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‘Skyrockets in flight/Afternoon delight’: The story behind Starland Vocal Band’s one big hit

This oral history is adapted from an archival Washington Post article that was originally published in 2011.

On July 10, 1976, as the smoke was still clearing from America’s big bicentennial celebration, a new song slid into the top spot on the Billboard Hot 100, riding a chorus that referenced “skyrockets in flight.”

But Starland Vocal Band wasn’t singing about bombs bursting in air  on its suddenly ubiquitous ditty “Afternoon Delight .” The harmonic soft-rock smash was actually about post-meridiem lovemaking.

“Afternoon Delight” was written by Starland’s Bill Danoff after he’d made a teatime trip to Clyde’s of Georgetown, where he sometimes sang with his wife, Taffy Nivert. The duo performed as both Bill and Taffy and Fat City, and they’d struck gold as songwriters when John Denver turned “Take Me Home, Country Roads” into an enduring hit that eventually became one of West Virginia’s official state songs .

For “Afternoon Delight,” Bill and Taffy doubled up, adding two friends from the D.C. music scene, Jon Carroll and Margot Chapman, who would later marry — and, like Bill and Taffy, later divorce.

“Afternoon Delight” — which spent two weeks at No. 1 — was Starland Vocal Band’s first and only hit. A second single stalled, subsequent albums flopped, and the band was finished within five years.

But the incredible success of “Afternoon Delight” was enough to earn the group five Grammy nominations and two awards, an ill-fated  CBS variety show  (featuring a nascent broadcaster by the name of David Letterman), and a place in the Rock and Roll Hall of Fame’s wing of one-hit wonders. It also found pop-culture permanence, albeit as  one of the most maligned pop singles of its era  and  a popular   Hollywood  punchline .

Here’s the tale of the creation, rocket ride and odd afterlife of “Afternoon Delight.”

Bill Danoff, Starland Vocal Band : We didn’t have Starland yet, but Margot [Chapman] was my friend and we were at Clyde’s in ’74. It was after lunch, and from 3 to 6 they had these table tents out that said “ afternoon delights .” It was a little menu of like four items. I thought it would be a neat title for a song.

Taffy Nivert, Starland Vocal Band : I was at the hospital having an operation for cervical cancer. Bill came and said, “I’m starting another song.”

Danoff : It took me a couple of months to get the song right. I was watching a Redskins game on TV and I came up with the lick on my 12-string. A song I really liked at the time was Rod Stewart’s “Maggie May,” the long acoustic version. I was playing that kind of a feel, just letting the strings ring That triggered it. Then I started putting the lyrics together: “Gonna find my baby/Gonna hold her tight/Gonna grab some afternoon delight.” Not a bad idea!

Nivert: You could always find Bill with his guitar. There were a thousand things going through his head. He used the guitar like some people doodle with a pencil and paper. I would hear parts of “Afternoon Delight,” and I thought it was really good.

Danoff: Lines and metaphors just started coming. I don’t know where “skyrockets in flight” came from — maybe a comic book. My songwriting process isn’t linear. You just grab things and try to put them together, like a Rubik’s Cube. It became the basis for  the Starland album .

Nivert:  Bill and I had great songs and really related well to our audiences. But we weren’t that foolish to think we were great singers. We knew some great singers, though.

Danoff: “Afternoon Delight” needed a bigger sound with more voices, like a Mamas and Papas thing. I thought of this incredible kid, Jon Carroll, who was a freshman at the University of Miami and had a great voice. I thought of Margot, because I loved her angelic voice. I drew a diagram of the lid of a grand piano, with these stick figures: Jon at the piano, Margot standing at the front, Taffy, and then me with a guitar.

Jon Carroll, Starland Vocal Band : My friend Mike Cotter backed up Bill and Taffy when we were in high school. When they got the idea to start the group, I came back for a wedding or something and we got together informally. Bill played that song; he wanted to see how it would sound with four voices.

Robert Hughes, former WASH-FM program director : They had a harmonic blend that was pretty amazing.

Milt Okun, producer ( who died in 2016 ) : They were very, very good singers. But this song was a particularly hard one to do. It was more complex and musically difficult than most folk arrangements. It was the closest thing to Bach that I’d ever done.

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Nivert : Musically, it’s very similar to an excellent Cajun tune. You can imagine Doug Kershaw doing a great fiddle rendition on it.

Danoff : When we went up to New York to record at RCA in ’75, the song just didn’t do it. It sounded predictable and straight.

Carroll: We got back the first test pressing and played it for some folks at Bill and Taffy’s house. Jack Boyle, who owned the Cellar Door , said, “It doesn’t sound like a vocal group; it sounds like a guitar group.” I knew we were going back in and cutting it.

Danoff: Phil Ramone came in and lightened it up. He had bass player Russell George and the drummer Jimmy Young give it a bounce. I laid the words right into their groove, into that pocket.

Russell George,  session musician : These guys were folkies trying to come up with a groove that just doesn’t happen in folk music. I’d done a James Brown album. I’d done Labelle. I said to Bill, “Do you mind if I kick it off?” My count-off — a one, a two, a one-two-three-four — set up the whole groove.

Phil Ramone, engineer ( who died in 2013 ):  When something becomes good ear candy, it’s because two things are working: melody, lyric and groove. That’s three things. I lied. They all worked on this record.

Okun: Phil was tremendous. He had good ideas and got sounds that were so right.

Danoff: He came up with that iconic sound, between “skyrockets in flight” and “afternoon delight.” We brought in a Moog synth expert, but that didn’t work. So Phil told Danny Pendleton : “Why don’t you try something?” Danny made that sound, and Phil told him to drag it out. Danny had his pedal steel running through a couple of effects, and it was like: Yes! It was so cool. It had nothing to do with skyrockets, but it was just an interesting, original sound.

Ramone: That was a nice touch of musicality. Knowing that the pedal steel will do this big glissando every time just before the words “afternoon delight” — it’s part of what music writers call the hook. It’s kind of the id.

George: They had this wonderful song, but we didn’t know it until we heard it in its finality. We didn’t know what tune we were playing; we were just reading symbols off the page. They put the vocals down later. The first time I heard “Afternoon Delight” in its complete form was when I got the record at home. I damn near [wet] myself. Honest to god, I got chills.

Hughes:  This band, when they performed, they delivered such a feeling of fun and exuberance. And that vocal blend — you could tell that these four were friends, they loved what they had together. The idea that you could take baked brie with almonds and turn it into “skyrockets in flight” — that’s the best kind of alchemy there is. People absolutely loved that song.

George: I did this three-week tour in 1976 with John Denver and Starland. It was the only high-level tour I did; I didn’t want to leave the big bucks of the studio. We played at hockey rinks around the country, on a revolving stage. We did a few tunes, and when we came to “Afternoon Delight,” the damn audience just went crazy. They loved it. It was a very, very strong tune.

Nivert: Bill wrote his best, we sang our best, and they were either going to like it or not like it.

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Gerald Alston, Manhattans frontman: It was one of those songs where everything just fell in place. You didn’t have to listen to it two or three times; once you heard the lyrics and instrumentation, it captured you right away. You knew the meaning as soon as you heard the hook. It was a great song about making love.

Danoff : When it came out, I was getting my car fixed, and the guy said: “I heard your record. It’s about a nooner!” I didn’t know there was a term for that. I was just thinking the guy goes to see his girlfriend in the afternoon. . . . There’s a line in the song, “Gonna grab some afternoon delight.” The right word was probably “have.” But “have” is a lame word when you’re writing a lyric. You want action words. I changed it to “grab,” like you grab a bite. I was looking for words you can sing and put your teeth into. I wasn’t trying to be a pervert.

Carroll:  I was 18. I knew what the song was, and I liked singing the song. But I wasn’t a seasoned enough adult to be able to appreciate the more contextualized, glib aspects of it — as far as what it meant to have this very sweet-sounding pop group play a really playful song that, in essence, is about a nooner. Which is great.

“Cousin Brucie” Morrow, legendary radio jock : It was sort of a fluke No. 1. It was a fun, positive song we could whistle along to — and it had sexual overtones that made everybody giggle. We needed that. Gerald Ford was president and Jimmy Carter was running; how much more boring can it get than a peanut farmer and a guy who hits his head coming into the White House?

Okun : Since I had been a schoolteacher, I liked to take my arrangements of hit songs and do chorales for schools. This one, obviously, I couldn’t do because of the meaning, which sort of irritated me.

Danoff: We played at Oral Roberts University, and after the show, two students escorted us around the campus. They said: “You know, there was quite a controversy about whether we should have you perform that song.” They had a meeting and took a vote and the majority said yes. God! I mean, this wasn’t really a philosophical statement. It was a fun little song. I was sorry I caused them grief.

Bob Duckman, former WASH-FM music director: Folks would read whatever they wanted to into the lyrics. I very rarely went too deep on the meaning. It was just a well-produced, well-harmonized song that sounded good on our station. We started playing it in the spring of ’76. At the height of its appeal, we were probably playing every three or four hours.

Carroll:  It was a huge record that summer. A year later, I ran into a schoolmate from high school in Georgetown. He said: “Hey, I’m really happy for you, but I feel like I should apologize. I was painting houses at the beach for a summer job, and by the time late August came around, they were playing ‘Afternoon Delight’ for the 300th time and I threw my paintbrush at the radio.”

Morrow:  There was a disco explosion in ’76, and “Afternoon Delight” really stood out. I was at WNBC [in New York], and we were playing Donna Summer, KC and the Sunshine Band, the Andrea True Connection. In the midst of all this comes this song that sounds so happy and bright, with a folksy sweetness to it. It was so different than anything else I was playing.

Nivert: Maybe we should have been called the Anomaly Vocal Band.

Okun : For me, the thing that defines the song is the fugue. Most of the time, the group sings together in harmony. The fugue in the back end of the record is where each one goes on his own path, sort of following. One does the melody, and four bars later, someone else comes in — and four bars later, the third person comes in. It’s a very tough thing to teach, but they were willing to do a hard thing. They were really musical. I wish they had more success than they eventually had.

Nivert:  Of course you think it’s the beginning of something. There was no reason not to believe that. But there was never any real focus on building us as an act.

Hughes: They won the Grammy  for best new  artist, but I think it was a case of maybe too much too soon.

Carroll:  Bill was petrified at the Grammys. We had won for new artist and vocal arrangement; there were two that we didn’t win. The only one left was song of the year . They announced Bill’s name, and I looked at him and said, “That’s you, man, that’s you!” Sweat’s trickling down his face, and he can’t even turn his head. He’s saying: “I don’t want it.” He didn’t want to go up there by himself. Turns out Bruce Johnston won it, for “I Write the Songs.”

Ramone : “Afternoon Delight” had such a spirit to it. It was such a great pop side. But it should be out of the generation by now. Twenty years is plenty for a long-term record. But you can go into any place and play that record, and somebody sings it. Somewhere along the line, a few scriptwriters got “Afternoon Delight” into their psyche, and I don’t know why.

Nivert : “PCU” was one of the first usages that I know of. There was another movie, “Car 54, Where Are You?,” that also used it. I never saw “Car 54,” but “PCU” made me laugh out loud.

Zak Penn, “PCU” co-writer : We were definitely looking for the most annoying song to listen to over and over. There was some discussion about whether it should be “We Built This City on Rock and Roll.” But if you’re looking for the best song to torture people with, “Afternoon Delight” was the one.

Carroll: “PCU” was the first time I realized: “Oh no, this is going to be part of the cultural canon in this way. It’s always going to be used in a ridiculous context.” That juxtaposition — having a party with George Clinton while all the people who were trying to keep that from happening were locked in an office, listening to repeat plays of “Afternoon Delight” — I think it’s really funny. If I made any money off that song, I would think it was even funnier.

Danoff : One of my favorites is “Starsky & Hutch.” I can’t really describe it, but it involves a videotape of Will Ferrell in prison. It’s really bizarre. Maybe it’s on YouTube or something .

Carroll : That one was good. But “Anchorman” is the reason so many kids know the song.

Adam McKay, “Anchorman: The Legend of Ron Burgundy” writer-director : We were on set, and Paul Rudd and Will started talking about rehearsing “Afternoon Delight” with [Steve] Carell and David Koechner. They thought it would be a great thing to sing on talk shows and in other promotional appearances. I said: “Forget that, I’m going to have you do it in the movie. I know the perfect scene, where Ron is revealing to the guys that he’s in love with Veronica Corningstone.” We brought in a music coach to work with them on the harmonies, and I just assumed they’d been working on it. It turns out they’d only done it once. Will flat-out told me: “We can’t do this, we’re not ready.” But the first take they did, they were amazing. The crew applauded when they were done.

Nivert : We were the perfect rube. We were the least hip thing. What are you going to do? You just hope they don’t make fun of your children at school is all.

Carroll:   The dead giveaway is when somebody’s singing it and “skyrockets” comes, and they go: “ Beooooooooowwwwwww !” Okay, “Anchorman.” That was great.

McKay:  I think it’s that perfect blending of sweet, poppy bubble-gum music with the fact that they’re singing about getting it on during the daytime. It’s titillating, it’s sweet — and at the same time, it’s a little bit creepy. I remember hearing that song when I was 8 years old in the back seat of the car, riding around with my parents. It wasn’t until five years later when I was like: Heyyyy, wait a minute!  The song represents the ’70s perfectly, because it’s delightful, innocent and sexually free. It definitely plays as an anachronism. It’s almost downright strange in today’s post-AIDS, post-sexual politics world. It represents the free love of the ’60s going mainstream in the ’70s. It plays in  a very big moment in the movie , no doubt about it. It’s one of my favorite things in the movie. It’s a really funny idea.

Danoff: I don’t mind being satirized. If I wasn’t a songwriter, I would have been a comedy writer.

McKay : About a year after “Anchorman” came out, we started seeing  tons of Internet videos  of guys dressed up like the news team singing “Afternoon Delight.” They were everywhere. And when we did the Funny or Die tour, there were college students coming to the shows dressed as the news team, and they were singing “Afternoon Delight.”

Nivert :  It’s a fuzzy little animal that has a life of its own.  “Glee” used a truncated version. And we were referenced on “The Simpsons.”  Homer said something like  “There are always things you can do to remember the things you love.” And he showed a tattoo on his arm that said “Starland Vocal Band.” It’s the song people love to love — and love to hate.

Hughes : If people want to use it ironically and make it about being cheesy, fine. I’m sure Bill and Taffy and Margot and Jon don’t mind the royalty checks.

Nivert : Starland Vocal Band got one check in the spring of 1977. That was it. We received a check for $66,000 that we split four ways and have never seen another penny. . . . We signed a generic contract with Windsong Records, John Denver’s label, and the deal was never renegotiated when everybody else made such a big piece off it. That wasn’t kind. But you can’t take unkind to court.

Danoff : I got my writer’s royalties, but the group never got any other royalties. Thank God the publishing money keeps coming in. “Afternoon Delight” has continued to be a huge hit overseas. The song was a top-10 European hit, by a group from Amsterdam that did a killer club version of it.

Jim Henke, former Rock and Roll Hall of Fame curator: On the one hand, “Afternoon Delight” is a punching bag. On the other hand, it’s a song people still go back to. I think it’s a good pop song; it had a very catchy melody and catchy lyrics. Plus, the use of the “afternoon delight” idea — they’re basically singing about sex but covering it up, and that’s very rock-and-roll. But some people hate it.

Danoff:  I [taught] a songwriting seminar at Georgetown. AOL had listed “Afternoon Delight” as the 26th worst song ever. I went into my class and said: “I’m really upset. There’s a list of all these bad songs, and mine is No. 26. I can’t tell you how offended I am. It was only a few years ago that a couple of guys in California did a list of the worst songs of all time, and ‘Afternoon Delight’ was No. 1. To fall to 26 is an embarrassment!” I got a big laugh out of it.

Matthew Wilkening, former AOL music writer : I never had anything against “Afternoon Delight” personally. But “cheesy” is the right word for it.

Ramone : I didn’t think it was corny or cheesy at all. It’s not “Bridge Over Troubled Water,” okay? But I get teased about it, because of some of the so-called serious records that I made.

Danoff : It was never meant to be “Satisfaction.” But it sold several million records, and people still know it. I make no bones about the fact that I always wanted to be a pop songwriter. I wanted to write hit records. When people say, “What’s your favorite song ever written?” I tell them, “The one that made me the most money.” I like “Afternoon Delight” best because it was the biggest hit. It was a magical record.

____________________________

Bill Danoff continues to write songs. He still lives in Northwest Washington, where he opened — and then closed — a neighborhood restaurant called the Starland Cafe. His son, Owen, was a contestant on “The Voice” in 2016 . 

Taffy Nivert is writing nonfiction and, she says, “napping, chewing, taking up space.”

Jon Carroll performs with Mary Chapin Carpenter and others. He also records as a solo artist and has been voted musician of the year multiple times by the Washington Area Music Association. 

Margot Chapman continues to write songs and occasionally collaborates with her old bandmate, Nivert. 

Starland Vocal Band

• Starland Vocal Band were a 70s soft-rock group who will always be best remembered for their sensuous #1 hit song "Afternoon Delight". The group had its roots in the Washington, D.C. folk scene of the late 60's and began as "Fat City", an acoustic folk duo consisting of singer/songwriters Bill Danoff and Taffy Nivert . Danoff and Nivert collaborated with John Denver on his hit song "Take Me Home, Country Roads" and sing back-up vocals on said song. "Fat City" released two albums and regularly opened for Denver in concert. Changing their name to Bill and Taffy, the duo enlisted vocalist/keyboardist Jon Carroll for their 1974 album "Aces". Subsequently adding singer Margot Chapman to the line-up as well, they changed their name to Starland Vocal Band and signed up with Denver's "Windsong" label. Their self-titled debut album begot the hit single "Afternoon Delight", which soared to #1 on the pop charts in the summer of 1976. The album likewise did well; it peaked at #20 on the album charts. Moreover, the group was nominated for five Grammy Awards and won two for Best New Artist and Best Vocal Arrangement respectively. The smash success of "Afternoon Delight" even led to the short-lived 1977 comedy/variety TV program The Starland Vocal Band Show (1977) which featured none other than a then-unknown David Letterman as a series regular. Alas, the group never managed to either match or surpass the monumental success of their first album; the follow-up albums "Rear View Mirror", "Late Night Radio" and "4X4" were all flops. Starland Vocal Band broke up in 1981 and all the individual members went on to pursue solo careers. One of the most beloved of one-hit wonder songs of the 70's, "Afternoon Delight" has been featured on the soundtracks to such films as "The Spirit of '76," "PCU," "Boogie Nights," Good Will Hunting (1997) , The Rules of Attraction (2002) and Starsky & Hutch (2004) . Moreover, the song has also popped up on episodes of such TV shows as The Simpsons (1989) , Family Guy (1999) , ER (1994) and My Name Is Earl (2005) . Starland Vocal Band have reunited on several occasions throughout the years; they performed at a 1998 John Denver memorial concert and sang their signature tune "Afternoon Delight" on a 1996 episode of The Oprah Winfrey Show (1986) . - IMDb Mini Biography By: woodyanders
• The name for the song "Afternoon Delight" was inspired by the late afternoon appetizer menu for the restaurant Clyde's of Georgetown in Washington, DC.
• Members include Bill Danoff , Taffy Nivert , Margot Chapman and Jon Carroll .

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Starland Vocal Band’s “Afternoon Delight”

Bill Danoff, Taffy Nivert and John Denver circa 1971

Windsong (1975) was probably John Denver’s most nature-inspired album. It lent its name to his newly established record label—formed, he said, to further Colorado musicians and his own self-taught knowledge of his craft. The first act signed to Windsong was the Starland Vocal Band, which featured Bill Danoff and his wife, Taffy Nivert.

Danoff had been a folksinger working nights as the light and sound man at a club in Washington, D.C., where he met Denver, who was near the end of his stretch fronting the Chad Mitchell Trio. Soon Denver recorded Danoff’s “I Guess I’d Rather Be in Colorado.” The friendship between them was cemented when they co-wrote Denver’s first smash hit, “Take Me Home, Country Roads.”

Formerly members of the band Fat City, Danoff and Nivert created the Starland Vocal Band, fine-tuning the clean-cut, all-American quartet’s rich pop harmony sound before signing on with Windsong. The band’s first single, “Afternoon Delight,” was released in early May 1976, and nine weeks later, the Starland Vocal Band and the label had their first and only No. 1 single. It helped earn the group five Grammy nominations and two awards, including for Best New Artist.

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Nominations*, 19th annual grammy awards.

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Best arrangement for voices (duo, group or chorus), afternoon delight, best pop vocal performance by a duo, group or chorus, afternoon delight (single), record of the year.

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Rob Garrett has established himself as the world’s most popular and most frequently requested Neil Diamond tribute artist, earning the title “King of Diamonds”. He continues to set the standard in the industry by performing his tribute to the iconic singer/songwriter around the country in venues usually reserved for national/name acts.

He is North America’s most popular and sought after Neil Diamond tribute act. Rob manages to naturally capture the presence, passion and energy of the legendary performer in all his Jazz Singer glory. Those who have witnessed his performances testify that a performer simply can’t get any closer to the performance of Neil Diamond.

SeaSoundStudio is pleased to announce that MO5AIC from Las Vegas has have been added to its roster. Having worked with Jay Leno , Prince , Tony Bennett and other superstars, this interactive band presents an incredibly tuned show for all ages and demographics. At it's core, MO5AIC creates vocally driven music that holds it's own sonically with any full instrumentaion.  From Jazz and Big-Band to Hip-Hop and Opera , MO5AIC appeals to all ages. Recipient of "The Next Great A Cappella Group" Award from CBS , MO5AIC also on MTV's Top Pop Group

Invite your audiences to enjoy an evening with more than 40 legendary vocalists in one talent-packed show, starring extraordinary singing impressionist, Eric Kearns. You can customize the show for your audience by choosing from more than 60 vocalists to "perform" during your show.

Revisit the days of the popular Crooners with favorite songs by  Frank Sinatra, Dean Martin, Bing Crosby, Perry Como, Tony Bennett, Sammy Davis, Jr., Nat King Cole  and others.

If you seek a show of Pop Singers, Eric will thrill your audiences with outstanding renditions of the best songs of  Elvis Presley, Bruce Springsteen,Barry Manilow, Billy Joel, Paul McCartney, Ray Charles, Paul Anka, Steven Tyler (Aerosmith), Willie Nelson, Neil Diamond, Tom Jones, Bobby Darin, Andy Williams, Englebert Humperdinck, Tom Petty, Kenny Rogers, Billy Idol, Paul Anka, Temptations, Ray Charles, Johnny Mathis, Joe Cocker, David Lee Roth  -- even  Cher  and "Kermit the Frog".

If your audience loves the sound of the 1920’s, 30’s and 40’s, book Eric to entertain with the voices of  Fred Astaire, Jimmy Durante, Gene Autrey, Al Jolson, Gene Austin, Eddie Cantor, Ted Lewis, Vaughn Monroe  and the  Mills Brothers .

The top professional impersonator of Robin Williams in the U.S., David is the impersonator of choice for movies, TV and advertisements.   A clone of Robin in performance, sound, look and wit, he has performed at theaters, in movies, for conferences, at trade shows, and in television shows, including co-starring on NBC ’s hit sitcom Community , ABC ’s Next Best Thing , CBS ’s Family Feud , NBC ’s Access Hollywood , and NBC ’s Last Comic Standing . He has appeared in the films, Just About Famous and The Reinactors .

He received the Las Vegas Best Actor Award  and the Best Comedian Award from the Reel Awards in Las Vegas --the Academy Awards for tribute artists.  He has also received the Funniest Male Award from the Sunburst Convention in Orlando.  Containing adult comedy and topics, but no vulgar language or material, the Robin Williams Tribute Show contains a Robin’s Classics mixed with David’s original material to create a unique show experience, often incorporating local events and references.

A powerful and passionate performer, Rich Wyman energizes his audiences through commanding performances as a keyboardist and vocalist. Described as a combination of Billy Joel, Elton John and Phil Collins, Rich has won 8 ASCAP awards. He has toured extensively throughout the United States, Ireland, Holland, Austalia and the United Kingdom. "I’m blown away by his songwriting and performing” -Eddie Van Halen

David Howarth is a Piano Showman with a fresh approach to piano entertainment. David is one of the most versatile and exciting pianists in the world. Originally from England and now based in Dallas, Texas, he was trained at the Royal College Of Music in England.  His unique arrangements of the world’s favorite classical, jazz, movie and popular music will engage your audience, leaving them spellbound and asking for more.

Peter Paul and Mary “Now” is the premier tribute to Peter, Paul and the “late” Mary Travers.   The exciting instrumentation and tight vocal harmonies are as you remember them. Their music and message is as applicable to this generation as it was when they started their journey in 1962. Their performance is fun and enjoyable for the whole family!  You can hear them perform all their greatest hits including: If I Had A Hammer, Blowing In The Wind, The Times They Are A’Changin’, Jet Plane, Puff The Magic Dragon, Song Is Love, 500 Miles, I Dig Rock & Roll Music, Lemon Tree, Light One Candle.

Metropolitan Opera National Council Award Winner s, Gulley/Granner (tenors Ben Gulley and Nathan Granner) have established themselves as top classical artists with true vocal beauty.  With numerous critically acclaimed opera roles, competition wins, major television appearances, international tours and concert credits on their resume, operatic duo Gulley/Granner formed in 2012 after completing a national tour as a Sony Masterworks label group, The American Tenors . It was a great tour, with standing ovations in every venue.

A finalist on NBD's Sing-Off, North Shore Doo-wop impressed fans of all ages across the nation with their energy and consistent harmonies.  This special art of delivering music without instrumental accompaniment is what North Shore is all about. The award-winning group offers a continuously fresh repertoire of hundreds of popular hits that cover the last five decades. North Shore has appeared as the opening act for  The Temptations ,  The Platters ,  Ben E. King ,  Johnny Maestro ,  Al Jarreau ,  Roberta Flack ,  Frankie Vallie , and  Gene Pitney .

From the sultry strains of classic Jazz and Swing to the memorable tunes of Broadway and Pop Music, Patrice impresses audiences when singing the great American Standards with her rich, melodic 3-octave voice and vivacious personality.  Described as a blend of   Jo Stafford ,   Karen Carpenter   and Linda Ronstadt , Patrice has a multi-timbre, three octave vocal range and recently recorder her CD, At Last with the Todd Sullivan Orchestra of New York City and arranged by Lanny Meyers, a 10-time Emmy award -winning arranger and composer..

Powered by two national fiddle champions, a west coast flat-picking champion and 10 state fiddle championships, The Voetberg Family Band comprises 8 siblings ranging in age from early teens to late 20's who perform Irish, Scottish, American, Swing, Jazz and Classical music.  Coached by several world-class Grammy winners, the band transitions gracefully from blissfully vocal arrangements to power-house instrumentals.

More than a master guitarist and award-winning composer, Gladius has been called a miracle in the making.  He suffered a mysterious medical condition causing crippling nerve damage and greatly hindering the sensation and dexterity of both hands.  After 10 years, 4 surgeries, 8000 hours of physical therapy and countless prayers, Gladius now performs a unique blend of Classical, Flamenco, Spanish, Metal, Fusion, Standard and Progressive Jazz.

Direct from Harrahs Casino , Caesars Palace , Excalibur , MGM Grand , New York New York and other Las Vegas casinos, John Anthony’s Tribute to Rod Stewart is exceptionally dynamic and energetic. John Anthony is one of the mainstays with the world famous   Legends in Concert   show. He has toured America, Canada and Japan performing in countless casinos, corporate events, and for numerous fund-raisers. Acknowledged as one of the best impersonators in the business, John passionately covers the genius of Rod Stewart from the early   Maggie May   days to his current chart- topping revival,   Still The Same…Great Rock Classics of Our Time .

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Singaporean vocal group MICappella crowned champions at Moscow Spring A Capella Festival 2017

Popular Singaporean vocal group  MICappella  has emerged as champions at the inaugural Moscow Spring A Capella Festival 2017 .

Notably, the local band was also the only Asian group to compete in the medium group category (six to ten singers per group) of the festival.

Prior to the final week-long festival, the band had underwent a rigorous month-long competition. 160 finalists battled against one another all over Moscow’s famous tourist sites, with three performances a day over three days, before a winner was announced.

“All judges, both Russian and international, were very impressed with MICappella’s performance,” said Andrea Figallo , one of the judges from Italy. “Their professional yet passionate delivery mixed with a very big heart makes them one of my favourite vocal pop ensembles.”

BANDWAGON TV

MICappella's addresses their fans and crew after their milestone win.

This is the band’s third international competition since they first gain recognition after returning from The Sing-off China as the first runner-up. Earlier last month, they also received the “ Best Asian A Cappella Album ” at the 2017 Contemporary Acappella Recording Awards (CARA) in the United States.

“Representing Singapore on the international stage of Moscow Spring A Cappella was such an honour. We went there with the goal to put on a good show, and to have won is such a surprise,” said Juni Goh , MICappella’s tenor.

As we celebrate this milestone for MICappella and Singapore’s music industry, show support for the band at their first-ever solo concert held at Kuala Lumpur in June. For more information, visit their website here .

Also, check out their second original album below:

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Starland Vocal Band

• October 30, 1976 Setlist

Starland Vocal Band Setlist at Arizona Veterans Memorial Coliseum, Phoenix, AZ, USA

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Arizona State Fair 1976 setlists

Starland Vocal Band Gig Timeline

• Jul 01 1976 Salt Palace Salt Lake City, UT, USA Add time Add time
• Jul 02 1976 McNichols Sports Arena Denver, CO, USA Add time Add time
• Oct 30 1976 Arizona State Fair 1976 This Setlist Phoenix, AZ, USA Add time Add time
• Nov 08 1976 Buffalo Memorial Auditorium Buffalo, NY, USA Add time Add time
• Nov 12 1976 Madison Square Garden New York, NY, USA Add time Add time

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