The Best of British 2012 is our unofficial countdown of the top ten UK a cappella tracks of the past year. Over the next few weeks leading up to the Christmas period, we will be counting down, from ten to one, what we believe have been the best tracks on show this year, ranging from awesome arrangements, sensational solos, marvellous mash-ups, punny parodies and everything in between.
In order to determine which tracks were to be considered for this accolade, we decided to restrict our selections to songs that fell under ONE or BOTH of the following categories:
a) A song that made its live debut in 2012
b) A song that was featured on a 2012 album
For example, although all of the tracks featured on The Accidentals‘ EP made their debuts at the 2011 Voice Festival, because the album was released in 2012, all of the tracks on the album were considered. Also, several tracks were considered that were not released on albums, for example songs by The Oxford Belles or The Sons of Pitches from their 2012 repertoire.
We made a list of all the eligible songs from all the eligible groups, and then picked the top three tracks from each group, where possible. We then narrowed this shortlist down to 25, before picking our 10 favourite tracks. Opinions were divided, scores were combined, and in the end there was only one winner. But who will it be?
The countdown continues here:
10. The Other Guys – St Andrews Girls
9. The Sons of Pitches – Club Medley 2
8. The Oxford Gargoyles – Fields of Gold
7. The Accidentals – Rolling in The Deep
6. The Oxford Gargoyles – Dancing in the Moonlight
5. The Oxford Belles – Jar of Hearts
4. Out of the Blue – Got To Get You Into My Life
‘Highly Recommended Soloist’, Voice Festival UK 2012, Oxford Regional
‘Outstanding Performance’, Voice Festival UK 2012, Final
Smashing in at number 4 is the lively cover of the Beatles’ Got To Get You Into My Life, as performed by Oxford’s finest, Out of the Blue. The track was one of the first track the 2011/2012 generation of the group learnt, with its debut coming at the groups’ annual debut performance at G&Ds Cafe, about 3 weeks after the new group formed, along with other album tracks, With or Without You and Stop. The song made its way into the groups’ Voice Festival set that year, being used as a powerful opener before Lippy Kids and Domino.
The song’s origins came about very much by chance, according to the group’s MD, Nick Barstow: “The arrangement came when Laurie [Cottam, the soloist on the song] and I were in the car on our way to the airport one day – Laurie only has Beatles albums and Brahms string quartets in his car, and we’d gone for Beatles. Got To Get You Into My Life came on, and I didn’t know it well, but Laurie really liked it. I did too but I thought it was missing something.” That ‘something missing’ was resolved when Laurie revealed the Earth, Wind and Fire cover of the same song. “At 7 minutes long, it was a little self-indulgent, but the arrangement is insane. I cut it down, mixed the best of the original and the cover together, and we had the basis for the arrangement.” Barstow’s addition of Isn’t She Lovely? was prompted by the desire for a strong baritone solo. “The solid baritone solo matched the epic tenor solo really well, partly because of the similar pentatonic motif.”
From the perspective of the group, the song has had its highs and lows throughout the year. “It’s definitely one of my favourites,” said Barstow, before continuing: “But we fell out of favour with it a bit halfway through the year; sometimes you go off a song when you sing it too much.” The group decided to use it more sparingly at the Edinburgh Fringe Festival, which gave it a much needed rest, before breathing new life into it during their tour of Japan. “We sang at a special Beatles and Jazz circuit in Tokyo in September which was incredible and kicked it back into life. At that point, we all began to remember why it was so great in the first place.”
Barstow believes the song has become such a hit due to the variation contained within the arrangement. “There are some really chromatic passages and you’re constantly changing the vocal sound between scat vocal, instrumental style a cappella and real voice singing. Also, there’s nowhere to breathe.” Despite some snags the song hit during the year, because it was such an early part of their set, Barstow claims it maintained some of that initial, start of year hype. As or the album track, Barstow gives credit to Bill Hare, who is “fantastic in general but also a big fan of the Beatles so really got into it.”
Nick’s favourite song of the year remains their cover of Elbow’s Lippy Kids, because of the sentimental value it held for him. “Without being overly sentimental, it summed up my year with the group, and it is pure and poetic.” He is unsure whether Got To Get You will make a return to the group’s set in the near future. “There are some songs that you associate so much with one particular year and group of people that it wouldn’t be right without them.” However, he does concede that it might “come back in a year or two.”
You can buy Out of the Blue’s album, Music Up!, which contains the track, on iTunes.