RARB REVIEW

School: University of Rochester
Group: Vocal Point
Album: Time After Time

Total time: 45:21, 16 songs
Recorded 1993

Ordering Information

CD's $14, tapes $10
Make checks out to Vocal Point

Vocal Point
c/o Music Department
207 Todd Union
Rochester, NY 14627
(716) 275-2828

email: mp001b@uhura.cc.rochester.edu

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Track Listing

1. Sweet Dreams (6.2)
2. Fallen (7.6)
3. Something to Talk About (5.8)
4. Leader of the Band (7.4)
5. Bad Connection (5.0)
6. We Got the Beat (5.8)
7. Amoeba (6.2)
8. Uncle John's Band (7.6)
9. Over the Rainbow (6.2)
10. Boogie Woogie Bugle Boy (6.0)
11. Chain of Fools (6.6)
12. Love Will Keep Us Together (7.0)
13. It's So Hard to Say Goodbye (6.0)
14. I Can See Clearly (5.4)
15. My Lovin (5.8)
16. Time After Time (7.6)

Reviews

This album was reviewed by five members of RARB. In this compilation, their comments are always listed in a consistent order. Thus, for each song (and in the "overall" section), all comments numbered "1" are from the same reviewer, as are those numbered "2", etc.

Overall

1. I have a dilemma here, because I want to commend this group, but I think their album is maybe not the best reflection of what they are capable of. Let me be more specific: this is clearly a talented group of musicians. There are very few pitch problems on this album, the leads are generally strong, and their blend is very pleasant. BUT (!) they do not play up their strengths enough. 'Time After Time' falters when it tries to push the tempo, it excels when it settles into mellow, blendy grooves. So I think this is a good group (maybe one of the better collegiate female groups), but I think their song choice really hurts them at times.
   Rating: 6 (5.1)

2. Vocal Point is a strong female group in general. They've got some really good voices, including their "basses". Strong low voices really make the difference in an all-female group. Their strong features are their background blend and good use of dynamics. In my opinion, their best songs are their ballads. Some groups tend to put you to sleep with slow songs, but Vocal Point's pretty ballads consistently avoid this. They have a great variety of songs here, including some songs from the 70s and 80s that are not standard college a cappella fare. Their only pitfall is that some of their arrangements are too monotonous. Some of the good songs could be great with more interesting arrangements, but they have a good, full sound overall.
   Rating: 6 (6.7)

3. This is a pretty good album for the most part. It has some really nice moments, and nothing is too bad, but I think it really could've been helped if the group had thought more about the appropriate moods of the songs. The first half or so of the CD leads you to think they're a typical women's group with no chest voice and good classical technique. Misapplied brightness later on lets you know they can do it — I am mystified why they don't try to fit this in where it would be more appropriate. Chain of Fools and Fallen are two very different but stellar tracks where everything comes together, but for the most part the album can never get everything to come together. There are some bizarre interpretations, but overall a good mix of songs that sing for themselves and don't need fancy studio effects or schtick. The second altos don't have very much depth but when allowed to stay in their range provide a lovely mellow bass to the songs that in my view is better than the really low blat of some women's groups. I'd also much prefer a group to be overly full than overly bright and whiny; with an occasional exception Vocal Point is definitely on this side of the fence. Their voices are pretty good for the most part, and Stefanie Cohen puts in really solid work throughout the album so I'll break tradition and mention her by name.
   Rating: 7 (7.0)

4. I can't get excited over this album. There are a couple of tracks which are great, but not enough to carry the entire album to greatness. The main problem here is that they are a "typical" women's group; good at harmonies, but lacking in any depth or power, weak vocal percussion, etc... I have to agree here; every song that needed drive to it didn't have it, and there was no one song that got me pumped up over the music, although there were songs that really had my heart melting. They need to work on their faster, harder, more driving repertoire (if they wish to continue to do these kinds of numbers well) if the overall albums are to improve.
   Rating: 6 (7.0)

5. This is a generally good album, with some very good songs. This group definitely has a specific type of sound — very smooth and blendy. This both helps and hurts this album. As expected, the ballads benefit from this sound. Unfortunately, this blend is coupled with a lack of tightness in entrances and exits, a lack of drive on faster tunes, and a lack of punch or energy on many tunes. The problems are more troublesome as the album goes on, early songs are generally better than later. The overuse of reverb would sometimes exacerbate tightness problems. Some songs on this album sound very much like the soloist was recorded separately and dubbed over the group. While this is often a good technique, in the end it should not sound as if the recording was done in this way. Often, the soloists didn't seem to be connected with the group. Sometimes the soloist would sound much more energetic than the group. Sometime pitch or timing was slightly off. This album is a solid effort, however. Many of the songs work well and the soloists are strong for a college group.
   Rating: 7 (6.2)

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Individual Tracks

1. Sweet Dreams (6.2)
   1. This is a very solid track musically, but stylistically it has no clue.They have a nice group sound, but they can't make up their mind whether to lay back and sing classically or rock out. Frankly, I think they side too much with the former on this tune, but the indecision gives a jumpy quality that wrecks the groove.
      Rating: 5

   2. A nice arrangement, good energy and good use of dynamics. This is a solid rendition, but why does every women's group do this song? It was never one of my favorites, so I don't understand its popularity.
      Rating: 7

   3. Chest voice, ladies, chest voice. The opening displays some good voices, but there's a definite lack of edge that really weakens the sound because everybody sings head voice. The background is pretty good. There are some lovely instrumental obbligatos, that float on top of the background. The penultimate, or "a cappella" chorus does not have the same seemless blend of the other choruses; they add volume but not punch and the blend falls apart. Nice dynamics overall.
      Rating: 7

   4. The delivery is too "cute" for the kind of song they're trying to sing, which is generally dark and moody. The background doesn't flow into one another as it should, and some very major parts of the background are missing that makes it seem very empty.
      Rating: 6

   5. First let me say that this tune is done far too often and no group (especially women's groups, who are its more frequent recorders) should ever record it again unless they have something new to add to it. (I didn't hold this fact against this group, but it had to be said.) This is a good version. There is too much dynamic variation during some parts, sometimes singers seem too "shouty". The initial "everybody's looking for something" is, for example, much too loud. The sopranos should be mixed a little lower. Arrangement simplifies the tune a bit, but this is good. The woman doing the instrumental solo after the chorus was good, and at a good volume, not screechy as it is on some versions.
      Rating: 6

2. Fallen (7.6)
   1. I have a mixed reaction to this song too. On the positive side, Stefanie Cohen gives a virtuoso performance on the solo. She emanates vocal control and cool and takes hold of the listener. On the other hand, I can't stand when female groups try to sing like male groups- that's what this song does, particularly at the beginning, where the altos are forced to sing lower than they should. I liked this track, I just wish the arrangement was better suited to the group singing it.
      Rating: 6

   2. This is a pretty ballad with a great solo — sounds much like the original, and it works. The interesting arrangement and addition of vocal percussion keep it from getting boring.
      Rating: 8

   3. Lovely solo; she sings meaningfully but doesn't overdo it. The obbligato is tasteful and blends well with the soloist without interfering with the light melody. The echo "flute" sound is a very pretty counterpoint. The seconds altos fog out at the bottom notes; they could benefit from a more concentrated, less fuzzy tone. The bridge into the chorus loses accuracy consistently, but the song is pretty well done. Best on the album in my view, for what it's worth.
      Rating: 9

   4. VERY pretty background work on this one.....a nice relaxed pace and a flowing wave of sound. The soloist is featured well in this piece.
      Rating: 8

   5. Very good soloist. Percussion is understated, but works very well. Energy is well maintained in this tune. The supporting voices on "falling for you" blend quite well.
      Rating: 7

3. Something to Talk About (5.8)
   1. Again, the same issue: this group is clearly talented musically, but their singers apparently do not come from a rock or blues background, but rather are more classically trained. This is not a great arrangement, and it really falls apart when the background drops for the 'power solo'.
      Rating: 4

   2. No major problems here, but this arrangement could definitely be more interesting — it needs more movement in the background. Also, the solo is not bad, but unremarkable.
      Rating: 5

   3. The soloist sounds like a watered down version of Cher; too husky and no oomph whatsoever. She has a good voice; I bet she'd sound really good doing jazz, but is just not right for Bonnie Raitt. There's a certain abrasiveness required to do bluesy stuff like this, and an ability to bend notes that Vocal Point just doesn't have. Nice dynamics, but the background is for the most part blurry and none of the notes come through too clearly. Their efforts to slide as a group fail miserably. The slide guitar is at her best shadowing the soloist near the end.
      Rating: 6

   4. Bonnie Raitt is quickly reaching over-covered status among collegiate a cappella as artists go. (see Sting and Billy Joel for other examples.) Because of this, and because I don't like Bonnie Raitt to begin with, I don't really like this song. However, there are some very musical things happening in the background, and the lead does a credible job with it, so it got a higher rating than I thought I would give a Bonnie Raitt chart.
      Rating: 7

   5. Good energy, especially in intro. Volume changes are handled well, and they effectively simulate the energy of a band kicking in. The "wah-wah" blues guitar is a little over the top at times; it might have been more better to not try to actually imitate the sound of the guitar, rather recreate the musical part it plays. Solo is good, but a little too straight (the "growl" doesn't work).
      Rating: 7

4. Leader of the Band (7.4)
   1. The first satisfying arrangement on the album, Lawrence Loh's arrangement stays mellow, and that style seems to best suit Vocal Point. Linda Park delivers a empathetic solo. Vocal Point seems to excel in blending and harmonizing, and this track gives them a vehicle to do that.
      Rating: 6

   2. Great song choice. I love this song, and I have never heard an a cappella version of it before. The solo is rich and soulful, and the blend in the final verse is very good. I just like it.
      Rating: 8

   3. I like the solo intro style but think the song should have been brought up a step to sit more comfortably in the soloist's range. She could stand to brighten her sound and moderate the vibrato, but I'd rather her err on the husky side. The duet on the verses is very tasteful and effective, less so on the chorus. The background is all right, except for the bridge which is not in tune and breaks the mood. I like the four-part last verse a lot, though the resulting chorus starts out a little strangely.
      Rating: 6

   4. Easily the best song of the album; the arrangement is very tasteful, and doesn't fall into the traps that other guitar-based arrangements fall into. In general, anything that involves block harmonics seems to be this groups strong point. And the soloist sounds beautiful......great job.
      Rating: 9

   5. Soloist has a great, slightly breathy, low tone. Backup singers on chorus work very well.
      Rating: 8

5. Bad Connection (5.0)
   1. The liner notes say that this is an arrangement Vocal Point 'devinylized' from Yale Whim 'n' Rhythm, and I have to ask: WHY?!? This is a fine performance, but the arrangement does nothing for me, right down to the "DOON-d-DOOM!" percussion.
      Rating: 3

   2. This song is becoming another overdone a cappella standard, but I like what they do with it. The soloist does a good job of deviating from the original while still making it work. The percussion is also good, giving the song a full sound.
      Rating: 7

   3. This is not in tune. It opens very poorly and sounding very out of sync; the rest of the song background is passable. Although the soloist has a good voice, she's flat too often to fully appreciate some of the nifty liberties she takes with Allison Moyet's featureless solo line. The percussion is very "hooey" for lack of a better word, but I do applaud their attempt to get down and add energy. They are really trying to get it going on, and hey, maybe it worked better live.
      Rating: 4

   4. I've heard this done better. The background isn't utilized as well as it could be. The soloist is good, but not good enough to distract me from the substandard tuning and slow movement of the song....this could have been better.
      Rating: 6

   5. The soloist is fine, the arrangement is a true-to-the-original very simple arrangement. Nothing particularly interesting about this tune.
      Rating: 5

6. We Got the Beat (5.8)
   1. I'm sure this is funny live, but it really isn't very interesting on the album, despite an unconventional arrangement by Lawrence Loh. Let me be clear: there is nothing WRONG with this track per se, it's just sort of there.
      Rating: 5

   2. Great song choice, but a boring arrangement. This song is a lot of fun, but could be much better if the arrangement were not so monotonous and repetitive.
      Rating: 6

   3. The percussion should have been more or less pitched at the beginning because it accidently obstructs the key. The arrangement is simple, but I think fairly successful, but the soloist unsuccessful. She is for once in chest voice and overdoes it in an attempt to find some edge. I like the breakdown toward the end, although the "spoken stuff" is quite cheesy. Not the best song to tackle, maybe, but good effort.
      Rating: 6

   4. Disappointing; this is a natural song for an all-female group, but it had no energy! The chorus is far too reserved, and the groove is never really established. The soloist, on the good side, has the best Belinda Carlisle impersonation I've heard in a while.
      Rating: 6

   5. A good song choice, but arrangement is very simple, making the tune less enjoyable to listen to. The soloist is good but not great. Good energy. If you're going to have the group snap, work to make sure that everyone's really together. Being even a little bit off (as they often are) is quite distracting.
      Rating: 6

7. Amoeba (6.2)
   1. There isn't a lot to say about this song. The performance is adequate, the words are pretty funny, Ellen Schein's solo has a nice 1950s diva style ("The Leader of the Pack" style). I thought this tune was cute.
      Rating: 5

   2. A cute and amusing change of pace. Nice to see some humor.
      Rating: 5

   3. This soloist has the right idea with her light chest voice. Addresses the silly tone of the song very successfully. A few pitch problems exist, but they're not too intrusive for the most part.
      Rating: 8

   4. If the group had taken this song totally seriously — no giggling in the background and the like — this would have been much funnier, IMHO. The punchline is good, though, and it was a cute idea, so it wasn't a total loss.
      Rating: 7

   5. A song with cute lyrics about amoeba love. The song seemed a little too repetitive, even though it was reasonably short. This sounds like a 1950s novelty tune.
      Rating: 6

8. Uncle John's Band (7.6)
   1. They perform the Indigo Girls rendition of the Dead classic pretty well actually. Another arrangement by Lawrence Loh that I think is well-suited to their talents. The instrumental imitation of "Ba-Doot-Doo" could easily disappear and the song would actually gain, but other than that, I think this is a very strong track.
      Rating: 7

   2. This is the way this song should be done. The arrangement is nice and full, with lots of movement in the background, and the solo is good and strong. Nice blend and variation in dynamics — good choral singing.
      Rating: 9

   3. Soloist sounds good, but doesn't sound quite comfortable in the low range, although the tone is quite pleasant if soft. Nice blend, and arr for the most part. Very nice soprano line for the last verse. I like the improv final chorus.
      Rating: 8

   4. This song doesn't suit this particular group well. Both the Dead and the Indigo Girls have done this, but this doesn't really evoke memories of either. On it's own merits, it's well done, and the harmonies are very tight, but it pales to the original....and the remake.
      Rating: 6

   5. The duo lead was good, the backgrounds quite good as well. The overlapping group/duo trading at the end worked very well. The arrangement is strong; I especially liked the second part of the bridge where the duo swells into the whole group singing in unison.
      Rating: 8

9. Over the Rainbow (6.2)
   1. Vocal Point shows that they are capable of pulling off effective vocal jazz. Francine Ciccarelli is very good on the brief lead, and the chords ring like they should. A good interpretation of the Roger Emerson arrangement.
      Rating: 6

   2. Um, blech for song choice. This is a song that you either love or hate. To me, it always sounds drippy and sappy, no matter who does it. That said, the arrangement is ok, but the soloist has some tuning problems.
      Rating: 4

   3. D'you remember Lisa, Baby's older sister in Dirty Dancing? This soloist is in tune, but the similarity is uncanny. Nice arr, and I do like the jazz chords behind away above the chimney tops. The last verse is a little sforzando-happy. Of broadwayesque songs to do, this one is ok but not the most thrilling.
      Rating: 6

   4. The perfect song for this group; it really showcases the strong block harmonies that they're good at.
      Rating: 8

   5. The soloist could have been cleaner on her diction, although her pitch was good. The group had a very good blend on this tune. The arrangement was interesting, it moved the voicings around a lot within the group.
      Rating: 7

10. Boogie Woogie Bugle Boy (6.0)
    1. I would guess that this is a holdover from earlier years. So OK, they don't sound like the Andrews Sisters, but you know what, I never liked the Andrews Sisters anyway. I kind of wish this tune wasn't on the album, but it is performed pretty well.
       Rating: 5

    2. Not bad, but really needs more energy. And one line in particular sticks out every time I hear this song: "...if the bass and guitar _isn't_ with him." Are these the original lyrics? (Grammar may be a minor point, but it sounds awkward at best to me.)
       Rating: 5

    3. I've been in a group that sang this, so I can't knock it too much. They have a nice arrangement, with a great bass line that makes the song, the rest of it is pretty good. Not the most stunning song in the world, but fun and goes over well with alumnae. Thank God they didn't try sing it like Bette Midler.
       Rating: 8

    4. More good harmony, and they sound like they're having fun. I just wish they didn't do this song, as it is VERY typecasting for a women's group to do this.
       Rating: 7

    5. A group rendition (rather then the more common trio lead or solo lead version). This tune is another one that women's groups do WAY too often. This is a basic arrangement, with block chords and an alto/bass line. No surprises here.
       Rating: 5

11. Chain of Fools (6.6)
    1. This song settles into a slow groove, and Rebecca Pomerantz's lead is impressive and powerful. It makes you want to snap your fingers on 2 and 4, and that's high praise for an a cappella cover of a classic R & B song.
       Rating: 6

    2. Groovy, with good effects. The only problem I had with it is that the soloist seems to try a little too hard with accent/inflection and attitude.
       Rating: 6

    3. Now this one has some pizazz. Plays off the Commitments version, not Aretha, so has that somewhat closed sound like she's trying to sing without opening her mouth very much, but for the most part it's well done. I like Aretha's version better, but they do what they do very well. Fantastic last chord. Why couldn't Sweet Dreams have grooved like this?
       Rating: 9

    4. Weak cover of an Aretha classic....these women have the tools and the potential but never seem to be able to go for the kill. Song is a little slow, and the burn isn't hot enough to make the song smolder like it should.
       Rating: 6

    5. The sopranos have this light "bah-bah-bah" line, which sounds slightly choral. It hurts the soulful sound that the soloist is attempting. The arrangement unfortunately relies on this line for its drive, and consequently the tune doesn't have much power, despite an energetic soloist. There is no kick after the bridge, with its "doo...doo" section. The person doing the little electric guitar bits has a good sound, and it is restrained.
       Rating: 6

12. Love Will Keep Us Together (7.0)
    1. Oh, please. What has this world come to, I ask you, when we celebrate the music of Captain & Teneile? I mean, doesn't this song belong on some K-Tel collection? Oh yeah, Vocal Point does a decent cover of it. Good cheesy solo by Amie Carson.
       Rating: 4

    2. Another great song choice. It is fun to hear this one again. The arrangement is good, the solo is good, and the basses are good. Pretty solid all around.
       Rating: 8

    3. Sounds like Carole King. Doot doot doot. The doo-woppy background lyrics and stuff work pretty well, actually, the stuff that should be vocals, but the "instrument" parts are lackluster like the solo.
       Rating: 7

    4. This suits their style very well; nice and harmonic, with a bop to it, but not very hard hitting, which is a weakness of theirs. Lots of fun to listen to, and the soloist is great.
       Rating: 8

    5. The group needs to be far punchier on the "doo-doo"s. When they are quiet they fade into the silence; it would sound much better with a crisp, and still quiet, backup. Even the "stop" echo in the chorus sounds too smooth. The timing should be tighter. It sounds like the group is just saying a harmonized "stop" rather than singing it. The soloist is solid.
       Rating: 6

13. It's So Hard to Say Goodbye (6.0)
    1. This version suffers from comparison more than anything else. It doesn't have the freshness of the Boyz-II-Men version. They try to replace the groove B-II-M had with a 2 and 4 "CHIK", and it doesn't make it. Merica Paris does a nice job with the lead, but this version is a little too pretty — it doesn't have the grit of the original.
       Rating: 4

    2. I admit I was skeptical before I heard this one. It would be pretty difficult, especially for a women's group, to duplicate the original. But I was pleasantly surprised. Vocal Point does a version suitable to them, and their sweet sound works with this pretty arrangement.
       Rating: 8

    3. Why? Why do groups with no soul sing this song? Vocal Point is by no means the first or the worst group to do this, but the solo is very straight, overly earnest and has some classical vibrato. At least she does her own thing instead of trying to do the funky "after the rain" bit, I think the strongest part of the song. C'mon guys, just say no.
       Rating: 5

    4. A credible version, given that it's a women's group singing a mens group's song. The harmonics at points seem a little shaky, but the soloist is VERY good, and the background is lush and strong, giving her the lift she needs.
       Rating: 7

    5. Soloist is a little flat in parts. Backup smooth. The hi hat sound sounds like it was recorded at the bottom of a well. Arrangement is fine. The soloist nicely builds energy through the song, but I wish it had kicked up higher earlier in the song.
       Rating: 6

14. I Can See Clearly (5.4)
    1. Really the first track where their harmonies are a little bit sour. I think it's just that the soloists and the backing harmonizers have radically different voices, and the strange blend makes it sound off-key. In any event, this version doesn't really go anywhere.
       Rating: 4

    2. Good song choice — another one you don't hear very often. It is well done, and the basses are notable, but the background arrangement, again, tends to get a bit monotonous.
       Rating: 7

    3. Soloist here is overly bright, but does okay. Her obbligato has the right tone, I think, but is much darker than the lead. The bridge soloist isn't very good. Especially given the light tone of the primary soloist, the whole song needs to lighten up, get some crispness and some reggae syncopation. Quick cutoffs and phrase shaping would help a lot.
       Rating: 6

    4. BOR-ING! Boring background, boring lead. No life, no drive, no nothing, just a very mezzo-blah song.
       Rating: 5

    5. Again, backgrounds need to be more forceful, punchier, and tighter. The blend between the soloist and the supporting soloist starts out nice but they have some unfortunate moments where they are just a little off from each other pitch-wise, which I found nerve racking. Energy is fairly good in solo, but group sounds bored.
       Rating: 5

15. My Lovin' (5.8)
    1. The worst background on 'Time After Time', their cover of En Vogue doesn't work because they turn it into a rock song. The rhythm and bass lines, so integral in the original, are either altered or buried, and their is nothing here to make it the funky hip-hop song that it is. They try to make the backing trio sound R & B by singing it staccato, but that ain't gonna do it. It's too bad, because Linda Park delivers a stylin' solo.
       Rating: 3

    2. The funky style of this song is difficult to pull off, and this is a good effort. The echo effect at the beginning is nice. At times, though, the background tends to overpower the soloists, and although there is lots going on in the background, it sounds a little disjointed. It ends well, though — the 'breakdown' is great.
       Rating: 6

    3. Nice beginning. This is a valiant effort in general; the background is quite unforgiving and they do a good job. The low solos are well done for the most part, and the higher solos are okay but could use some punch for the most part. The "not this time"s are great. The spoken stuff is really good for this group, but sometimes you just have to say Uh-huh white girl. Let's all enunciate together: You Go On With Your Bad Self. The "now it's time for a breakdown" could have been much more inspired. Still, really tough song so I say good job.
       Rating: 8

    4. To their credit, they try REALLY HARD. The arrangement is there, the background is giving it their all, and the soloist is trying to wail... but it never comes quite together. The soul of the piece is lacking, and the songs NEEDS a power and a kick that this group can't seem to provide.
       Rating: 7

    5. A hip-hop tune. The most driving tune on the album, but not driving enough. They get good dynamic variation, but some vocal percussion beside the hissy drum sound would have helped significantly. Soloist is again good but not unbelievable. The backup "no you're never gonna get it" sound mechanical (which may be the intent) and tinny (which I presume is not the intent). The group chord "a cappella" part is the most successful part of the song.
       Rating: 5

16. Time After Time (7.6)
    1. The title track is outstanding. Of the four soloists, Stephanie Cohen shines most prominently. Their sense of vocal color really comes out on this song, and the sustained backing chords show off the blend. A very nice and pleasing finish.
       Rating: 8

    2. Another song which I didn't think I would like, since I wasn't crazy about the original, but in my opinion, this version is better than the original. The arrangement is more interesting, the group blend is good, and the soloist really makes it her own rather than imitating Cyndi Lauper.
       Rating: 8

    3. I really like the first soloist; she has the right idea for the song in mood and tempo. I like the background behind her too. The second solo doesn't have any idea; too bright, but schmalzy; the background follows her lead. Chorus is nice enough. The third verse is hesitant and vibratoey; I think they'd have done better to stick closer to the original. The "how long" and other overlays at the end have too many effects that separate them to hide their effectiveness, otherwise I like the end stuff.
       Rating: 7

    4. Beautiful song done justice by all four soloists...it's very apparent that this song has some real meaning for everyone in the group, and it shines through in the music. Solid finish for the album
       Rating: 9

    5. Great blend in the background. I don't like shifting soloists on this tune. It is very soloist driven, and the feel of the tune changes dramatically with the solo shift, unnervingly so. Also, the second soloist is getting bluesy and varying the melody too much and too early. When the group has an instrumental riff between verses, they should step up the volume. The alto that is singing little lines around the melody during the chorus is very quiet. I might mix her higher.
       Rating: 6