Jul 27

Top 100: #100 Church in the Wildwood (Gaither Homecoming Friends)

Release Year: 2005

Group Rank: #2 of 2

Here’s a blurb: One of the last homecoming tapings before the passing of George Younce, Jake Hess, and Howard and Vestal Goodman, Gaither’s choir of powerhouse voices rings out old-fashioned hymns and spirituals in a rustic chapel setting.  My favorite Gaither Homecoming songs are almost always when the whole group is singing, and this one is chock full of those songs.

Knock my socks off: Revive Us Again, Farther Along

Don’t skip that one: Heavenly Sunlight, Wonderful Words of Life, Someone to Care

I could honestly do without: Precious Lord, Take My Hand/Just a Closer Walk with Thee, Will There Be Any Stars

Jul 26

My Top 100: Missed the Cut

I considered almost 200 total albums when compiling my rankings of my favorite 100. The further you get from the top, the harder it is to distinguish between them. It’s a lot easier to decide between album #4 and #5 than it is between album #92 and #93. So it’s definitely an inexact science. The following are the albums that just missed the top 100. I have them ranked 101-130, but at this point, they are fairly interchangeable, so don’t pay too much attention to where they are ranked.

101. Hallelujah in My Heart – Doyle Lawson & Quicksilver
102. King’s Gold 2 – Gold City & Kingsmen
103. A Tribute to the Cathedral Quartet – Ernie Haase & Signature Sound
104. A Few Good Men – Gaither Vocal Band
105. The Only Way – Greater Vision
106. Heaven’s Joy Awaits – Doyle Lawson & Quicksilver
107. Kennedy Center Homecoming – Gaither Homecoming Friends
108. Jubilee – Booth Brothers, Greater Vision, Legacy Five
109. Sweet, Sweet Spirit – Gaither Homecoming Friends
110. Two Shoes – Inspirations
111. Jubilee Two – Booth Brothers, Greater Vision, Legacy Five
112. Heavenly Treasures – Doyle Lawson & Quicksilver
113. Climbing Higher and Higher – Cathedrals
114. 25th Anniversary – Cathedrals
115. Homecoming – Gaither Vocal Band
116. Get Away Jordan – Ernie Haase & Signature Sound
117. Homecoming Texas Style – Gaither Homecoming Friends
118. All Day Singin’ at the Dome – Gaither Homecoming Friends
119. Pensacola Live – Dixie Echoes
120. Kept & Protected – Doyle Lawson & Quicksilver
121. Faithful – Cathedrals
122. Strength for the Journey – Collingsworth Family
123. Treasures Money Can’t Buy – Doyle Lawson & Quicksilver
124. Down by the Tabernacle – Gaither Homecoming Friends
125. Pure Southern Gospel – Booth Brothers
126. Voices in Praise/A Cappella – Cathedrals
127. Worship His Glory – Cathedrals
128. I Heard the Angels Singing – Doyle Lawson & Quicksilver
129. Sounds of Sunday – Dixie Echoes
130. Keeps on Rolling Along – New Gospel Singing Caravan

It may surprise you to learn that that Booth Brothers album (#125) is the highest in my rankings for them. The following groups didn’t have a single album make my top 100, or these that just missed, despite making up a good portion of my music collection: Blackwood Brothers, Brian Free & Assurance, Dixie Melody Boys, Dove Brothers, Florida Boys, Happy Goodmans, Hinsons, Hoppers, Imperials, Isaacs, Jeff & Sheri Easter, Karen Peck & New River, Martins, McKameys, Nelons, Perfect Heart, Poet Voices, Primitive Quartet, Statesmen, Talley Trio, Talleys, Triumphant Quartet.

The top 100 is comprised entirely of 19 groups, and 10 of those have 3 or less albums represented. The other 9 groups (you can reasonably infer these are my 9 favorite groups of all time) make up 83 of the top 100. Tomorrow, the countdown begins!

Jul 25

Coming Attraction: My Top 100

I love talking about my favorite gospel music projects from down through the years, but I have found it difficult to make time to say all I want to say about so many of them. Over the next few months, partly inspired by Daniel Mount’s nifty 3:1 format, I will be counting down my personal 100 favorite gospel albums, usually with a brief synopsis of each. At times during the countdown, I will do a full-fledged Retro Review, especially in cases where I suspect not many readers have considered the project. The format for the brief reviews will be as follows:

Release Year: the year the project was released (make sense?)

Group Rank: How the album ranks among others by the same group (out of total number of group albums in my Top 100)

Here’s a Blurb: One or two sentences summarizing how I feel about the project.

Knock my socks off: The very favorite songs that still blow me away.

Don’t skip that one: Other songs that I highly enjoy, just not to the level of that first tier.

I could honestly do without: Songs that just don’t strike my fancy, for any number of reasons.

What you should not expect is a list of the “greatest” gospel albums of all time. That’s so difficult to define, and I’m not smart enough to decide that. You will see that the list will be thoroughly dominated by a few groups, but that’s just how my tastes run. This will be a list of my personal favorites, but I have a suspicion it will intersect with many of yours. I would love to get your agreement, disagreement, and any other thoughts as we go along. I don’t have a set schedule, but I would like to post at least three per week, which would take us a few months. So sit back and enjoy this trip through my music collection!

Jul 20

Dallas Rogers forms the Restored Trio

Dallas Rogers has long dreamed of owning his own Southern Gospel singing group. So, he and his wife, Shelly, partnered with Jim and LaVina Burns to make that dream a reality by organizing the Restored Trio.

Dallas is no stranger to Southern Gospel music, having sung with noted groups like the Inspirations and Dixie Echoes quartets. He has been nominated for “Horizon Individual” and “Favorite Tenor” in the Singing News magazine’s annual fan awards balloting. Dallas sings tenor for the Restored Trio, while Shelly is the group’s manager. Dallas and Shelly reside in Cleveland TN, from which the Restored Trio will be based.

The other Restored Trio members include:

Jimmy Hughes – Jimmy is also no stranger to Southern Gospel music, having filled in many times with Dollywood’s own favorite, the Kingdom Heirs Quartet. Jimmy will be handling the role as Restored’s emcee as well as filling its baritone position.

Jack Allen – Jack owned a quartet for many years in Knoxville TN called “Greater Faith.” Jack has been a family friend of the Rogers’ for many years, who are very excited that he will be joining their ministry team. Jack’s role in the group will be singing lead and serving as pianist. (SOURCE)

It is really good to see Dallas back singing again. I’ve always thought he was a great tenor, but he never stayed with a group long enough to really be recognized for his vocal ability.  I’m looking forward to hearing from this group.  I have no idea who the other two men are, but it sounds promising.  You can follow the group on their website: www.RestoredTrio.com

Jul 12

Group of the…

A discussion elsewhere initiated this thought in my mind.  What are your top groups for each decade of southern gospel history?  Let’s take out any thought of who “merits” the distinction, and just let the criteria be who is/was your favorite.  For some, I’ll do a little ranking.  You don’t have to unless you want to.

1950s:

The Statesmen – Hovie, Jake, Denver, Doy, and Big Chief set the standard some are still trying to replicate today.

1960s:

The Imperials – This was tough for me, because I’m less familiar with the music of this decade, but the Hess-Morales-Slaughter combination had a terrific sound.  I almost picked the Weatherfords for the Payne-Morales-Slaughter configuration, but it didn’t last long enough in the 1960s.

1970s:

?1. The Inspirations – The boys from Bryson City were at their peak in this decade, with an exciting sound and big time hit songs.  Some of my earliest memories of listening to southern gospel music are Inspirations songs from this era.

2. The Kingsmen – With Big & Live, the mighty Kingsmen as we know them were born.

3. The Cathedrals – The configuration with George Amon Webster and Roy Tremble is the earliest one that appeals to me in a big way.

1980s: (side note: I love the 80s in southern gospel)

1. The Cathedrals – George, Glen, Danny, Mark, Roger (and sometimes Gerald).  ‘Nuff said.

2. Gold City – Hard to argue with the supreme abilities and electricity of the Parker-Free-LeFevre configuration.

3. The Kingsmen – Little Ernie kept things going in the early part, then my personal favorite Kingsmen configuration, with Sheppard, Crawford, and Rice, took over.

1990s:

1. Gold City – Starting with Pillars of Faith, and then from the big 1994 personnel shift on, southern gospel music doesn’t get any finer in my book.

2. Greater Vision – The early part of the decade showcased the greatest trio vocal blend we’ve ever seen, and the latter part sprung the fountain that is the pen of Rodney Griffin.

3. The Kingdom Heirs – Highly underrated sound with Clayton Inman and Rick Strickland in the early part of the decade, then establishing the solid Arthur Rice-David-Sutton-Eric Bennett combo in the second half.

4. The Cathedrals – How could I put them this low?  The songs were tremendous, but the vocal blend of this era is not my favorite of the Cathedrals.

5. The Gaither Vocal Band – It began with Michael English and the rest of the Band finding their niche in southern gospel, and ended with David Phelps and Guy Penrod blowing everyone away.

2000s:

1. The Kingdom Heirs – In my book, no one else this decade has made more consistently good quartet music.  The soon-to-be Triumphant Quartet started it, and the hire of Jeff Chapman helped continue it.  Arthur Rice and Steve French were rock-solid constants.

2. Greater Vision – Another group that was consistent throughout the decade, as the hits kept coming.

3. The Mark Trammell Trio – The Eric Phillips/Joseph Smith combo had a great blend, but didn’t quite come up with the big hits.  They really hit their stride at the end of the decade with Dustin Sweatman, including two of my favorite albums of all time in Once Upon a Cross and Always Have a Song.

4. Gold City – They continued what they started in the mid-90s, at least for a few years.

5. The Perrys – Starting with Changed Forever in 2001, the Perrys began putting out music right up my alley.  They were another very consistent deliverer.

2010s:

So far, it’s the Mark Trammell Quartet leading the way, with the Kingdom Heirs and the Inspirations following, but you never know what is going to come our way…

What say you?

Jul 07

Retro Review #4: God Is Good (Gaither Vocal Band)

The Gaither Vocal Band lineup of David Phelps, Guy Penrod, Mark Lowry, and Bill Gaither is probably the most popular of all the iterations of the gospel super-group.  While many, including me, appreciate the amazing vocal abilities of the Michael English/Terry Franklin lineup, among others, the addition of David Phelps to Guy Penrod was a match made in heaven, and the popularity of the Vocal Band and the Homecoming Series soared.  The incomparable ranges at the tenor and lead spots, combined with smooth and solid Lowry on baritone, allowed Gaither to craft huge arrangements, the likes of which have rarely been heard in southern gospel music.  This lineup was all too short-lived, however.  They recorded a Christmas project, a live Homecoming, and two mainline studio albums before Lowry made way to Russ Taff at baritone.  While that lineup continued to great success with Phelps and Penrod, to me it doesn’t quite measure up to the Lowry configuration.  That configuration was never better than on their first of the two non-holiday studio albums, God Is Good from 1999.  It is twelve songs and 48 minutes of high-flying vocal action, ranging from barnstormer to ballad.

1. “God Is Good All the Time”

The album gets off to  great start with this catchy tune that’s somewhere between country and spiritual.  Featuring Penrod and Phelps in the verses, this is exactly the kind of song that should open a CD, with an uptempo rhythm and an uplifting lyric.  Especially enjoyable are the seventh chords sustained throughout much of the chorus.  Lyrically, the title says it all.  “God is good, yes he is!”

Song rating: 9 out of 10

2. “I Heard It First on the Radio”

The pace slows down considerably for this largely acoustic ballad.  Lowry carries the lead all the way through, but there are no solo features.  A Bill and Gloria Gaither composition, it’s a tribute to the southern gospel radio tradition, and contains lyrics and titles of hymns weaved throughout.  The only negative is that it clocks in at nearly six minutes, and with no solos or big notes, it drags on a bit if you’re not paying close attention to the words.

Song rating: 7 out of 10

3. “Whenever We Agree Together”

Another “Bill and Gloria” song, this rollicking tune takes its lyrical cue from Matthew 18:19.  Penrod is featured in the verses, and the arrangement is relatively simple, with no key changes.  There are some nice high notes here and there, but nothing overly dramatic.  This song is just good fun.

Song rating: 7 out of 10

4. “Child, You’re Forgiven”

Guy Penrod and Kevin Williams get writer credits along with Bill and Gloria on this soulful ballad.  Bill gets to sing on the first verse and, as usual, does an admirable job smoothly delivering the lyric.  Phelps gets the second and third verses and takes it to the rafters at the end with a high D5.  The chorus contains some scorching soul harmonies with some high notes sprinkled in.

Song rating: 7 out of 10

5. “Good, Good News”

This infectious uptempo number contrasts the “good news” of the gospel with the news the outside world usually has to offer us.  Penrod has the feature, and hits some of his highest notes at the end of the last verse.  The brass stabs in the chorus shape the rocking and rolling sound that will have you tapping your toes.

Song rating: 8 out of 10

6. “Let Freedom Ring”

The Cathedrals did it well, as did Larnelle Harris, but the epic arrangement and highlight-reel vocals of this version will forever define this Bill and Gloria classic.  If the Gaither Vocal Band has a signature song, this is probably it.  We all know this one backward and forward, so I won’t waste too much time writing about it.  You know about the three key changes and about that D-flat from Phelps near the end.  There are some songs that are guaranteed to tear a crowd to pieces every time it’s sung, and this is one of them.

Song rating: 10 out of 10

7. “He Came Down to My Level”

This was the first song on the Gaither Vocal Band’s first album way back in 1981, but it’s really an understatement to say it’s completely revamped here.  The first version had a subdued, light pop sound, while this one is dominated by drums, electric guitar, and soaring vocals.  The chorus is sung four times, and each time it’s done differently rhythmically.  The lead in to the last chorus blows me away every time.  If you like big notes and a big sound, you’ll love this one.

Song rating: 9 out of 10

8. “Satisfied”

I love when groups do this on an album: this song is basically the opposite of the preceding one.  This is a gorgeous acoustic-flavored take on a classic hymn.  Lowry gets his first spot to shine on the first verse.  I’ve always been drawn to Marks Lowry’s smooth baritone voice; I think he’s quite underrated.  David Phelps knocks the second verse out of the park, touching a powerful C5.  You’ll enjoy the smooth harmonies and touching classic lyrics of this one.

Song rating: 9 out of 10

9. “Mercy”

This is out of the same vein as the title track and “Whenever We Agree Together,” but it’s not as strong, in my opinion.  Penrod does a good job with his feature, but the lyric and melody are relatively vanilla.

Song rating: 6 out of 10

10. “He Touched Me”

Along with “Because He Lives,” “He Touched Me” is arguably Bill Gaither’s most enduring and celebrated composition.  And to me, this is the definitive arrangement.  The melody of the verses lends itself to a soft, almost jazzy, delivery.  It strikes a balance with the modulation to the powerful last chorus.  From the tight blend in the first verse, to Lowry’s wonderful feature in the second verse, to the big notes in the last chorus, it is a real treat from beginning to end.

Song rating: 10 out of 10

11. “The Baptism of Jesse Taylor”

Penrod is featured on the Vocal Band’s well-known cover of this Oak Ridge Boys country gospel classic.  This is right up Penrod’s alley, and he delivers as you would expect.  I’ve never been a huge fan of this song overall, but there is no doubt that the Vocal Band performs it very well.  The high notes in the last chorus finish it with a flurry.

Song rating: 7 out of 10

12. “The Star-Spangled Banner”

We’ve all heard probably hundreds of versions of our National Anthem, and it can admittedly get tiresome listening to “another rendition.”  This is not just another rendition.  The a cappella arrangement here is the best I’ve ever heard.  It’s unique and fresh, yet it stays true to the musicality of the original.  It showcases terrific vocal talent, yet keeps the focus drawn on the lyrics.

Song rating: 9 out of 10

Jun 30

Album Review: Grace Says (Kingsmen)

The latest release by the Kingsmen, Grace Says, is the first with the current lineup of vocalists, since the return of Randy Crawford to the quartet.  The sound of the Kingsmen has always been defined by their tenors, and that is still the case today.  Harold Reed has been with the group long enough so that their vocal blend is well-defined and well-refined.

While the Kingsmen’s sound has reached a point of stability, I’m not so sure that is the case for their style.  In the last few years, most notably with their hit “When God Ran,” the quartet has shown glimpses of a more progressive direction compared to their traditional quartet heritage.  Grace Says has some of the most progressive songs the Kingsmen have recorded, but also includes a healthy dose of traditional quartet flavor.  While variety on a recording is a positive thing, in this case it’s a little confusing to my ear.  It’s one thing for a group to make a traditional quartet recording with a progressive number tossed in to add a twist, or for a progressive quartet to throw in a convention song as a nod to gospel music tradition.  In both cases, the audience and listener largely know what to expect when they attend a concert or purchase a CD.  Southern gospel fans aren’t usually the type who want to be surprised or who anticipate what the group will do next.  Whether right or wrong, most of them want to hear a certain thing.

All that said, the Kingsmen do sound very good on this album.  In my opinion, they sound their very best on the more traditional numbers.  “That’s All I Need,” the first single from the project, is a standout song with a driving country style, just the sort of thing you think of when you hear “Kingsmen.”  The other of the strongest songs is “Loving Shepherd, Gracious God,” a beautiful Dianne Wilkinson mid-tempo number featuring Ray Dean Reese.  It reminds me very much in the chorus of the Inspirations’ “The Son Came Down,” only with a more acoustic, country feel.  “Oh, What a Hallelujah Day” is a delightful new convention-style song with weaving counterpoints throughout.

Other strong performances include “I Can Hardly Wait,” another driving uptempo number, and “If Not for the Love of Christ,” an excellent mid-tempo ballad previously recorded by Triumphant Quartet.  “I Knew It Was Him” is a slow ballad about the salvation experience, featuring a stellar vocal performance from Reed.  A cover of the convention classic “After the Sunrise” rounds out the traditional side of the ledger.  It includes the not-oft sung second and third verses, with lyrical gems like “love-light will banish sin’s vapors like scum,” “even the clanish together will hum,” and “cease all your hating, be changing your views.”  It also includes the predictable, yet still pleasing, tenor-led modulation on the turnaround.

“Back to Grace,” “Ordinary Man,” and “Grace Says” are the three songs that dive most into the progressive arena.  The first two, both uptempo, are the most likely to have a traditional quartet fan reaching for the skip button, but also the most likely to appeal to an audience that leans toward a contemporary sound.  The latter is a ballad that is not as “in-your-face” and better showcases the quartet’s vocal talents.   I have the same lyrical issue with all three: they contain good concepts of the nature of grace, love, peace, and heaven, but the lyrics don’t spend much time on the source of all those things for us, which is the Lord Jesus Christ.  I’d personally prefer a more clear gospel message.

There are seven songs out of ten on Grace Says that I really enjoyed, and three that I didn’t so much enjoy.  That’s not all that uncommon when I listen to a CD, and I’m sure most gospel music fans would say the same.  I would prefer a more consistent stylistic and lyrical direction from the Kingsmen, and any other group.  I think it’s obvious which direction I would choose, but that is the choice of the groups and their audience.  Overall, there is a strong vocal sound, and enough strong individual songs to merit Grace Says four stars.

Album Rating: 4 Stars

Song list:

  1. Back to Grace (Joseph Habedank/Matthew Holt)
  2. Oh, What a Hallelujah Day (Jerry Kelso/Amy Keffer Shellem)
  3. I Knew It Was Him (Habedank/Holt)
  4. That’s All I Need (Habedank)
  5. Grace Says (Jon Garrett/Sue C. Smith)
  6. Ordinary Man (Habedank/Joel Lindsey)
  7. I Can Hardly Wait (Chris Binion/Brian Principe/Donna Norton)
  8. If Not for the Love of Christ (Jeff Silvey/Tony Wood)
  9. After the Sunrise (J.R. Baxter/Eugene Wright)
  10. Loving Shepherd, Gracious God (Dianne Wilkinson)

Release Date: 7/19

Available: Crossroads