CD Review: Still, by the Booth Brothers

CD Review: Still, by the Booth Brothers February 2, 2015

From Southern Gospel’s most popular trio comes their first major release in several years. While this album isn’t available at digital outlets like Amazon or iTunes, the balance of original to cover material qualifies it as more than a table project. (Pick up your own copy at their website here.) It also offers listeners a first look at new baritone singer Paul Lancaster since long-time member Jim Brady took his leave. So without further ado, let’s see what I thought of it!


* Paul Lancaster gets a really nice feature on Wayne Watson cover “Touch of the Master’s Hand.” He sounds very smooth and comfortable on this number, and it’s a good cover choice too. My only criticism is that they tried to make the climax really dramatic, but the production was a little overpowering. Odd trivia tidbit: I knew the text was old, but not being familiar with the melody’s provenance, I asked Wayne Watson at a concert whether he had written it himself. He told me yes, he was the one who wrote the melody for the old poem… except it was actually not Wayne who wrote it but a guy named John Kramp! Weird, huh?
*I’d  heard Gordon Mote’s version of “Down By the River,” but the Booths successfully put their own creative touches on this arrangement. It’s a great song either way, and it reminds you how well the Brothers can handle a country rock tune.
* “Dirt On My Hands” is a Jim Brady/Woody Wright co-write that takes an honest look at how much we’re willing to put ourselves out on behalf of a friend in need. It’s an understatedly convicting lyric and another nice throwback to the Brothers’ more country work.
* “Wildflower” is yet another winner from the pen of Rebecca Peck, dedicated to Michael’s wife Vicki. It makes me wonder whether the lyrics actually tell some of her life story. The song is about a girl who grows up a child of divorce and has difficulty accepting the idea that God could love her. This will definitely hit hard for anyone who’s met damaged young women like this. The wildflower is a metaphor for the lonely souls that God must roam afield to gather in. A very movingly written and sung lyric.
* The quiet, contemplative “Still” is bittersweet, because it’s the last song Jim Brady wrote and performed live with the group before taking his leave, and it’s the song they used to close the last concert where I caught the three of them together. But it was a fitting note for him to go out on.
*As far as I’m concerned, Wes Hampton has the definitive cut of “Jesus Saves,” but it’s a really well-written worship tune no matter who sings it. Paul Lancaster is given the lead, and while it sounds like he’s still finding his feet vocally on the verses, he hits his stride when he begins hitting higher notes. This fits with what Michael told me the last time we spoke, which is that Paul actually has a freaky range in the vein of a Michael English-style lead.


* “Whenever I Speak His Name” is a light-weight blast from Russ Taff-era Imperials past. But what made the original version work was that uber-mellow, uber-80s smooth funk sound. This version is way too produced, from the insistent strings to the fatiguingly heavy beat. If the drums on this arrangement were like a smear of fresh watercolor paint on a canvas, I’d be compelled to grab a sponge and start blotting the extra away.

* “I Am the Word,” one of Lari Goss’s last productions, is a massively orchestrated epic that sounds like a holdover from Declaration. That’s not necessarily a bad thing, but it feels somewhat out of place here. It’s awkwardly sandwiched between the laid-back country flavor of “Dirt On My Hands” and the ballad “Touch of the Master’s Hand.” Definitely one of those “better live” numbers, preferably preceded by a stirring exposition of Scripture as Michael Booth waves his Bible around and becomes progressively more excited with those intro strings ramping up behind him.
* Speaking of “better live,” the arrangement for “Happy Rhythm” tries for an elaborate big band treatment, and well, as one of my sisters put it, “They sound like they’re pretending to be the Andrews Sisters.” I actually rather liked the arrangement, but then I couldn’t stop giggling through the rest of it, because it’s kind of true! In truth, I’m sure it will be great fun in concert, but I’ll stick with the classic quartet version for now.
*I like the front cover art, but I’m not sure what the photographer was going for on the back cover. It’s begging for a “Create Your Own Caption” contest. Especially cringeworthy is the fact that Ronnie looks for all the world like he’s holding a cigarette (it’s actually just  a card tucked in Paul’s pocket, at an unfortunate angle to Ronnie’s hand in the foreground). Here’s my submission:
Ronnie: “So as I was saying, it’s not personal Michael, it’s strictly business.”
Paul: “No, no, no, no, no, please no, please, not old so-and-so!”
Michael: “Ronnie. Ronnie. The police are coming, Ronnie.”
Booth Brothers Still back cover
Final thoughts: This album doesn’t sound quite sure of what it wants to be. The end result may not be the Brothers’ smoothest or most cohesive listening experience, but it does yield some stand-out moments. Newcomer Lancaster shows promise and will undoubtedly carve out his niche more authoritatively as the group acquires more material to suit his style. Until then, new Booth Brothers music is always welcome.
Rating: 3.5 stars
Review copy provided. A positive review was not required.

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  • JSR

    Totally looks like Ronnie’s holding something in his hand. I couldn’t figure what it was…as you explained, I couldn’t figure it out for good reason.
    Also, not being on iTunes is a major turn off. I wish all SG reviewers would start giving CD’s not made available for digital download through a major music retailer (Amazon, Google Play, iTunes), a 1 star review. Don’t talk about the likes, dislikes, good, or bad. Just open the review with, Available for Digital Download: No. Rating: 1 star. It’s a little ridiculous for top SG groups to not have ALL their music on iTunes.

  • I know, I felt bad on behalf of the Brothers, but it was a pretty funny shot!
    Come now, that’s rather an exaggeration, don’t you think? Yes, I agree that it would be nice for all artists to make their music available digitally, but I asked for and got a free copy of this album to review fairly. Committed Brothers fans won’t have a problem waiting until they can make it to a concert or shelling out a bit extra for shipping, and I’m sure they’re interested in a thorough review. Besides, Michael values my opinion and wants to know what I actually think of the music.

  • Lydia

    “Not being familiar with the tune’s provenance, I asked Wayne Watson at a concert whether he had written it himself, and he told me yes, he was the one who wrote the melody for the old poem… except it was actually not Wayne who wrote it but a guy named John Kramp! Weird, huh?”
    I got confused here. What did John Kramp write? The poem?

  • No, no. The poem is a really old public domain thing. But Wayne made it popular as a song, and that melody was written by John Kramp, not Wayne himself. Here’s Kramp’s account of how he wrote it. What I don’t understand is why Wayne would say he’d written it when a little Googling would reveal that to be flatly false.

  • What if putting the music on iTunes results in a financial negative for the group? Should they still be obligated to do it?

  • JSR

    What I find better than a review is being able to listen to clips of the album online, making my own determination, and buying it right then. There have been plenty of reviews that sent me to iTunes to check out the album and make a purchase. Groups lose sales by not making their music available online. Can’t tell you the last time I went to the store looking for a physical CD. It’s been years. If I’m at the Christian bookstore and seeing something interesting I might buy it, but I’m not going looking for it.
    This is not a knock against the Booth Brothers, it’s more of a commentary on a frustration that keeps popping up across all of SG.

  • JSR

    If you want to attract a larger audience, then I would say yes. Consider it an investment in your company/brand. If your plan is to never be any bigger than what you are, then I guess that’s fine. At some point there needs to be some forward thinking on the part of the group. In 2013 Over 40% of all music sold was digital albums. Perhaps, the best way to attack the future would be learning how to make money off online streaming services. Both CD’s and digital downloads were down last year with streaming growing by over 50% (from the prior year).
    So, I think the moral to the story is you have to consider what you want to be. If you want your group to slowly fade away with the older demographic that comes to most of your concerts, ignore digital music. If you want to expand, learn how to invest and become profitable selling digital music.

  • The Booth Brothers have made a lot of their most recent music digitally available though. Their last mainstream release, Let it Be Known, was sold in mp3 form, as was their Gaither tribute. So it seems like they pick and choose what to sell that way instead of unilaterally “ignoring digital music.”

  • JSR

    YGG, notice the previous comment: “This is not a knock against the Booth Brothers, it’s more of a commentary on a frustration that keeps popping up across all of SG.”
    This was just another instance in which the subject arose. Sore spot for me you might say…

  • Oh of course. It’s just that I interpreted you to mean, “Not that I personally dislike the Booth Brothers, I just disagree with this choice of theirs.” But I was also pointing out that they’re actually not too bad when it comes to your pet peeve anyway.

  • Tad Kirkland

    Couldn’t agree more with your review. I was very much looking forward to this as I love the Booths, and Paul is my favorite singer. I guess because they stopped midstream on this record with Jim then literally regrouped maybe changing some songs(?) it’s a little discombobulated. It could have been corrected abit with a better song order. Every song is great in its own right (except maybe Whenever) but the most startling change was Dirt to Word. I like Happy Rhythm but it sounded crazy following the Jimmy Buffet song.
    I was a little surprised at how un-SG this one is. After the Blind Man CD (which other than the title song was very progressive), they seemed to almost apologize for it’s edginess.
    The Jim Brady Trio CD is much more focused. Maybe this lacks some of that because of the lack of a record company. A Google search shows this one to be released by Gaither Music 2/3/15. I’m thinking that will happen opening up digital outlets. They probably have a deal to release it independently for a few months to make some of the initial $. It appeared they did that with some of their Daywind albums. But I’m just guessing!