Wow. They really polished the hell out of this. I thought the 2017 version was beautiful but this one is EVEN better! Much more complex and interesting choices, and so refined. Bringing it up a few tones was a great choice too. No wonder they got Gold in this year.
This never ceases to make me sob. Just the message is enough to make me tear up but the vocals rock me to my core and the tears flow effortlessly. God bless these beautiful voices.
Its good that they polished this, but dang the 2017 version of this really hits me, despite being someone who doesnt cry much learning to be independent and strong as much as I could. Respect.
@@artistsometimes2729 I don't see your point here though... He sang it with great tone, and those embellishments added to it greatly. In general, I agree with you, but if it isn't detracting from the song or from the tone or blend, then it only serves to enhance the piece.
@@dannybot1255 l recently listened again. If it were a C, then the note would be half a step lower. Matter of fact, the key change in the song would be in C, not C sharp of that we’re true. I am also aware of how low the note is. The last note is impressive
Amending this in retrospect, I think mainly I was and am still angry because of how the original baritone missed out on a gold. In truth, the lead and bass probably overall sang their best in 2019, 2018 felt as if they were not all together and I can understand difficulties in maintaining a quartet partnership. So, again, this is not personal but just my criticism of judges and judging. A little criticism of the judging of the new sound of Signature. I feel the original baritone was effectively half the melody of this quartet, especially in this song. To those who would argue baritones matter little, go back and listen to Max Q and their performance in 2007 and note the amount of times Gary Lewis is actually singing the melody. Baritones are a huge part of a quartet's sound that are often forgotten. And to my ear, Signature always struggled with its tenor (now baritone) pitching correctly and controlling his dynamic whilst the baritone always was on point. In my view, the reshuffle in Signature hasn't got the same body of sound. It's pitched up a tone, which has pushed Daniel the lead into uncomfortable higher territory which means he just can't project in the same way. The bass is excellent as always, but the baritone and tenor mix is a little too quiet. Arguably, on listening back to the video (and yes it is video, so I didn't hear it live blah great performances still sound great on video) this is probably the bass & lead's best technical singing of this song. The same cannot be said for the tenor and baritone, prime example here 1:34 (go and listen to the OG version). Compared to 2018, the music, singing not just the performance went up meaning it matched effectively the overall score for the original best 2017 performance. Singing was up by 0.4, performance up by 0.4 (fair in restrospect) but the music going up by 1.8 really gets me. Again comparing it to the OG 2017, it's basically the same overall but it really shows how they were marked down in 2018 and I really don't know why! I feel Signature should have won in 2018. Their overall score actually went slightly down in 2019, in part because I think of all the new songs they sang (the judges really don't like change). In 2018 After Hours soared past somewhat inexplicably in the scoring despite singing at least three of the same songs as the previous year. And to be honest, the only real explanation is they were really slick and together, whereas Signature that year seemed a bit withdrawn. So maybe take performance down a bit. But the music and singing was essentially identical if not better! Similarly, the judges will quite happily penalise the Newfangled Four, almost because of their unique approach to original songs and comedy. Haha we enjoyed the joke the first time, but now we're gonna judge you super harshly for doing comedy not raw emotion ballads and slick marching band or jazz or soul pieces. This means that some quartets like After Hours or Signature get a free pass effectively on songs they've already sung twice already, sometimes more (I mean look at Throwback, I suppose they are called throwback). It does seem that Signature's music having a soul inflection, so it not being traditional or 'authentic' doesn't matter as much. With pop however, that's too modern. The case is the same for the latest upstarts Midtown. All you have to do is be what the judges expect, be slick and don't do anything interesting or untoward and you get a points boost. It hugely benefits experienced quartets who sing the same speel over and over again (Throwback) and penalises people that are trying to actually do something NEW and interesting with the barbershop style (ie. Never Gonna Give You Up/All Star!). To its credit, Main Street stuck to its guns and finally won with its pop song medley but only after three years of trying (and only with their final two songs being 'Smile' and 'Razzle Dazzle' songs which are nearly 100 years old, so hardly current music. The judges really don't like change or music that's outside of the mould. It's depressing because I think it really stifles the creativity that really sparks off when quartets are given some freedom.
This is less a criticism of this quartet and more a critique of the judging in general. Quartets are put in the dark in how to 'improve' their score without making barbershop boring and repetitive.
I'm going to throw in my standard response here: You cannot judge barbershop from a video (especially barbershop at this level). The process of digitizing the video distorts the sound (among other things, it artificially amplifies the bass and tenor). That's why judges hear unamplified sound - it's specifically to ensure they're hearing an accurate representation of what the quartet does. So unless you were in the pit with the judges (and to be fair: since you're anonymous, you might have been, if so, I apologize), it's probably not appropriate to comment on details of the scores. Having said that, I heard Signature debut this chart in 2017 at Harmony College NorthWest, two weeks before they came in second in Vegas. . And again I heard them this year at HCNW, 2 weeks before they won. Over the past two years, they have dramatically reworked the song and the 2019 version is MUCH tighter than the 2017 version. 2017 broke my heart when they sang it, 2019 ran it through a chipper-shredder.
Larry Osterman I completely agree. I have heard them sing this and it’s way better in person. All of the international videos from 2019 are extremely inaccurate when it comes to the part balance.
Two things: 1. Empty wagons always rattle. 2. Laught not at me for what I am... For what I am may not be grand, but what I am is all that I can be. Laught not at me for what I cannot do... For what I have done is sufficient, for what I have done is all that I can do. Laguht not at me for what I am… for what I am, You, are not.......
@@LarryOsterman In retrospect, you are right. I would still say that I think original baritone did a better job and whilst it is tighter in some respects, the emotions were more raw and authentic in 2017. But then again, as you say I didn't hear it live. I was also an angry youth back then :D sorry y'all if it was too strong, I just felt quite passionately especially with how Signature got side-swiped in 2018 by After Hours and Newfangled four beaten by Midtown. It frustrated me because it seemed authentic quartets were being displaced by yes man quartets that just were really slick, rather than pushing the envelope of the barbershop sound and musical arrangements.
I've never heard this version before. I've only seen the video of them doing it in Bb. I honestly think some of the emotion is lacking in this raised key, but it's still remarkable
I never see any comments about it but man, Will Rodriguez is an amazing bari. I think I like him even more as bari than when he was tenor.
Right??
That C#2 at the end was insane... This bass is a beast!!
It's a accually a C2
@@the_t1mes even lower lol
@@the_t1mes no, it's a C# in this recording. This is a half step higher than they used to do it
@@the_t1mes it’s sharp
@@GetChristified yeah, the key change is into c shape major
Wow. They really polished the hell out of this. I thought the 2017 version was beautiful but this one is EVEN better! Much more complex and interesting choices, and so refined. Bringing it up a few tones was a great choice too. No wonder they got Gold in this year.
This never ceases to make me sob. Just the message is enough to make me tear up but the vocals rock me to my core and the tears flow effortlessly.
God bless these beautiful voices.
I just love how Daniel sings "send back" at 3:54. Ballsy, but pays off IMO
what I would give to listen to this for the first time again...
Ah! The velvet voice of lead Daniel Cochran! This song definitely brings a tear. Thanks to all four of you for the uplift!
Its good that they polished this, but dang the 2017 version of this really hits me, despite being someone who doesnt cry much learning to be independent and strong as much as I could. Respect.
The cohesion between the tenor and bass at 2:20 is just perfect
I love this song, and the bass really shines on it!
4:41 definetely my favorite moment!!! So smooth and clean!!
At 4:42 is there anyway the tenor could have sang “Dream” any better? That was extremely well done.
th-cam.com/video/B6FwopHVll8/w-d-xo.html at 4:50. More vocal flicks doesn't make a better sound or tone.
@@artistsometimes2729 I don't see your point here though... He sang it with great tone, and those embellishments added to it greatly. In general, I agree with you, but if it isn't detracting from the song or from the tone or blend, then it only serves to enhance the piece.
That''s what I called "polished". Awesome, guys!
The key change at 3:48 -- wow. Great performance and fantastic arrangement.
Thanks luther vandross. For giving us this incredible song to be arranged in this amazing barbershop style.
Umm ... WOW! I cried through this performance as much as I did the original release of 17 years ago.Incredible!
Deserve everything they get. Great harmonies and all parts come together with a real bass hitting that B at the end of the tag I believe it is.
It gets me every time! Also can we talk about that bass sound? Simply amazing!
Just randomly came across this...... ABSOLUTELY AMAZING
It's been awhile since a song brought me to tears. This one did just that.
True passion in their vocals. Absolute masterclass. Congratulations Signature :D
A true barbershop ballad💕😢😌
Bass final note… d flat.
This was honestly so wholesome and I really loved the chord at the end with the low C. This made me wanna cry but I held it in. Very well done👌👏
I think it was a a bit sharp. It almost sounded like a C sharp
@@nathansquires444 it's a C2, its super impressive and sounds nice when hit
@@dannybot1255 l recently listened again. If it were a C, then the note would be half a step lower. Matter of fact, the key change in the song would be in C, not C sharp of that we’re true. I am also aware of how low the note is. The last note is impressive
Damn......... "lord" at 4:06 just got me.... 😪
Gives me chills every time
Was just gonna comment that.
The harmonies are so clean. Unbelievable sound and emotion. Thanks for posting this!
This was THE MOST beautiful song I have ever heard...
This song makes me bawl each time
Literally brought tears to my eyes. Such amazing tone, emotion and control!
Thank you
cannot get enough of this performance
Pore raising.... so emotional... so powerful.
Immediate goosebumps and a tear on the opening chord, these guys are smooth as velvet
Painful and beautiful
Thank you for the hard work. It's very good.
Love them too much
love bass
Message taken🥲😊... superb!
Superb! Honestly.
Lovely song!
Breathtaking
Just beautiful! :-)
Fireeeeee🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥😍
Four Freshmen plus !
Can I reiterate? Superb!
👏🏾
Amending this in retrospect, I think mainly I was and am still angry because of how the original baritone missed out on a gold. In truth, the lead and bass probably overall sang their best in 2019, 2018 felt as if they were not all together and I can understand difficulties in maintaining a quartet partnership. So, again, this is not personal but just my criticism of judges and judging.
A little criticism of the judging of the new sound of Signature. I feel the original baritone was effectively half the melody of this quartet, especially in this song. To those who would argue baritones matter little, go back and listen to Max Q and their performance in 2007 and note the amount of times Gary Lewis is actually singing the melody. Baritones are a huge part of a quartet's sound that are often forgotten. And to my ear, Signature always struggled with its tenor (now baritone) pitching correctly and controlling his dynamic whilst the baritone always was on point.
In my view, the reshuffle in Signature hasn't got the same body of sound. It's pitched up a tone, which has pushed Daniel the lead into uncomfortable higher territory which means he just can't project in the same way. The bass is excellent as always, but the baritone and tenor mix is a little too quiet. Arguably, on listening back to the video (and yes it is video, so I didn't hear it live blah great performances still sound great on video) this is probably the bass & lead's best technical singing of this song. The same cannot be said for the tenor and baritone, prime example here 1:34 (go and listen to the OG version). Compared to 2018, the music, singing not just the performance went up meaning it matched effectively the overall score for the original best 2017 performance. Singing was up by 0.4, performance up by 0.4 (fair in restrospect) but the music going up by 1.8 really gets me. Again comparing it to the OG 2017, it's basically the same overall but it really shows how they were marked down in 2018 and I really don't know why!
I feel Signature should have won in 2018. Their overall score actually went slightly down in 2019, in part because I think of all the new songs they sang (the judges really don't like change). In 2018 After Hours soared past somewhat inexplicably in the scoring despite singing at least three of the same songs as the previous year. And to be honest, the only real explanation is they were really slick and together, whereas Signature that year seemed a bit withdrawn. So maybe take performance down a bit. But the music and singing was essentially identical if not better!
Similarly, the judges will quite happily penalise the Newfangled Four, almost because of their unique approach to original songs and comedy. Haha we enjoyed the joke the first time, but now we're gonna judge you super harshly for doing comedy not raw emotion ballads and slick marching band or jazz or soul pieces. This means that some quartets like After Hours or Signature get a free pass effectively on songs they've already sung twice already, sometimes more (I mean look at Throwback, I suppose they are called throwback). It does seem that Signature's music having a soul inflection, so it not being traditional or 'authentic' doesn't matter as much. With pop however, that's too modern. The case is the same for the latest upstarts Midtown. All you have to do is be what the judges expect, be slick and don't do anything interesting or untoward and you get a points boost. It hugely benefits experienced quartets who sing the same speel over and over again (Throwback) and penalises people that are trying to actually do something NEW and interesting with the barbershop style (ie. Never Gonna Give You Up/All Star!). To its credit, Main Street stuck to its guns and finally won with its pop song medley but only after three years of trying (and only with their final two songs being 'Smile' and 'Razzle Dazzle' songs which are nearly 100 years old, so hardly current music. The judges really don't like change or music that's outside of the mould. It's depressing because I think it really stifles the creativity that really sparks off when quartets are given some freedom.
This is less a criticism of this quartet and more a critique of the judging in general. Quartets are put in the dark in how to 'improve' their score without making barbershop boring and repetitive.
I'm going to throw in my standard response here: You cannot judge barbershop from a video (especially barbershop at this level). The process of digitizing the video distorts the sound (among other things, it artificially amplifies the bass and tenor). That's why judges hear unamplified sound - it's specifically to ensure they're hearing an accurate representation of what the quartet does. So unless you were in the pit with the judges (and to be fair: since you're anonymous, you might have been, if so, I apologize), it's probably not appropriate to comment on details of the scores.
Having said that, I heard Signature debut this chart in 2017 at Harmony College NorthWest, two weeks before they came in second in Vegas. . And again I heard them this year at HCNW, 2 weeks before they won. Over the past two years, they have dramatically reworked the song and the 2019 version is MUCH tighter than the 2017 version. 2017 broke my heart when they sang it, 2019 ran it through a chipper-shredder.
Larry Osterman I completely agree. I have heard them sing this and it’s way better in person. All of the international videos from 2019 are extremely inaccurate when it comes to the part balance.
Two things:
1. Empty wagons always rattle.
2. Laught not at me for what I am... For what I am may not be grand, but what I am is all that I can be. Laught not at me for what I cannot do... For what I have done is sufficient, for what I have done is all that I can do. Laguht not at me for what I am… for what I am, You, are not.......
@@LarryOsterman In retrospect, you are right. I would still say that I think original baritone did a better job and whilst it is tighter in some respects, the emotions were more raw and authentic in 2017. But then again, as you say I didn't hear it live. I was also an angry youth back then :D sorry y'all if it was too strong, I just felt quite passionately especially with how Signature got side-swiped in 2018 by After Hours and Newfangled four beaten by Midtown. It frustrated me because it seemed authentic quartets were being displaced by yes man quartets that just were really slick, rather than pushing the envelope of the barbershop sound and musical arrangements.
Who the fuck disliked this?
I've never heard this version before. I've only seen the video of them doing it in Bb. I honestly think some of the emotion is lacking in this raised key, but it's still remarkable
amazing, yes
but first place, idk