like they said themselves, they have to be more than one-trick ponies.
• Groove For Thought (from Seattle, WA): Full disclosure: I’m a HUGE jazz fan. (You probably noticed just a BIT of that on the blog so far. ) So the part in the intro package where Groove For Thought mentioned they’re more of a jazz-oriented group definitely made my ears perk up. But that wouldn’t have mattered too much had their performance (of Stevie Wonder’s classic “I Wish”) fallen flat…but it didn’t. It kind of pretty much rocked. (Or would it be jazzed?) Their harmonies were tight and delicious (weird words to describe music, I know, but sometimes they just need to be used), and their performance vibe was both classy and vibrant. They brought an interesting twist to the song, and Nicole Scherzinger (using full names today for those unfamiliar with the judges on the program) had a moment of lucidity and accuracy (they’re not too common with her, but I love her now anyways) when she cited the group’s “warm” sound. That’s the great thing about vocal jazz groups…the harmonies are complex and dissonant (“clashy,” as I sometimes like to call them), but the end result, when done right, is sharp, beautiful, and indeed warm. I was glad to see Groove For Thought move on (they weren’t exactly as “flashy” as the other 4 groups in the first half, and the judges did make a few off decisions last year, so you never know), and as one of my favorites, I’m really excited to see what they do going forward.
• Pitch Slapped (from Boston, MA/Berklee College of Music): You know the judges aren’t playing games when they send the group from the most prestigious contemporary music school in the country home first. I was intrigued to see what the folks of Pitch Slapped would come up with (their intro package was kind of nice), but the pieces of the puzzle just didn’t really fit together for them tonight, and I fully agree with Ben/Nicole/Shawn in having them be the first to go. There are a lot of current songs that work well in the a cappella genre, but I’m not quite sure “Good Girls Go Bad” is one of them. Their performance was certainly eye-popping (lots of choreography, crazy flashing lights during one section), but it had a bit too much flash and not enough substance. The lead singer’s mannerisms were off the charts on the obnoxious scale, and his vocals weren’t all that hot. His female counterpart didn’t fare much better, and her taking-off-her-glasses-and-letting-her-hair-down moment was a bit too cheesy (“Look, I’m a good girl gone bad!”) to add anything to the song. It was good singing, and Pitch Slapped’s large numbers (12 members) really helped them out tonight, but in the end, it felt like they just shouted a bunch of well-sung notes at us. Not quite a recipe for an outstanding a cappella performance there.
• Jerry Lawson and the Talk of the Town (from Oakland, CA): “Enough of the kids…let the pros show you how it’s done.” OK, so no one really said that, but that’s the kind of vibe Jerry Lawson & the Talk of the Town sent off tonight with their ultra-uber-solid take on “Save The Last Dance.” Jerry’s been in the music world for 40+ years! And I doubt the Talk of the Town is much less experienced. All those combined years of hard work and genuine artistry really showed in their performance, and although it was one of the oldest songs of the night, and the arrangement wasn’t incredibly modern, it really came off in the end as classy, fun, and delightful to listen to and watch. The blend was just a hair off during a few fleeting moments, but none of that really affected the performance at all. It’ll be interesting to see what these folks come up with in the coming episodes, and judging from their preview of “Mercy” at the end of the show, they’re not too shabby at putting their own spin on modern fare. I really enjoyed them, and although I’m not quite sure they can go all the way yet, they certainly made an outstanding first impression.
• (As already stated, the first elimination was Pitch Slapped. The right choice, I thought, though it was kind of a bummer to see them go, simply because even their performance didn’t quite gel, they definitely showed a lot of potential. Ah well. There’s still lots of groups to love going forward.)
• The Whiffenpoofs (New Haven, CT/Yale University): If you were a watcher of “The Sing-Off” last season, do you remember the Beelzebubs? Those kids from Tufts that everyone loved? Yeah, I didn’t like them very much at all. Their personalities were kind of grating, their lead singers were a bit obnoxious, and in the end, I was kind of wondering why a storied collegiate male a cappella group even needed $100,000 and a recording contract at all. (I know some colleges are feeling the hurt right now as a result of the recession, but still.) So anyways, it probably goes without much saying that I wasn’t a big fan of The Whiffenpoofs tonight. They’re even more well-known than the devil children Beelzebubs (sorry, old habits die hard ), and since they’ve been around for 100 years (literally), comments like “we invented a cappella” are actually kind of true. (But still kind of bratty. Just sayin’.) Their take on “Grace Kelly” was technically sound for the most part, but I didn’t quite dig the arrangement (the more traditional elements fell flat for me rather than added to the effect), and the lead singer hit all the right notes, but had a very unpleasant vocal tone when he wasn’t in falsetto. Also, the tuxes-and-bow-ties thing was a hindrance rather than a means of setting the group apart…I know it’s a tradition, but really? All this added up to give me the feeling that the Whiffenpoofs didn’t need to be there. After the judges’ praise, I had a feeling that they wouldn’t dare send the oldest a cappella group home so soon, but I hope they’ll grow a pair and have the courage to give this group a bit of an early exit. If they were oustandingly fresh and amazing, I wouldn’t be saying this, but they really don’t need a win.  It’s an Ivy League school, for crying out loud, and they’ve been going strong for 100 years, after all.
• Men of Note (Cherry Hill, NJ): These guys were certainly plucky, but their performance wasn’t quite up to snuff tonight, and the judges agreed, sending them home first. “The Longest Time” is a fairly classic song, true, but seeing as the original version was an a cappella song already, you have to get really creative to make it sound anywhere near fresh. The arrangement the Men of Note had was OK, but felt a little disjointed at parts, and although their performance energy was pretty good, they didn’t exactly bring the house down. Their blend and harmonies also felt just a little below par. The fact that they have their old choir director as their “mentor” was sweet, and I have to admit they grew on me a bit as their segment of the show progressed, but I’m not too disappointed seeing them go home, especially after the 3 top-notch groups that followed them (see below).
• Street Corner Symphony (Nashville, TN): Street Corner Symphony definitely seems like an endearingly down-home, close-knit group, and the story about one of the lead singers losing their record deal hit close to home. (My major is music, and I’m looking to be a musician, so although I haven’t gone through something like that yet, the realization that it could certainly happen to me in the future was very present.) The whole beer-drinking “unpractice” thing was kind of awkward, but also fun. And then they sang “Everybody Wants To Rule The World”…and it all came together. There were tiny, little, miniscule issues with their sound and blend, but 99% of it was pure, unadulterated good music. Their lead had a very natural flavor to his tone, and their harmonies (and the percussion) were done exceptionally well. It felt very intimate and inviting, something rare and special on a night where most of the groups were bringing their hardest-hitting numbers to the stage. Street Corner Symphony definitely earned my rapt attention, and although they’re personally not my absolute favorite, they’re pretty darn close. I can definitely see them winning the competition, and I would be quite happy with that.
• The Backbeats (Los Angeles, CA): Watching this group was an interesting roller coaster. Before the show even started, I was excited to see them…simply because of Courtney Jensen, a former member of Noteworthy (NOTEWORTHY!!! Sorry, I’m a total fanboy ) who can beatbox like no one’s business. Then the intro package came along and that Kenton guy rubbed me the wrong way. It kind of seemed like personality-wise, he was trying too hard. And then they took a trip to the beach and sounded OK in the small little snippets they sang, and I was wondering if they would be another SoCals (the group last year from LA that was good, but inconsistent and ultimately a bit annoying). Finally, the roller coaster prepared for its final change of altitude, as they launched into “If I Were A Boy”…and WOW, that was a terrific, terrific performance. Their lead singer…incredible. (Going from a very low, vulnerable alto range to soaring hights an octave above, all while sounding very consistent and beautiful? Major, major props to her.) Their harmonies? Top-notch. The beatboxing? Horrible. (Just kidding. It was COURTNEY FREAKIN’ JENSEN. Like it could be anything but bloody brilliant. ) Believe it or not, I literally had the beginnings of tears in my eyes by the end. The judges hit it right on the nose when they noted that the Backbeats tapped into something powerful and special within Beyonce’s song. I don’t know how they made a simple little pop ballad into a tour-de-force of emotion, but they did, and now they’re by far one of my favorites, and I’m most certainly pulling for them to make it to the finals.
• Committed (Huntsville, AL): Ooh, I liked them. (And judging from my glances around the Internet, a LOT of other people did too.) I was kind of worried at first during the intro package when they stated that secular, modern music was a whole new ballgame for them, and then promptly started looking in a record store, of all places (ummm…), but by the time their performance came along, all my doubts were gone. They really sold “This Love,” with a killer blend, outstanding lead vocalists, and a really incredible level of performance energy. (Plus the judges were hysterical here. Best judges’ critiquing moments of the night. ) Shawn, who was all blown away by Committed, was really onto something when he noted that the group really did well at translating their faith and dedication to non-gospel music…and with a Maroon 5 song, to boot. I really loved Committed, and it seems like I’m not alone in that. Another strong contender to win it all? I would say so.
• (And Men of Note were the second group tonight to go home. I wish them luck in their future endeavors. Perhaps not in their stalking random girls at the mall, though. )

There you have it! I’m of the opinion that this season of “The Sing-Off” looks to be even better than the first. Nick Lachey sounded slightly less wooden (though I still wish his brother Drew was hosting instead); Nicole was pretty much…just as crazy and loopy as last year, but she’s totally grown on me; Shawn definitely held his own; and Ben Folds still is an expert at bringing both a high level of music knowledge and fun into his critiques. Oh, and there’s a lot of great groups. That might have helped too. See y’all on Wednesday for the recap of Episode 2. Let me know what you think in the comments! Who did you love? Who did you hate? I also greatly welcome any suggestions on how I can improve my (still developing) recapping skills. And if you didn’t tune into NBC tonight to watch, make sure to seek it out online! You’ll definitely dig it.