May 30

Wow!

Watch this and you’ll understand why I say Wow!

May 21

Album Review: For All He’s Done (Greater Vision)

GVAllDoneIn the southern gospel world, you can’t get much more solid than Greater Vision.  The personnel is stable (only 6 group members in 22 years, and almost 50 years of total Greater Vision tenure among the three current members).  The leadership and purpose are consistent.  Most importantly, the songs are relatable, accessible, and Biblical.  For all of these reasons, Greater Vision releases garner high expectations, and rarely fail to deliver.  Such is the case with their brand-new release, For All He’s Done.

The current Greater Vision lineup having been together for the last three years, it’s clear what the major assets are for this version of the trio.  They know what those assets are, and they are on display in their recordings.  Let’s look at these assets, and how they are utilized to create another quality album.

I believe that, without question, especially in the last 15 years, Greater Vision’s greatest asset is having a consistent source of great songs “in-house”.  Rodney Griffin is one of southern gospel’s most prolific and consistent hit-makers, and has been for a decade and a half. Chris Allman is a great songwriter in his own right, and, since re-joining a few years ago, has added another dimension to Greater Vision’s song repertoire.

Griffin is a master of the Biblical narrative, and has an extraordinary and God-given ability for taking a simple, Scriptural truth, and wrapping it in a unique, interesting, and memorable package.  The two most energetic tracks on For All He’s Done are also my two favorites, and both are Griffin’s.  “Looking for the Grace” (not coincidentally, the first radio single) is one of the best uptempo songs Greater Vision has recorded in the last several years.  It’s fun and catchy, but don’t let that distract from the depth and maturity of the lyrical theme.  “Preacher Tell Me Like It Is” has the kind of hook you might expect from Dianne Wilkinson, but with Griffin’s signature style of personal application, and a nice country track.  In today’s world of so-called preachers tickling the ”itching ears” of the masses, we can’t get enough of this message.  On the slow side of things, “This Is Mercy” is his most poignant and rich composition on the album, and is another standout track.

Allman’s songs bring a different element: one of personal experience and testimony.  While Griffin tells us a Bible story, Allman often tells us his story, and by extension, our story as Christians.  The album closer and title track, “For All He’s Done” was a standout from his solo recording (reviewed here last year), and is a great fit for Greater Vision.  If you really don’t like big background vocals, you may have an issue with this track, but otherwise it delivers as a powerful praise anthem.  “I Can Trust You” is another quality example of writing in the first person, giving a personal perspective on the relationship with Christ.  Greater Vision made a good decision to bring back “The Blood Hasn’t Ever Changed,” which they recorded just after Allman left the group in the mid-90s.  Though it was originally recorded without him, the song was Allman all the way, with a nice head-bobbing groove.  The arrangement on For All He’s Done is very similar to the original, only with Chris taking the verses instead of Gerald.

From an individual vocal standpoint, Allman is now the group’s greatest asset.  I believe he is the best tenor in gospel music, and is on the short list of greatest singers, regardless of vocal part.  One only has to look at the number of features he gets to know that Greater Vision recognizes this.  After getting seven features on their previous release, The Only Way, he gets five more on For All He’s Done.  On songs like “For All He’s Done” and “The Blood Hasn’t Ever Changed,” he combines smoothness and feeling in the verses with effortless power to carry the choruses.  And when they need someone to really “take it home,” Allman is the man for the job.  “Seeking for Me,” a Lanny Wolfe cover pulled from the Cathedrals discography, has an exquisite arrangement that is moving and quiet throughout, except when Chris soars in the second verse, making for an exceptional track.  (Here is a good place to mention Lari Goss, and his gorgeous work on the orchestral arrangements, particularly on this track and “This Is Mercy”.)

Six paragraphs in, I have barely mentioned the man at the head of Greater Vision, and in the producer’s chair on For All He’s Done.   The other of the group’s greatest assets is the musical acumen and vision of Gerald Wolfe.  Much as he does on stage as one of the genre’s best emcees, he knows the right musical buttons to push for this group of singers, at this time.  He’s an all-time vocal great, but no longer is Wolfe’s the voice that carries the trio’s sound.  In fact, on For All He’s Done, he only gets one verse of one song as a solo.  (On no other major Greater Vision recording has he gotten fewer than 2 features, and he has almost always gotten at least three.)  He fills Glen Payne’s shoes on the first verse of “Looking for Me,” and does so beautifully, in a low range.  Though his individual voice isn’t the focus, however, Wolfe’s hand is evident throughout the recording.  Greater Vision is generally not about huge, high endings and loud, hard-driving numbers, though they can do those when they want.  As producer and leader, Wolfe delivers what they do best: bringing meaningful gospel truth to their listeners in a comfortable and pleasing package.

As a result, For All He’s Done isn’t the kind of CD you pop in for stereotypical “driving” music, or when you’re hungry for those big, dramatic musical moments.  Only one song on can be really classified as “fast” and there’s no huge, formulaic power ballad.  Honestly, I’m the type of fan who really likes the fast stuff and the big stuff, so I might have preferred substituting one of the several low-key, country-tinged songs for a more energetic one.  But this recording isn’t about knocking anyone’s socks off.  Instead, this is a CD you will want to listen to in those peaceful times, maybe on your front porch, when you want to contemplate the goodness of God.  That’s something we all could stand to do a little more of, and there’s no better way to do that today than with some Greater Vision.

Album Rating: 4.5 stars

 

Song List:

  1. Come Unto Me (Allman)
  2. Looking for the Grace (Griffin)
  3. This Is Mercy (Griffin/Natalie Harp)
  4. The Blood Hasn’t Ever Changed (Allman)
  5. Forever Is Sure (Griffin/Jim Brady)
  6. Seeking for Me (Lanny Wolfe)
  7. Preacher Tell Me Like It Is (Griffin)
  8. I Can Trust You (Allman)
  9. I Will Take Care of You (Griffin)
  10. For All He’s Done (Allman)

 

Available: Greater Vision website, as well as iTunes (supposedly on today, 5/21)

May 13

Triumphant Quartet – Because He Loved Me

I love songs that present the Gospel of Christ in detail and in ‘Because He Loved Me’, the story of our Savior’s death, burial and resurrection is told.  I remember The Primitive Quartet singing this from back in the early 80’s and it’s so good to hear the song brought back for today’s audiences.  Triumphant never disappoints with their singing and this is simply great, smooth quartet singing.  (As always, Ms. Diana never disappoints with her videos either!)

May 08

Album Review: He’s Alive (Barry Rowland & Deliverance)

The latest Crossroads release from Barry Rowland & Deliverance is another strong collection of mostly Kyla Rowland songs, sung in a straight-ahead Appalachian style.  Deliverance’s 2012 release, Make Mine the Real Thing, earned a very high rating from me, and was one of my top three albums of the year.  This year’s offering, He’s Alive, is a worthy follow-up, and another must-have for fans of what I like to call “just plain gospel sangin’”.

While Real Thing contained several remarkably strong mid-tempo numbers, He’s Alive infuses energy with a few more fast songs.  Included among those are the only two on the album not written by Kyla Rowland.  “He’s Alive” and “He’s Still God,” written by Harvey Gene Smith, are similar in pace and style, and both are delightful.  Some fans may be familiar with the former, which has been recorded a few times, perhaps most notably by the Jody Brown Indian Family (under the title “Praise God, He’s Alive”).  One of the most enjoyable tracks on the album, it is an excellent choice for an opener, and features lead-singing dynamo Shawn Rupert.

Speaking of Rupert, his is the unique voice around which Deliverance’s sound is built.  He is one of the best vocalists in gospel music that many fans have never heard of.  His “mountain soul” delivery brings to mind Michael English, except with a stark southern accent, and I love it.  My personal favorite track on this album, “We’ll Go Down Standing Up” is right in Rupert’s wheelhouse, and he hits it out of the park.  I dare you to try to listen to that groove without bobbing your head a little bit.  And what a great message of encouragement!  Rupert shows off his very impressive range on “Death Had to Let Him Go,” a power ballad based around Jesus “crashing” the funeral of a young man of Nain, and putting an end to the proceedings by raising him.  Shawn delivers the goods while spanning just over two octaves, a rare feat for any singer in one song.

Rupert’s other features are also highlights of the recording.  A bright toe-tapper, “Fear for Faith,” will get in your head easily, and you won’t mind.  A tender ballad in Mrs. Kyla’s familiar slow-paced and poignant style, “Sweet Things Out of Dark Places” captures the wonderful message of Isaiah 45:3: “And I will give thee the treasures of darkness, and hidden riches of secret places, that thou mayest know that I, the Lord, which call thee by thy name, am the God of Israel.”  The mid-tempo album closer, “What a Wonderful Time (To Be a Christian),” though it was written at least 20 years ago, is a timely message of encouragement for Christians living in these days.  The verses paint a bleak picture of modern society, but the chorus reminds us of the Blessed Hope of the last days, the Second Coming of Jesus Christ.  I don’t know much about why singles are chosen, but I would personally love for that song to reach people across the country on gospel radio.

Rounding out the song selection on He’s Alive are three slower tracks featuring Barry’s wife, Tammy. (Barry himself doesn’t get any features this time around, save a few step-out lines in the chorus of “He’s Still God”.)  She is a very capable vocalist in the alto range, or in higher pitches, as Rupert’s lead often pushes her up there.  And I believe she is at her best on these slower songs with moving lyrics of edification and worship.  Among these three, my favorite is “No Place That Far,” which has a powerful and well-arranged ending.

While I am still partial to last year’s dynamic collection of songs on Make Mine the Real Thing, He’s Alive is right up there with it, and in some respects, especially vocally, I believe exceeds it.  I don’t claim to be all that well-versed in technique, production, and creativity.  What I do know is that the music recorded by Barry Rowland & Deliverance, especially that from the pen of Kyla Rowland, stirs and encourages my soul.  If you want that, and I hope you do, I highly recommend this recording, and I highly recommend this group.

(Today just happens to be Barry Rowland’s birthday!  If you read this, hope it’s a great one, and thanks for your service to the Lord!)

Rating: 4.5 stars

Song list:

  1. He’s Alive (Harvey Gene Smith)
  2. Simply Because I Believe (Kyla Rowland)
  3. Death Had to Let Him Go (Kyla Rowland)
  4. Fear for Faith (Kyla Rowland)
  5. No Place That Far (Kyla Rowland)
  6. We’ll Go Down Standing Up (Kyla Rowland)
  7. God Has Been Good to Me (Kyla Rowland)
  8. He’s Still God (Harvey Gene Smith)
  9. Sweet Things Out of Dark Places (Kyla Rowland)
  10. What A Wonderful Time (To Be a Christian) (Kyla Rowland)

 

Available at: Barry Rowland & Deliverance now, commercial Crossroads release on June 18th

Apr 23

The Inspirations – It’s In The Savior’s Hands

Needed to hear this song today….hope it brightens your day too!

Apr 18

Now Featuring…Glen Payne

Today’s post will kick off a new series here at Southern Gospel Critique, where we will discuss some of our favorite gospel singers of all time, and the songs that featured them.  It only made sense for the first post to be about a lead singer, and what better lead singer than, in my opinion, the greatest lead singer in the history of southern gospel?

Glen Payne started out professionally with the Stamps Baxter Quartet, then later was a part of one of the smoothest blends in gospel music history with the Weatherfords.  But it was with the Cathedrals, of course, that he made his greatest mark on gospel music history.  He was the only lead singer the group ever had, from 1963 until their retirement in 1999.  Along the way, he became one of the most celebrated gospel singers of all time, with his impeccable vocal technique and ability, his jubilant stage personality, and the sweet spirit of the utmost Christian gentleman.  Payne passed away shortly after the Cathedrals’ retirement, but his memory lives on in the hearts of gospel music fans everywhere, and his legacy lives on in the numerous performers he mentored and influenced.

As this series will primarily be about songs, let’s talk about Payne’s features. Most of my favorites come from the last two decades of the Cathedral Quartet’s existence, as that is what composes a majority of my Cathedrals music collection.  I would love to hear from some of you Cathedrals historians on what stands out from Payne in his first 15-20 years with the Cathedrals, and even before that.  He was equally adept at delivering an emotional ballad as he was a classic quartet toe-tapper, and both types of songs are represented in my list.

Keep in mind that my list is composed of my favorite Glen Payne features, not necessarily his “best” from a musical critique perspective.  I’ll leave that to the pros.

 

  1. “God Himself the Lamb,” Symphony of Praise (1987) – This has always been my favorite song on my favorite album, and one of my favorite gospel performances by anyone, ever.  With a little help from Lari Goss, Glen delivers an absolute masterpiece.
  2. “We Shall See Jesus,” Live…in Atlanta (1983), A Farewell Celebration (1999) – This is undoubtedly his signature song, and justifiably so.  Though others have made attempts, and good ones, at Dianne Wilkinson’s dramatic and powerful ballad, this will always be Glen Payne’s song.  Maybe it’s because it was my first experience with it, but I’ve always preferred the Farewell Celebration version to the original.  It just seems to pack more emotional punch.
  3. “High and Lifted Up,” High and Lifted Up (1993) – Maybe Payne and Wilkinson should have combined forces more often!  This is another tremendous power ballad of rejoicing, with Payne staying in the lower portions of his range for most of the verses.
  4. “I Won’t Have to Cross Jordan Alone”, NQC Live 99 (1999) – Payne’s last recorded performance, live from a hospital bed into the 1999 National Quartet Convention, not long before his passing.  All the way to the end, he sang with gusto and skill.  I wasn’t there, but I’m sure there wasn’t a dry eye in the house.
  5. “Your Blesser Ain’t Never Been Blessed,” Raise the Roof (1994) – OK, so maybe this isn’t the most artful work of songwriting to be penned.  But it is pure fun, and I actually believe one of Payne’s best vocal performances.  This old-time style of quartet singing is right in his wheelhouse.
  6. “I Stand Amazed,” Live with the Cathedral Quartet (1979) – Speaking of a classic style, this delivery, accompanied by Lorne Matthews’s piano, is just fine old-school singing.  And what a wonderful melody crafted by Squire Parsons!
  7. “In the Depths of the Sea,” I’ve Just Started Living! (1989) – I don’t hear much about this song, but I’ve always loved it.  It has a more soulful 3/4 feel, but Payne proves adept at that, too.
  8. “The Prodigal Son,” Live with the Cathedral Quartet (1979) – Was this Payne’s most celebrated feature before “We Shall See Jesus”?  Maybe one of you readers will have insight on that.  From this live recording, it is clear that he really enjoyed singing it, and that the message of the song spoke to him.
  9. “Hallelujah Square,” Our Statue of Liberty (1974) – Lately Chris Allman has been wowing audiences with his rendition, but he probably never would have thought to sing it if it Glen Payne hadn’t done it.
  10. “I’m in the Shadow,” Travelin’ Live (1986) – I always have to turn my volume up to hear it like I want to, but this tender ballad has been lost among the other hits to come out of this celebrated live recording.  Go back and take another listen!

 

What are some of your favorite Glen Payne features?  Do they line up with some of mine, or do you have some fresh perspective?  Do you have any general thoughts of the legacy of Glen Payne?  Feel free to share!

Apr 04

That Elusive Stability

Yesterday, Steve Eaton over at the new Musicscribe coglomerate continued his excellent “Most Infuential” series with a post on the Triumphant Quartet.  He noted the fact that the group has not had a single personnel change since their inception eleven years ago.  Many of us say things like “well, that’s rare in this day and age,” but the fact is that it’s rare, no matter the day or age of southern gospel music.  And I’ve done some research to show it.

Using the fabulous SG History site as a resource, I looked at every major (by my estimation) southern gospel group’s history, and determined their longest-standing vocal lineup (musicians not included, for simplicity’s sake).  There are plenty of groups that kept a lineup in place for a decade or more, but nearly all of them are and were family groups.  These groups are less likely to have personnel changes for obvious reasons…you typically don’t leave your family group unless you’re retiring, and you’re usually not fired, either.

 

Let’s get right into some data, and then we’ll draw some conclusions.  Please, if you see anything you think is wrong, or should be modified, let me know.  Here are the only groups I found that made it over 20 years with a single vocal lineup.  I generally did not count part-time or utility vocalists.

  • McKameys – 26 years (1983-2009): Peg McKamey Bean, Carol Woodward, Connie Fortner, Ruben Bean
  • Hoppers – 24 years (1989-active): Kim Hopper, Dean Hopper, Connie Hopper, Claude Hopper
  • *I do not really consider the Jordanaires as a “southern gospel” group, but they had the same lineup from 1958-1982.

 

Though those are two hall-of-fame family groups, that’s still really impressive, to be blessed to put the same people out there night after night for more than two decades.  I could not find another group with a lineup longer than 20 years.  Here is the continued list:

  • Bishops – 17 years (1984-2001): Ken Bishop, Mark Bishop, Kenny Bishop
  • Chuck Wagon Gang – 17 years (1936-1953): Dad Carter, Jim Carter, Anna Carter, Rose Carter
  • Happy Goodmans – 17 years (1963-1980): Vestal Goodman, Howard Goodman, Sam Goodman, Rusty Goodman
  • Freemans – 16 years (1997-active): Chris Freeman, Darrell Freeman, Misty Freeman, Joe Freeman
  • Paid in Full – 16 years (1991-2007): Jeff Crews, Lance Moore, Bradley Littlejohn
  • Perrys – 15 years (1970-1985): Libbi Perry, Randy Perry, Debra Perry
  • Talley Trio – 15 years (1996-2011): Lauren Talley, Debra Talley Roger Talley

 

We finally have our first non-family group, in Paid in Full.  One can argue just how major is “major,” but they were definitely together and touring back to 1991.  Same with the Perrys, who didn’t really break out until the 1980s.  It’s debateable whether to include Brian Alvey’s addition as a “personnel change” for the Talleys in this exercise, but I decided he was a pretty major addition.  If you don’t want to count that, then their streak would obviously be active.

Keeping the list going…

  • Martins – 14 years (1987-2001): Jonathan Martin, Joyce Martin, Judy Martin
  • Collingsworth Family – 13 years (2000-2013): Phil, Kim, Brooklyn, Courtney, Phil Jr., and Olivia Collingsworth
  • Greater Vision – 13 years (1995-2008): Gerald Wolfe, Rodney Griffin, Jason Waldroup
  • Heavenbound – 13 years (1975-1988): Jeff Gibson, Lawrence Taylor, Allen Ham (may need someone in the know to confirm this one)
  • Hemphills – 13 years (1977-1990): Joel Hemphill, LaBreeska Hemphill, Candy Hemphill, Joey Hemphill
  • Couriers – 12 years (1968-1980): Neil Enloe, Duane Nicholson, Dave Kyollen
  • Whisnants – 12 years (2001-active): Jeff Whisnant, Susan Whisnant, Aaron Hise
  • Blackwood Brothers – 11 years (1954-1965): James Blackwood, Cecil Blackwood, J.D. Sumner, Bill Shaw
  • Booth Brothers – 11 years (2002-active): Michael Booth, Ronnie Booth, Jim Brady
  • Bill Gaither Trio – 11 years (1977-1988): Bill Gaither, Gloria Gaither, Gary McSpadden (debateable whether to include addition/loss of Betty Fair in 1960s)
  • Isaacs – 11 years (2002-active): Sonya Isaacs, Becky Isaacs, Ben Isaacs
  • Triumphant Quartet – 11 years (2002-active): David Sutton, Clayton Inman, Scott Inman, Eric Bennett
  • Greenes – 10 years (1979-1989): Tony Greene, Kim Greene, Tim Greene
  • McGruders – 10 years (1986-1996?): Carroll McGruder, Priscilla McGruder, Stan Cook
  • Nelons – 10 years (2003-active): Kelly Nelon, Amber Thompson, Jason Clark
  • Palmetto State Quartet – 10 years (1971-1981): Claude Hunter, Jack Bagwell, Jack Earl Pittman, Cliff King

 

Still almost all family groups, but some others mixed in, too.  Notice the scarcity of male quartets.  As far as I can tell, Triumphant is right with the classic Blackwood Brothers lineup for the longest-lasting vocal lineup EVER for a major male quartet.  How impressive is that?

Some other big names never made it to 10 years without a vocal lineup change.  Here are a sampling of those:

  • Cathedrals – 9 years (1990-1999): Ernie Haase, Glen Payne, Scott Fowler, George Younce
  • Florida Boys – 8 years (1958-1966): Coy Cook, Les Beasley, Glen Allred, Billy Todd
  • Inspirations – 8 years (2000-2008): Archie Watkins, Matt Dibler, Melton Campbell, Mike Holcomb (did Campbell take a hiatus in there?  how long?)
  • Gold City – 7 years (1985-1992): Brian Free, Ivan Parker, Mike LeFevre, Tim Riley
  • Kingdom Heirs – 7 years (1995-2002): David Sutton, Arthur Rice, Steve French, Eric Bennett
  • Dixie Echoes – 6 years (1976-1982): Andrew Shelnut, Dale Shelnut, Randy Shelnut, Randy Allred
  • Dove Brothers – 5 years (1997-2002): John Rulapaugh, McCray Dove, Eric Dove, Burman Porter
  • Legacy Five – 5 years (2004-2009): Frank Seamans, Scott Fowler, Scott Howard, Glenn Dustin
  • Statesmen – 5 years (1958-1963): Rosie Rozell, Jake Hess, Doy Ott, Big Chief Wetherington
  • Gaither Vocal Band – 4 years (several groups, including the current one, the Penrod/Phelps/Lowry group, and the Murray/English/Lowry version)
  • Kingsmen – 4 years (1984-1988): Garry Sheppard, Jim Hamill, Ed Crawford, Arthur Rice, Ray Dean Reese (This is kind of difficult to determine.  I included guys like Rice and Tim Surrett as vocalist changes, since they sang so much, though Hamill was still also singing lead.)

 

That’s a lot to digest, but I thought it was a neat way to show just how rare Triumphant’s feat is, and also to educate myself and others on just how elusive lineup stability is in the southern gospel world.  I welcome your thoughts, additions, or corrections on any of this.