Major good bumps. This was one of the first songs that introduced me to barbershop, and I've been hooked ever since. That lead and bass have the right touch to transport me to that beautiful place ringing chords will take you.
every bass i know can sing a c# at around 8 am but i don't know ANY bass who can even come close to hitting it at an afterglow (10pm-12am or later) like the ox.
Yes, Tony hits the root and posts to the end, while Jeff sings the b6 right below Tony, then slides down to the root when Joe and Tim hit the 3rd and 5th.
So, when Tony and Jeff lock at the end, does Tony hit the root and post it, and then Jeff slides down the the octave below when Joe and Tim come in with the third and fifth?
2:44 Jeff "it's a c#" omg this reminds me of Acoustix's America the beautiful, after the Bari full voices that last note, jefe leans over and says "nice B flat man!" Jeff is great, I think he has perfect pitch too
I personally think that Crossroads now officially has the best blend out of any quartet ever, but I agree. Tony and Tim are always really quite on top of their game. Joe is always really really really loud and Jeff is always trying to be the star...
MrKain1000 - Joe Connelly is just naturally that resonant, his volume isn’t intentional, he’s just that powerful. But I completely agree about Jeff, as good as he was, he’s always trying very hard and not having much fun
@breeno91 as far as i know... its when the sound waves are vibrating perfectly against each other in a way that forces the ear to hear another note all together. Very strange phenomenon indeed. someone correct me if I'm wrong.
it's sad that modern singers like Joe Connely and Jeff Oxley feel that singing in a quartet is a contest of who the better singer is. Tony De Rosa and the tenor who's name escapes me right now have better blend than any quartet since The Buffalo Bills or The Suntones,
I am amazed by your ability to line up your overtones and produce this ring, but it seems to come at the price of reducing vocal quality by blocking vibrato, since pitch has to stay perfectly stable. Rather than boosting one particular overtone, wouldn't it be better to have richer voice quality and boost many more overtones? I would really be curious to hear four opera singers try barbershop. Maybe it would be a bit heavy to the ear, but the overtones would surely be amazing.
Love Joe...but I wonder if Mike Slamka and Jim Henry wouldn't be bigger contenders for lead and bass spots now that Crossroads is one of the best to ever touch it.
although it wasnt a very good C#. there is another video of Keepsake doing this and the bass there has it way better than mr.bass himself, jeff oxley. hmmm....
The line up is: Tenor: Tim Waurick -2006 Int'l Champion Lead: Joe Connelly -1987, 1992, 2000 Int'l Champion Bari: Tony DeRosa -1992, 2000, 2007 Int'l Champion Bass: Jeff Oxely
3:19 look at joe looking at tim like, "he gonna be a powerhouse"
And Tim can hang with him anytime...He is easily one of the best tenor ever..and at his age he will only get better
Major good bumps. This was one of the first songs that introduced me to barbershop, and I've been hooked ever since. That lead and bass have the right touch to transport me to that beautiful place ringing chords will take you.
Would love to hear a studio recording of these guys... I think they should make an album, like a one-off thing.
This was the dream quartet my friend and I always talked of,,,,,with the exception of Tim.....we had the tenor from Realtime. Totally awesome!
every bass i know can sing a c# at around 8 am but i don't know ANY bass who can even come close to hitting it at an afterglow (10pm-12am or later) like the ox.
Thanks for putting these back.
Yes, Tony hits the root and posts to the end, while Jeff sings the b6 right below Tony, then slides down to the root when Joe and Tim hit the 3rd and 5th.
Amazing overtone from these four masters - I can hear a high C# so prominently, and yet no one is singing it!
So, when Tony and Jeff lock at the end, does Tony hit the root and post it, and then Jeff slides down the the octave below when Joe and Tim come in with the third and fifth?
2:44 Jeff "it's a c#" omg this reminds me of Acoustix's America the beautiful, after the Bari full voices that last note, jefe leans over and says "nice B flat man!" Jeff is great, I think he has perfect pitch too
It's stars and stripes forever too I THINK
Tony + Joe did it (Keepsake, Platinum)
Tony + Jeff did it (Max Q)
but
Jeff + Joe haven't sang with each other
I personally think that Crossroads now officially has the best blend out of any quartet ever, but I agree. Tony and Tim are always really quite on top of their game. Joe is always really really really loud and Jeff is always trying to be the star...
MrKain1000 - Joe Connelly is just naturally that resonant, his volume isn’t intentional, he’s just that powerful. But I completely agree about Jeff, as good as he was, he’s always trying very hard and not having much fun
@breeno91 as far as i know... its when the sound waves are vibrating perfectly against each other in a way that forces the ear to hear another note all together. Very strange phenomenon indeed.
someone correct me if I'm wrong.
Right at 3:31, does anyone hear something weird happen with Joe's voice, almost as if he's flipping registers, but he's not. Anyone else hear that?
Evin Guidone It sounds to me like he's just changing his placement to a more forward placement so the last chord rings best.
it's sad that modern singers like Joe Connely and Jeff Oxley feel that singing in a quartet is a contest of who the better singer is. Tony De Rosa and the tenor who's name escapes me right now have better blend than any quartet since The Buffalo Bills or The Suntones,
3:33 I like how Jeff’s hand looks like he just shot a 3 pointer lol
This tag is incredible.
I think it may have been "Where's the C#?" Loved his quizzical expression though.
haha, accidently ended :)
Jeff Oxely -1984, 1990, 2007 Int'l Champion
I am amazed by your ability to line up your overtones and produce this ring, but it seems to come at the price of reducing vocal quality by blocking vibrato, since pitch has to stay perfectly stable. Rather than boosting one particular overtone, wouldn't it be better to have richer voice quality and boost many more overtones? I would really be curious to hear four opera singers try barbershop. Maybe it would be a bit heavy to the ear, but the overtones would surely be amazing.
@tigerman4 I had to "thumbs up" this because your correct usage of term "asshats". Excellent use of an obscure plural noun. :-D
@matrix86 It was the Rapscallions :)
Is that 'Awesome" Joe Connelly singing lead?
Sidney McNulty - you bet!
What was the whole cheyrl thing about
Love Joe...but I wonder if Mike Slamka and Jim Henry wouldn't be bigger contenders for lead and bass spots now that Crossroads is one of the best to ever touch it.
although it wasnt a very good C#.
there is another video of Keepsake doing this and the bass there has it way better than mr.bass himself, jeff oxley.
hmmm....
Jeff Oxley? You can't go wrong!
The line up is:
Tenor: Tim Waurick -2006 Int'l Champion
Lead: Joe Connelly -1987, 1992, 2000 Int'l Champion
Bari: Tony DeRosa -1992, 2000, 2007 Int'l Champion
Bass: Jeff Oxely
It's a D-flat, Mr. Oxley. Learn your music theory :p
Jeff Oxley looks like Silvester Stallone, right?
lol.. who are the new guys?!? I hope you're not referring to Tim and Joe.. haha
lol Jeff "Thats a C# ;) "
ha
umhmm...that was a c#. Funny stuff ox man!
The very same :)
Why must Joe Connelly be SO loud ALL the time?
Daniel Gross - natural resonance