\n**********************************<\/em><\/strong>
\nA Tribute to the Cathedral Quartet (DVD), by Ernie Haase & Signature Sound<\/strong>
\n(5 stars)
\n<\/strong>
\nAs great of a \u201csound\u201d as Signature Sound has always had, Ernie has always thought visually with the group. It was not a CD project that launched them into the stratosphere but a video\u2014five years ago with their self-titled Gaither DVD. They were already on their way up, but 2005 was the year things really began accelerating for them. Since then, they have found some detractors, but at the same time they have found a large and loyal fan base.
\nMuch as I enjoy the group\u2019s music and sound, my favorite moments from the group have mostly come when they settle down for something classic and classy like \u201cLovest Thou Me\u201d or \u201cSince Jesus Passed By.\u201d Of course I wouldn\u2019t be without the high energy of \u201cTrying to Get a Glimpse\u201d or \u201cStand By Me,\u201d but in terms of presentation and delivery, the group shines best when they do it low-key. They have proven time and again that their famous \u201cchoreography\u201d is a dispensable part of what they do.
\nWhen approaching this tribute project, Ernie knew that classy was the way to go, and now that I\u2019ve seen the finished product, I can say that it has paid huge dividends. This could quite possibly be their best video since the early days of Stand By Me Live<\/em>. The set is majestic without being ostentatious, the wardrobe couldn\u2019t be more tasteful (matching blue pin-stripes), their hair is combed (
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), and virtually all of the numbers are delivered \u201cflat-footed\u201d with minimal choreography.\nYet while the importance of these things cannot be stressed enough, obviously what drives the project is the songs and the music. So without further ado, let\u2019s watch how this concert unfolds\u2026
\n\u201cWedding Music\u201d: The concert opens with lights down and a live band introduction playing variations on \u201cHere Comes the Bride.\u201d The group has taken to using this clip as an introduction for their concerts on the tour, and it works well to open up the night. \u201cHere Comes the Bride\u201d was chosen, of course, because of the title of the opening song.
\nThe crowd applauds and stands when the quartet makes their appearance, and the lights go up when they begin to sing. This introduction provides a marked contrast with something like Get Away Jordan<\/em>, where the guys run out on stage with big smiles and bring the microphones into place with their feet. None of that here: They just step forward and sing.
\nThe crowd responds immediately at the beginning of Tim\u2019s solo, and he delivers it with great confidence. Ernie nails his tag at the end just like old times with the Cats. Just a smooth performance and a natural choice for an introductory number.
\nAt this point they moved directly to \u201cStep Into the Water,\u201d which was easily one of the best performances of the night. Every single member is in peak form here. Tim does some awesome improvisation even beyond what he does on the CD\u2014the descending \u201cYeah, yeah, yeah, yeah\u201d bass line going into the final chorus sounds exactly like George.
\nI mentioned that Doug and Ernie\u2019s duet was a treat to listen to on the CD, but it\u2019s even better to watch. The two of them together on stage are absolute vocal dynamite. They\u2019re like sparring partners\u2014they sharpen each other as they work together. They\u2019ve known each other longer than any other two members of the group, and it\u2019s obvious that they are good friends both on and off the stage. The addition of Devin on the last line of the verse then makes an awesome triple punch\u2014love the way they draw out the word \u201ceternally.\u201d
\nThe group\u2019s trademark choreography makes a small appearance towards the end of the performance with a few hand motions. Nothing over-the-top, it just works well with the song.
\nGenerally on their previous DVDs, Ernie has paused after two songs for a speaking segment. Here they just keep going, and next up is \u201cBoundless Love.\u201d My thoughts on the \u201cboom, boom, CLAP\u201d rhythm at the beginning remain the same, but it is admittedly a great attention-getter and draws the audience in from note one. Dianne Wilkinson said they had her hooked right away.
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\nThis is a dynamic song and a dynamic arrangement, and watching all four guys work together on it is like watching a well-oiled machine.\u00a0 And then at the key change, everything just explodes (in a very good way!) as Ernie begins to belt it out. Moreover, the \u201cstomping\u201d rhythm is going away right about now, and that actually makes audience participation easier because the \u201cclapping\u201d rhythm comes more naturally. Ernie then takes it up yet another notch and continues to nail it, even going higher than he did with the Cathedrals. Also notable is Wayne\u2019s piano work\u2014it can be easy to overlook Wayne because he\u2019s not the sort of performer who draws attention to himself, but he forms an integral part of what\u2019s happening on stage.
\nWhen you\u2019ve got a good thing going, keep it going, and they do so here with several encores. Everybody stands up for the first encore, and the guys keep up the energy level all the way through. This is a fantastic live number that should become a concert staple for the group. The song is an instantly recognizable classic, and it never fails to get a crowd excited and on their feet.
\nAfter eliciting a standing ovation three songs into the night without a single word spoken, Ernie pauses for a few brief words and then sings \u201cI\u2019m Gonna Live Forever.\u201d Then Ernie does group introductions, and he runs through the joke about Devin that the last name \u201cMcGlamery\u201d means \u201calbino porcupine.\u201d Interestingly enough, this is the only moment of the night that is even remotely corny. This project is pretty much entirely free of the standard forced humor\/recycled jokes that have become part of the stereotype of gospel music. Given the venue and the occasion, this feels appropriate.
\nErnie talks a little about the Stamps-Baxter school of music, George and Glen\u2019s history there, and the group\u2019s own recent concert for the students to set up \u201cOld Convention Song.\u201d Tracey Philips takes the piano, and she truly is an expert at what she does. Ernie even calls for a repeat of her intro (though I\u2019m not sure whether he really did forget to sing the first time or had planned the repeat in advance). The instrumentation on this song was completely live, which gives the performance extra charm.
\nThe next number, surprisingly, is \u201cOh What a Savior.\u201d This song is generally placed at the end of Signature Sound concerts and videos, so the fact that it was placed fairly early in the program this time was a clue of what was coming later! Before the song, Ernie talks about his first concert with the Cathedrals, singing this song. George Younce told part of the story on The Best of the Cathedrals<\/em>, but it\u2019s fun to hear it from Ernie, partly because he adds details like the fact that Gloria \u201cprayed the sweetest prayer for him,\u201d but Bill didn\u2019t pray for him at all. Tsk, tsk.
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\nThen Wayne kicks off the song on the piano, and they sing the first verse and chorus with nothing else backing them up. I really like the way Wayne handles the accompaniment here\u2014it\u2019s very tasteful, yet there\u2019s a sense of coiled up energy there as well to emphasize the words \u201cHe<\/em>\u2026 gave<\/em>\u2026 his.<\/em>.. life\u2019s blood\u2026\u201d Ernie starts off a little breathy, but his vocal gains strength as the arrangement builds. The drums join in to punctuate the climactic moment, and he nails it, as ever, with power and practiced ease. You can hear Timmy singing \u201cOh yeah\u201d under his breath at that moment. \u201cOh yeah\u201d indeed! For the last chorus, the live band is still front and center, but you can hear the strings and brass soundtrack kicking in too for added drama. I really liked the fact that they started off \u201cbare bones\u201d with just piano, then gradually built off of that. Something else I noticed and appreciated about this rendition was that it was all on the stage\u2014zero stacked vocals. But it still sounded great. More of this, please. As a matter of fact, I am going to go out on a limb and say that I cannot detect a single stack throughout the concert. They may have been used without my knowledge, but in that case it was done very sparingly, to the point where I for one could not hear them.
\nSome people might dispute the inclusion of yet another version of this song on the project, since the group has recorded it so many times before. But the night really wouldn\u2019t have been complete without it. It never gets old, and it belonged here. (Just ask the people who were there!) And yet, it is to Ernie\u2019s credit that he deliberately did not make it the focal point of the evening\u2014he clearly wanted the focus to be on George and Glen.
\n\u201cWonderful Grace of Jesus\u201d: Ernie brings Wayne onto the stage and introduces him as the producer\/arranger. A humorous moment ensues when Wayne tries to give every member his note\u2026 including Timmy, which doesn\u2019t quite work. Fortunately Timmy managed to find his note too.
\nThere\u2019s nothing like watching a talented group sing acapella live, standing in one place, with no stacks or extra studio gloss. For this reason, I much prefer the DVD version to the CD version: The vocals sound much warmer here (but still outstanding).
\nIn a rare moment of mischief, Timmy tugs on the shoulder of Doug\u2019s suit-jacket during the upward modulation on the word \u201cme.\u201d Doug is unappreciative, which is funny to watch. Interestingly, they appear to end up in a higher key than where they end on the studio cut. The performance earned them another standing ovation.
\nFrom here they go directly into \u201cSinner Saved By Grace.\u201d My thoughts on the arrangement and the vocals remain the same from my review of the CD. Doug\u2019s solo sounded somewhat different from his studio delivery, but it was just as good in its own way. For Doug, singing seems as easy as breathing in and out. He\u2019s such a natural on the stage, and you can always count on him for an exciting performance. I\u2019ve nicknamed him \u201cdependable Doug\u201d because he never seems to have an off night. This solo was good enough to elicit applause even before the first chorus got underway.
\nDevin\u2019s solo also went over well with the audience. He absolutely nails his tag on the line, \u201cNow I live and breathe in freedom.\u201d It\u2019s a great experience to watch the arrangement build in excitement through the key change to the high ending. Ernie nails his note at the end very powerfully. All things considered, this performance is a definite highlight.
\n\u201cYesterday\u201d: Ernie sets up this song by talking about how so many things have changed, even within the Cathedrals family. George, Glen and Roger are all gone, and even one of George\u2019s daughters has passed away. Yet with all these changes, George\u2019s own words reiterate the simple, timeless truth that \u201cJesus will never, ever change. Jesus is always the same.\u201d
\nDevin\u2019s step-out is even richer than on the CD, and brief as it is, it\u2019s one of the night\u2019s stand-out solos. The blend as a whole is just gorgeous, particularly on the last line.
\nWhile the guys sing, a slideshow plays behind them with snapshots of some of these heroes of the faith, on and off the stage. Some of the photos are recycled, but some of them are fresh, and they are all beautiful. Combining this song with these shots is very effective and only enhances the poignancy of the experience.
\nWatching this performance together with the slideshow, it really came home to me that this encapsulates everything I love about gospel music. There is much more going on here than just an excellent performance of a sweet song. It reminded me of a comment I read from somebody arguing that gospel music needs to be more progressive. The artists at a Homecoming he had recently attended seemed to him to be \u201cholding onto some great moment in the past.\u201d He said this to imply that they needed to let go of the past and \u201ccome forward\u201d into the present.
\nBut really, how long is the present here? Every second that passes becomes a part of the past. And if we let go of the past, exactly what are we left with? We must hold onto these \u201cgreat moments.\u201d Even as we live from day to day, looking towards the future, we must never, ever forget to turn and look back, often. As I watched this video, I felt like I was being given a window into the past, and it seemed just as close as the present\u2014in a way, even closer. At the closing phrase, \u201cthe same,\u201d the glorious sameness<\/em> of God came into clear focus like never before\u2026 and in the middle of it all those two old men, George and Glen, sitting together and singing their hearts out to Him. In one sense, they are no longer with us, and yet thanks to God\u2019s unchanging, unfailing love, they are with us still. He is \u201cthe same\u201d indeed. Praise Him.
\nHere the group takes a brief break from Cathedrals songs and does an Influenced set. Ernie sets it up by talking about a conversation he had with George and Glen about the \u201cgood ole days\u201d of early-morning radio shows\u2014funny story. All the performances are enjoyable. \u201cMy Heart is a Chapel\u201d is especially fun because the guys deliberately put a twang into their vocals to mimic that old-time radio sound. Ernie is obviously enjoying himself immensely, and the harmonies are (as usual) flawless.
\nNext is \u201cSwinging On the Golden Gate,\u201d which is best enjoyed live. Doug is in tip-top vocal form and delivers the goods. It\u2019s also humorous to see Timmy get \u201cknocked\u201d on and pushed around by Ernie (they\u2019ve done the routine at concerts, but it\u2019s more enjoyable to see it up close). At the end, they throw in an encore of the final breakdown. This is probably the moment of the night when the guys most \u201ccut loose,\u201d but even so it doesn\u2019t seem obtrusive or over-the-top. The band is in peak form here too: Kevin looks like he\u2019s tearing it up on the electric guitar. After this number, Ernie pauses to introduce the members, including David Griffith on bass and Zak Shumate on drums. Speaking of Zak, this guy was on cloud nine all night long, and it showed. He just exudes fun and youthful energy with every move he makes. It puts a smile on my face whenever the camera cuts over to show him at work. He really adds a lot to the video\u2014wouldn\u2019t be the same without him. Just watch him go at it on \u201cBoundless Love!\u201d
\nBut the icing on the cake is \u201cWalk With Me.\u201d This has become a bit of a \u201csecond-tier signature song\u201d for Ernie, after \u201cOh What a Savior.\u201d For this one, they brought out the \u201cbig gun\u201d on the piano\u2014Bill Gaither himself. There\u2019s some interaction with Bill before the song, but it looks like some of it was edited out for the DVD. Eventually he sits down and begins \u201cmanaging expectations\u201d about how incredible he is going to be, inviting Wayne and Tracey to sit back and get schooled. Plus he\u2019s sure to throw in the mandatory gospel history lesson, talking about how Hovie Lister used to direct from the piano with the Statesmen. (I\u2019m getting deja vu<\/em>, because I could have sworn he gave that same lecture on another video\u2026) Anyway, Tracey and Wayne are unimpressed, to say the least, and partway through they give him a five and a zero respectively (on a scale of one to ten).
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But the performance is pure perfection, and Ernie delivers one of the best vocals of the night. Bill predicted that the crowd would go crazy, and sure enough, it got a standing ovation, good enough for an encore. Favorite moment: When Ernie picks up his microphone and starts edging towards Bill with it. \u201cI\u2019m following you.\u201d Priceless! I\u2019m still sorting out my personal top five performances from the video, but this one is a must-include regardless.\n\u201cCan He, Could He, Would He\u201d: Remember the sousaphone? Here, we actually get to SEE it, and it\u2019s played by none other than Wayne Haun himself! I must confess that I have a (pernicious?) desire to break into the Veggie Tales theme song whenever I watch this video. Wayne looks just like Larry the Cucumber.
Tracey comes out from behind the keys to play a clarinet, which is fun to see. Devin takes the lead and makes me smile with the enthusiasm he brings to his part. At the end, the guys walk in a circle around the intrepid sousaphone player, and at the very end, the camera zooms in on some little kids who are also dancing in a circle in the front of the audience (invited to come down beforehand). It\u2019s a very cute touch that definitely enhances the performance.\n\u201cMexico\u201d: This number epitomizes just how big a difference the visual element can make on a DVD when compared with a CD. When I listen to the song on the CD, all I can think about is how inherently dorky it is. But all the extra stuff that\u2019s going on in the DVD makes the number fun and enjoyable to watch<\/em>. We have Wayne playing a marimba in the back, Tracey on maracas (is there any instrument they can\u2019t<\/em> play between the two of them?) and some downright hilarious sombrero business. Obviously, everything must have been choreographed ahead of time, but it is still funny to see the guys snickering at Ernie\u2019s pink sombrero while he asks, \u201cWhat color\u2019s mine?\u201d Then of course he takes it off, reacts and says, \u201cSomebody\u2019s gonna get it.\u201d It\u2019s all the guys can do to get through the rest of the song without laughing. The last part of the song is inter-spliced with footage from a Cathedrals performance (with their own sombreros), and it makes for a fun side-by-side watch. Ultimately, this song ends up being sort of a parody of itself, but that\u2019s probably the whole point.
\nAfter this number, Ernie introduces his old mentor and first boss Squire Parsons to sing his signature song, \u201cBeulah Land.\u201d He sets up the song by talking about the pivotal role Squire played in \u201cgrooming and polishing\u201d him for ultimately fulfilling his dream of singing with the Cathedrals. It\u2019s a touching moment and a classy move on Ernie\u2019s part.
\n\u201cGod Delivers Again\u201d: Great, great song to watch live. Timmy and Ernie knock their step-outs out of the park, and Wayne sparkles on the piano. They also throw in some vocal embellishments not on the studio version, like holding out the chord on the word \u201cflee\u201d and throwing in some \u201cWhoa-oh-whoas\u201d to give the chorus extra punch. This performance was encored and got an enthusiastic audience response.
\nThen Zak immediately kicks it off on \u201cHe Made a Change.\u201d Some might dispute the inclusion of this song, since Signature Sound has already recorded it, but given its significance as the Cats\u2019 last #1, it makes sense to me. How does this version compare to EHSS\u2019s previous one? Well, the main difference is that the sound is less polished, but there\u2019s a reason for that: They\u2019re relying exclusively on a live band. Trading in the original cut\u2019s slick brass and piano for an \u201cearthier\u201d percussion and guitar-driven sound, this version makes up in chemistry what it lacks in polish. Bits of gospel-flavored organ can be heard sprinkled throughout for added flavor. It\u2019s a great experience to watch the band \u201cjam out\u201d here. This gives you a pretty good idea of how the guys and their band sound live and in concert. I can\u2019t decide which of the two versions I prefer\u2014each is great in its own way.
\nBut once again, what ultimately seals it is the visuals. After an introductory chorus, Ernie pauses for a word about Cathedrals songwriters and invites Joel Lindsey and Dianne Wilkinson to stand up in the audience (and Miss Dianne, if you\u2019re reading this\u2026you looked great that night!) This makes for a really nice, classy moment. And since Ernie is talking about how every great quartet needs great songs, Joel\u2019s presence is doubly appropriate given that he\u2019s penned the group\u2019s own best original, \u201cCalvary Answers For Me.\u201d
\nThen on the second chorus, Ernie motions the band to pull back while they sing sotto voce<\/em>, and Tim\u2019s bass line is very prominent. Some great banter ensues at this point between Tim and Ernie. The look on Timmy\u2019s face at the end of the song is absolutely priceless! Tim generally keeps his thoughts to himself, but here he loosens up a little. As quiet as he usually is, he does have a bit of a twinkle in his eye.
Another standing ovation for this performance.\nNext up is \u201cMoving Up to Gloryland,\u201d and this is definitely one of those \u201cbetter live\u201d kind of songs because it\u2019s just so funny to watch Ernie and everybody else do the \u201cmoo-hoo-hoo-hoo-hoovin\u201d part. And yes, I do mean everybody<\/em> else. Look for special appearances from various band members and, best of all, Timmy (big crowd response on that one)! The audience itself gets a turn at the end.
\nOne of the most moving moments of the night was when Ernie went down into the audience and introduced family members of the Cathedrals\u2014brothers and sisters, widows, sons and daughters, and even grandsons. As people who were there will recall, a major highlight came when George Younce, Jr. offered an impromptu version of \u201cThe Laughing Song.\u201d The resemblance to his father\u2019s voice is quite striking\u2014Timmy gives him a thumbs-up, from one bass to another. After rolling a clip of George himself singing the song, Ernie takes a few minutes to share some stories. He tells them very well, especially the one about how Glen drank a can of Sprite and thought he was getting a shot of caffeine (!)
\nErnie then introduces the song \u201cI Thirst\u201d by talking about how that song held special significance for George as a former alcoholic. It\u2019s one of the most moving songs on the project, and this performance is beautifully done. Wayne\u2019s piano work complements the vocals perfectly.
\nNext is \u201cChampion of Love.\u201d At the beginning, an old-fashioned microphone is lowered as George Younce\u2019s recorded voice begins the spoken introduction. This microphone is then pulled back up when his part is over. It\u2019s an interesting bit of stage business, and for people who enjoy the song, George\u2019s spoken intro provides a nice added touch.
\nWayne of course takes the lead and handles it very well. Whether he\u2019s writing, playing, or producing, Wayne brings a lot to the world of gospel music, but here he proves that he can sing as well. Ernie sits on the piano bench until the last chorus (per Cathedrals tradition), and the audience stands when he bursts in on the climax. Afterwards, he embraces Wayne and verbally presents him to the crowd. I look forward to hearing Wayne\u2019s voice on more material in the future. I doubt this will be the last we hear from him.
\nWayne is back at the piano for the next song, \u201cPlan of Salvation.\u201d What can I say? A beautiful song, and well-loved too\u2014the crowd began applauding the moment they recognized it. Timmy\u2019s solo is very potent, and it\u2019s a treat to watch Kevin Williams smiling in the background as Tim sings. Ernie gives him the \u201cOK\u201d sign afterwards: Bravo Timmy! This is one of those quiet, hidden highlights of the project, and I already anticipate coming back to it again and again.
\nThen comes the focal point of the evening: \u201cWe Shall See Jesus.\u201d Ernie talks a bit about how they had planned to \u201cstay away from\u201d this song, because it was Glen\u2019s song. But as Ernie quite rightly says, that wouldn\u2019t be what Glen himself would want. He would be the last person to want the song to die with him. A couple old photos of Devin with Glen are put up on the screen as Ernie talks about how Glen was Devin\u2019s hero. It\u2019s great to see how even at such a young age, Devin knew who his heroes were and was proud of it. Not every kid is that unabashed about his heroes, but Devin clearly was, and it\u2019s beautiful to see him at twelve singing next to that great man.
\nErnie tells him to \u201cpaint the picture,\u201d and that he does. As great as this song is to listen to, it is so much more powerful to watch it unfold live on stage. Devin begins singing, and Dianne Wilkinson herself\u00a0 is already wiping tears away before his solo is finished. Everybody nails the second verse, and then\u2026Devin turns around and introduces the man himself: Mr. Glen Payne. Some people thought that it might have been better or generated a bigger response if the group had chosen to sing the song without the video of Glen for the tribute. I disagree. On the tour, yes, it makes sense to let Devin carry the song. But here it was completely appropriate. And what a moment it was! I did not pre-order and get the project with Kleenex, but let\u2019s just say that if I had\u2026 I would have been reaching for them when Glen came on screen. And it\u2019s not just seeing Glen, it\u2019s seeing his wife and family in tears as he sings. I defy anybody to watch this and not be deeply moved. Even Devin is shedding tears as he turns away from the screen.
\nGlen stays with them through the remainder of the song, and it\u2019s hard to describe just how powerful that is. When people lose a loved one today, too many of them turn to empty means of comfort like letter-writing, or worse, to the occult, to give themselves a feeling of communication with the person. Yet Glen\u2019s presence through video with the group as they sing provides a powerful reminder of the communion of saints without any such desperate measures. We as Christians do not need to convince ourselves that Glen is alive\u2014we know<\/em> that he is alive. He was with the group that night in more ways than one. Yes, we will see him again one day, but in the meanwhile, we have the assurance that he is living still.
\nAt the actual concert, there were a couple more numbers at this point: a medley around the piano and a video of George and Glen singing \u201cSearch Me.\u201d However, \u201cWe Shall See Jesus\u201d was such a climactic high point of the evening that it was a smart pacing decision to cut those other songs and make it the penultimate song on the DVD. My only disappointment is that the Gaither medley was not at least included as a bonus feature\u2014that was one number I had been looking forward to seeing<\/em>. Ah well.
\nErnie simply announces the final song by saying that George always told him to \u201cleave \u2019em happy,\u201d and that\u2019s what they\u2019re going to do. Without further ado, they launch into that wonderful classic, \u201cThis Ole House.\u201d Timmy promised me not to goof on this one a few weeks before the taping, and of course he didn\u2019t. (Incidentally, it was Timmy\u2019s solid, rich tones that first drew my attention to this group. I just wanted to hear more of that bass<\/em>.) A flawless performance, and the crowd stood throughout. Obviously Tim steals the show, but Doug\u2019s step-outs are also spot-on. Zak gives it his all on the drums and does a magnificent job. Ernie takes it home and knocks the last note all the way into left field. This is one of the performances that most makes me wish I had been there to see it in person. The Cathedrals used it to open their concerts, but it works just as well in its own way as a finale\u2014a barn-burner in the truest sense.
\nFinally, \u201cBoundless Love\u201d is reprised, which is the perfect way to cap off the evening. The quartet bows and takes their leave, leaving a very happy audience indeed.
\nMinor quibbles about the song selection aside, it\u2019s hard to see how this DVD could have been any better. I might have wanted more B-roll and perhaps some more bonus features (a performance of \u201cLife Will Be Sweeter\u201d is the only bonus on the video), but other than that\u2026terrific. On their Gospel Music Today interview at the NQC, Ernie said that a lot of the group\u2019s high energy has just evolved naturally from their personalities. However, I appreciate the fact that they reined in some of that ebullience for this tribute project, out of respect for the classic style of George and Glen. This gives the DVD a sophisticated feel that would just be lacking otherwise. Wherever Ernie chooses to take the group in the years to come, it would be great to see them continue in this vein, with this style\u2014still bringing a high energy to the table, but with balance and restraint. Yes, obviously that look was right to honor the Cathedrals, but there is a true sense in which this is the real Signature Sound too. And given their increasingly more classic-styled wardrobe since the Get Away Jordan<\/em> era, it leads one to wonder (hope?) whether perhaps there is a trip to the local Salvation Army headquarters in their near future, at which point the two-toned penguin shoes, striped socks, and assorted other \u201ccolorful\u201d accouterments will mysteriously and permanently disappear. (Tongue-in-cheek\u2026kinda. But keep the matching suits.
)\nAt the end of the day, Ernie can be very proud of this project, not only as the master-mind behind its conception but as one of the voices that brought it to life. He was in outstandingly good form on the night this video was taped, and you could almost see him rediscovering his youth as he sang. There was an extra vigor and strength to his singing that really recalled those \u201cglory years\u201d with the Cathedrals. He held nothing back, song after song, and he nailed it every time. This night should go down as a personal tour de force<\/em> for him. To say that he has \u201cstill got it\u201d would be an understatement. His emcee work that night was also very classy and tasteful\u2014at each point he said exactly what needed to be said, no more, no less.
\nBottom line<\/strong>: The CD was strong enough for a 4.5 star rating, but it cannot compare to the live experience. These performances are so strong, and the DVD is so beautifully edited, that I would recommend it over and above the studio project. If possible, get both, but if you can only get one, make it the video. You will not be sorry.
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\nA Tribute to the Cathedral Quartet (CD), by Ernie Haase & Signature Sound<\/strong>
\n(4. 5 stars)
\n<\/strong>
\nEight years ago, Signature Sound released their debut album. At the time, George Younce had these words to say about them and about his experience as he listened to the project:
\n
\nSo many memories came rushing in as I realized that this is the \u201csound\u201d and the style of songs Glen and I always insisted upon down through the years as the \u201cCathedral Quartet.\u201d<\/em>
\n\u2026It is evident that the goal of this quartet is to remain faithful to their \u201cHigh Calling,\u201d to their gospel roots, and to the audiences for which they will be privileged to sing.<\/em>
\nThough this is just their first project, I think you\u2019ll agree that the \u201cSignature Sound Quartet\u201d definitely has that \u201csignature sound,\u201d and with the Lord\u2019s help, these young men are destined to be a positive force in this industry for years to come.<\/em>
\nFor this young, promising group, George\u2019s words would be amply borne out, as they went on to rise very swiftly to the upper echelons of the genre. Now eight years later, they have paused on the journey to look back and pay their respects to George and Glen. These men were honored in their generations and were a glory in their days. Their legacy lives on through the men who served with them. With their own groups, they continue the ministry today, as they continue to render thanks and honor to the memory of George and Glen. They are a privileged few, for they can close their eyes and remember these two old men\u2014with hope in their hearts and a song on their lips.
\nThis is a great trust, and as George\u2019s son-in-law, Ernie has carried a special responsibility with him through the years with his group. Yet he and they have carried that banner with class and excellence. With this project, they have not only paid worthy tribute to the Cathedrals legacy, but they have also set a new standard for themselves. There are moments that especially stand out, but as a whole, it remains remarkably consistent across its 19-song span (plus two bonus cuts). The result is both a wonderful trip down memory lane for those who remember the Cathedrals and a perfect introduction for those who are discovering this music for the first time.
\nSo let us begin\u2026
\nWedding Music: This is a very classy way to kick off the project. It\u2019s a low-key number, but it\u2019s a perfect opening song. The simple strumming of an acoustic guitar sets the stage for a tasteful\u00a0 re-visitation of this classic, creating an air of expectation for what lies ahead. \u201cIs that wedding music I hear?\u201d Understated and smooth.
\nStep Into the Water: As the Cathedrals\u2019 longest-running #1 hit, this song was an obvious pick for the project. It\u2019s just a great song, with a terrific message in the lyrics. I have always especially loved verse one: \u201cIt\u2019s time we the people stand up for what is right\/It\u2019s time we squared our shoulders back and raised our swords to fight.\u201d Amen! Sometimes I think the church tends to slip into \u201cgroup hug\u201d mode without remembering that we got a war going on. God is raising up an army indeed!
\nThis arrangement remains very true to the spirit of the original but adds a few twists. There is some tasty banjo strumming in the background which gives it a bit of a country flavor. Doug and Ernie\u2019s duet on verse two is a real treat. Their voices complement each other superbly. At the end of the song, an extra refrain is added that works perfectly to tie it off\u2014a great example of how to give a classic a new touch without detracting from its power.
\nBoundless Love: This song provides the project\u2019s most unusual moment, and that\u2019s the \u201cWe Will Rock You\u201d rhythm that kicks it off and continues in the background for the first part of the song. It\u2019s fresh and creative, to be sure, but it\u2019s generated mixed reactions. My verdict is that while it\u2019s a fun idea, it creates a musical clash of worlds that doesn\u2019t quite work, aesthetically speaking. There\u2019s a very literal sense in which that rock rhythm gives a down<\/em>beat feel to an up<\/em>beat song. The effect is even more noticeable when listening with headphones. It\u2019s simply too heavy for its musical context. But after the second verse, that rhythm fades away, and it is then that the arrangement really takes off. At that point, we\u2019re back to that country\/gospel rhythm of \u201cclap, clap, clap, clap\u201d instead of \u201cboom, boom, CLAP.\u201d It fades back in briefly later, but by then it\u2019s too late\u2014the song has already moved beyond it. Overall, this is an excellent arrangement, and it is best appreciated live with several encores. Like many of these songs, its full flavor only comes through on the DVD, because the live energy just adds so much.
\nI Thirst: This is the project\u2019s first single, which is a very nice touch considering that it was not the best-known song off of its original project (the stellar High and Lifted Up<\/em>). The arrangement is handled tastefully and gracefully, different from the original, but without losing the golden touch. They begin with an introductory acapella tag. Doug then takes the lead on the first verse and communicates the poignant lyric very effectively. Ernie takes over on verse two after a key change. The closing harmonies are hauntingly rich. This version may not replace the original, but it stands on its own as a lovely piece of music.
\nThis Ole House: This concludes the first rough \u201cquarter\u201d of the album, and so far the guys are batting a thousand. Once again, this version doesn\u2019t stray far from the original, but it is somewhat different. The lush, sweeping orchestral feel of the original has been replaced to an extent by a brighter, jazzier sound\u2014sparkling piano, bits of electric guitar, and some big band brass. However, the country\/western fiddles are such an integral part of the song that of course they could not leave them out. On the transition into \u201cWhen the Saints,\u201d they briefly switch to a cute marching-band feel, even throwing in a parade whistle (!) The song ends with great energy. Tim Duncan does an excellent job with this arrangement. Nobody can communicate the lyric like George, of course, but Timmy is a natural and the song suits him very well.
\nChampion of Love: This arrangement has generated a lot of buzz because of the decision to give pianist Wayne Haun the main feature, a nice historical nod to Cathedrals pianist Gerald Wolfe\u2019s breakout performance. While the lyrical metaphor comparing Jesus to a prizefighter may not be to everyone\u2019s taste, Wayne does a good job carrying this rendition. He\u2019s no Wolfe, but he possesses a clear tone that\u2019s easy on the ears, reminiscent of Wesley Pritchard. As for George\u2019s spliced-in intro, it was obviously designed for live performances, therefore it makes a little more sense there than on the studio cut. But in any case, kudos to Wayne as he continues to establish himself here as a capable vocalist in his own right.
\nI\u2019m Gonna Live Forever: This is a lesser-known number, but Ernie probably decided to cover it because of his nostalgic ties with the Talley era of the group. It\u2019s a catchy little ditty.
\nCan He, Could He, Would He: This arrangement starts with a strumming banjo and moves into a fun \u201cNew Orleans street band\u201d sound. Devin takes the lead for most of the song (obviously having a great time), with some moments from Timmy as well. The vocals overall are tight and smooth, and the production is really cute. Of particular note is the sousaphone, which is even more fun to watch on stage (see upcoming DVD review).
\nWonderful Grace of Jesus: Fantastic arrangement, following the Cathedrals original pretty closely with a few tweaks. The addition of Wayne Haun as a vocalist to make the group into a quintet prompts the question of just how much they could do with this configuration. For example, might they perhaps choose to tackle some Glad arrangements? I could definitely hear them covering material like \u201cYou Put This Love In My Heart\u201d<\/a> and \u201cJust As I Am.\u201d<\/a>
\nSinner Saved By Grace: This arrangement had to grow on me a bit, but honestly you can\u2019t lose with this song. The production has a bit of a pop flavor, and the vocals also have a somewhat contemporary sound. Doug delivers a beautiful solo on verse one. Devin\u2019s solo on verse two could stick closer to the melody and still be effective, but he also does well. The orchestration is very well done on the chorus in particular\u2014it brings out the dynamics of the song. There\u2019s a key change at the end that happens very quickly but lifts everything up to a new level. Bottom line: It just works.
\nAn Old Convention Song: This arrangement follows the original almost note-for-note, both instrumentally and vocally. However, they throw in a funny twist on the verse about other styles of gospel songs. The phrase \u201ccountry flavor\u201d has a country flavor, and the \u201cmodern sound\u201d sounds, well, modern! The vocals are deliberately distorted for a brief moment, poking some light fun at that pretentious, \u201cweird for the sake of being weird\u201d kind of music. But we quickly return to the comfortable familiarity of the old convention song.
\nPerhaps they could follow this number up in concert with an actual convention song (maybe an impromptu rendition of \u201cGive the World a Smile?\u201d
)\nMexico: As popular as this song is, the tribute could probably have managed to limp along without it (
), but it is fun to watch on the DVD (see upcoming DVD review for more details).\nGod Delivers Again: This is a \u201chidden gem,\u201d and it\u2019s one arrangement on here that I can unhesitatingly say is better than the original. The production is superb, as the piano and b-3 Hammond start things off with a bang. The piano remains a solid anchor throughout, and the b-3 hangs around too. The vocals are also great: Timmy nails verse one, and Ernie\u2019s solo on verse two packs a terrific punch. He communicates the triumph of the lyric wonderfully. I feel like shouting \u201cYeah!\u201d or \u201cAmen!\u201d or something similarly exclamatory after he sings it. If this don\u2019t pull you out of bed on a discouraging Monday morning, nothing will. This is also a terrific live number.
\nLife Will Be Sweeter Someday: Obviously a large part of the magic on this number when the Cathedrals did it was Roger Bennett\u2019s inimitable piano turnaround. While there\u2019s no attempt to duplicate that here, this is still a very enjoyable cut. The piano is replaced by a guitar in this version. It\u2019s more laid-back than the piano, giving the arrangement a relaxed, bluesy sound. Fun to listen to.
\nMoving Up to Gloryland: The wonderful thing about tiggers, is tiggers are wonderful things. Need I say more?\u00a0 Moo-hoo-hoo-hoo-HOO-vin!
\nPlan of Salvation: This is a truly lovely rendition of a simple, beautiful song. While the group did it live for quite a while (including the version off their self-titled DVD as a bonus cut on Get Away Jordan<\/em>) this is the first time they\u2019ve done a studio version. It\u2019s definitely a highlight of this project. I love how the piano part is given just a little bit of a fresh sound without losing any of the beauty of the original. The original was more distinctly country, while this has a somewhat more delicate touch. The strings also add a lot\u2014very warm and evocative. Great stuff. It\u2019s high time they pulled this nugget back out and started re-introducing it into their repertoire.
\nWe Shall See Jesus: Expectations ran high about this arrangement\u2014who would take the lead? Would Ernie let Doug handle it, toss Devin into the deep end, or perhaps take the arrangement in a different direction altogether? Well as everyone knows by now, Devin steps up to the plate for this one, and I must admit he exceeded all my expectations. I was in the audience when they debuted this song live. It was unplanned, but Ernie decided to call it at the last minute. Needless to say, it was an incredible moment and generated probably the biggest response of the night.
\nAmazingly, Devin already had improved significantly by the time he gave that performance from when he first cut his part in the studio. However, he does a beautiful job here, and the rich timbre of his voice shines through very handsomely in the first verse especially. The harmonies in the minor modulation are then handled beautifully, a little bit different from the original but still preserving that haunting, eerily lovely sound. Ernie\u2019s piercingly sweet tenor really stands out here.
\nThen Devin takes the climax and delivers it very powerfully, although he brings even more power to the table today. As everybody knows, the group has taken to using a video of Glen Payne for the climax, but I\u2019m glad that they still let Devin take it all the way sometimes. He truly is capable of doing the song justice, and that is saying a lot. Perhaps they could perform the song with Devin singing right up through the climax on a future DVD, thereby giving us both versions in high quality video.
\nI cannot fail to mention the orchestration, which is wonderfully dramatic and has a strong Lari Goss feel, right down to the woodwinds<\/a>. Wayne should be very proud of his work here, because it is simply magnificent. I consider it to be just as good as the original in its own way.
\nYesterday: A personal favorite of mine, and I guess Ernie and I have something in common, because he\u2019s cited this as a favorite as well. The instrumentation has a gentle sway to it, almost like a slow dance. The strings are used particularly well, and there is some light electric guitar work that also finds its way into the mix. Vocally, this rendition takes a different approach from the original bass feature. The first verse is sung in unison, and Devin sings the second verse. His solo is rich and full. He really hits his sweet spot vocally when he sings in this range, with this style.
\nThe message of the song never gets old, and they couldn\u2019t have treated it more gracefully. The harmonies are absolutely gorgeous. Everything about this rendition comes together just right.
\nGaither Medley: This concludes the \u201cmain body\u201d of the project. These are all Gaither songs the Cathedrals recorded, and they include \u201cGentle Shepherd,\u201d \u201cSomething About That Name,\u201d \u201cI Will Serve Thee,\u201d and \u201cJesus, We Just Want to Thank You.\u201d Signature Sound has also recorded all of these songs except \u201cJesus, We Just Want to Thank You.\u201d All four are beautifully braided together here and served up very tastefully. The production is spot on\u2014once again, strings and guitar make a great combination. For the final song, George\u2019s spoken prayer from the original Cathedrals cut is included in the middle, which is a very, very nice touch. Everybody needs the reminder of these simple words. I know I do.
\nThis medley, or at least parts of it, would work great for the group to use as a live number around the piano. This would really capture the \u201cCathedrals spirit.\u201d
\nIncluded at the end are two bonus tracks, \u201cOh What a Savior\u201d and \u201cHe Made a Change,\u201d which are the live performances from the DVD taping. While I might have wanted a couple more never-before-recorded arrangements of Cathedrals classics, obviously both tracks are excellent. I\u2019ll be saying more about them in the DVD review.
\nFinal thoughts<\/strong>: The Cathedrals\u2019 catalogue is such an embarrassment of riches that even a 20-song project could not do it full justice. The emphasis with this project was on the more instantly recognizable numbers from that catalogue, with a few hidden gems in the mix. This means that die-hard Cathedrals fans who own every record the group ever made may not find everything they are looking for here. Truth be told, even I, a relatively new fan, might have suggested some changes in the selection. But the fact is that you can\u2019t please all the people all the time, especially with a project like this. All things considered, Signature Sound has done an exceptional job, and there\u2019s really very little to gripe about here, for anyone. However, I look forward to seeing which songs they go back and grab for future projects. I\u2019d love to hear their takes on the likes of \u201cHard Trials,\u201d \u201cEven So, Lord Jesus Come,\u201d \u201cHigh and Lifted Up,\u201d and \u201cWhen the World Looks at Me.\u201d It would also be great if Ernie revived some of his own features with the Cathedrals like \u201cDeath Has Died\u201d or \u201cI Want to See Jesus.\u201d
\nVocally, the group as always delivers at a very high level of quality. Tim Duncan continues to prove why he is one of southern gospel\u2019s best-loved basses. He received quite a few features on this project, and he handles them all superbly. While George may have been the more versatile singer, Tim brings a quality of his own to the songs that allows his versions to stand on their own wonderfully well. Doug Anderson has several features on this project (\u201cI Thirst,\u201d \u201cSinner Saved By Grace\u201d), but interestingly there aren\u2019t any new songs that he carries all the way through. Perhaps that\u2019s natural, as for this project it makes sense to spotlight George and Glen\u2019s counter-parts, Devin and Tim. Nonetheless, Doug really shines where he is featured, and like everybody else I always love hearing him sing\u2014on just about anything, really. Wayne has said that he\u2019s always getting requests for \u201cmore Doug songs.\u201d Wayne, the people have spoken, and I hereby and forthwith toss in my own bid: More Doug songs! More Doug songs! More Doug\u2026 Okay, I\u2019ll stop now. But\u00a0 a Doug feature on \u201cWhen the World Looks at Me\u201d could be a potential tear-jerker\u2026 just sayin\u2019!
\nSome wondered whether the group\u2019s trademark seamless blend would alter significantly with the addition of Devin this year. After seeing them in concert, I have to say that although Devin does bring a different dynamic to the group, that \u201csignature sound\u201d is still there. The only thing I would say, speaking as somebody who listens to a wide variety of vocalists, is that whatever talent a singer has, it is best realized when he allows it to speak for itself. Devin obviously has a certain stylistic flair that he enjoys and has fun with, and there\u2019s nothing wrong with that. But at the end of the day, he could do no better than to follow the example of his own hero, giving the natural beauty of his voice its clearest, cleanest possible expression.
\nAs for Ernie,\u00a0 he has retained a remarkable amount of clarity and strength for a tenor at this point in his career. And incredibly, he sang virtually every one of these songs even better completely live on the DVD. He is a true professional\u2014a tenor\u2019s tenor.
\nFor whom would I recommend this project? Honestly, for anybody who loves good songs and good gospel music sung well. Whether you are a Cathedrals fan, a Signature Sound fan, both, or just a newcomer to the genre looking for high quality music, this album will not disappoint.
\n**********************************
\n<\/em><\/strong>
\nA Man Like Me, by Wes Hampton<\/strong>
\n(3.5 stars)
\n<\/strong>
\nWes Hampton is the reason I (NewSoGoFan) am a gospel music fan today, and it all started with Steve Green. But I\u2019m getting ahead of myself.
\nFlashback to fall of 2009. I\u2019m sitting in a waiting room and pick up a Gaither Homecoming magazine, which happens to be the GVB Reunion issue. At this point, I know practically nothing about the Gaither Vocal Band or gospel music. But I\u2019m immediately engrossed by the personal glimpses into the individual members\u2019 lives. I am surprised to discover that Steve Green, one of my musical heroes, was a member of the group. As I read on, I come across what Wes had written about the experience of getting to meet Steve at the reunion. Even though I didn\u2019t register Wes\u2019s name, the story stuck with me because it was just so cool. \u201cI gotta remember that kid,\u201d I thought.
\nFast-forward to January-ish of 2010. I\u2019m on a Steve Green kick, and I\u2019m really digging into his repertoire in-depth for the first time. While daisy-chaining on Youtube, I come across a video entitled \u201cWes Hampton sings with Steve Green.\u201d A little bell rings, and I wonder, \u201cCould that be the young guy I read about in that magazine? Let\u2019s check it out.\u201d And I did. And I was blown away. I couldn\u2019t believe how good Wes was\u2014to stand there toe-to-toe with Steve and more than hold his own.
\nThat video was the starting-point for further daisy-chaining as I discovered the Gaither Vocal Band. Wes\u2019s powerful delivery on \u201cA Place Called Hope\u201d from Give It Away made it one of the first gospel songs to really catch my ear. Eventually I found my way to some videos from the Reunion, and that sealed it for me. I had officially become a southern gospel fan. From there the rest is history.\u00a0 I discovered other great singers like Guy Penrod and Ernie Haase, to say nothing of great singers of the past, like Glen Payne. But it was Wes who opened the door.
\nSo, it was with great pleasure that I took up the task of reviewing his first solo album for this blog. After becoming a fan of Wes, I began wanting to hear even more of him than I was hearing from his work with the vocal band. Apparently others have wanted the same. So Wes has offered up this project in reply. I think his fan-base will be more than happy with what they find. Without further ado then, let\u2019s take a look at the album itself. First, let\u2019s look at\u2026
\nThe songs:<\/strong> Wes said in an interview that when he began getting the demos for these songs, it was the lyrics that really struck a chord with him. And in some cases, like\u00a0 \u201cSweet Surrender,\u201d\u00a0 he read just the first couple lines and instantly decided that he wanted the song, just for the message in those few words. After even one listen through the album, it\u2019s obvious that Wes placed the lyrics front and center. I will resist the temptation to quote copiously from multiple numbers, but I will simply say that these are powerfully written songs. Virtually all of them are well-crafted, thoughtful pieces that manage to avoid common CCM cliches. The title track is particularly strong in the lyrics department, a refreshingly honest self-portrait that may cause some soul-searching on the listener\u2019s part:
\n
\nA man like me
\nSays one thing and does another
\nA man like me
\nHolds a grudge against his brother
\nA man like me
\nThinks a promise can be broken
\nJust as easy as a glass on the floor\u2026<\/em>
\nBut in the words of the chorus, there is \u201chope for everyone,\u201d because God\u2019s arms reach \u201ceven for a man, for a man like me.\u201d
\nAfter a glance at the writers\u2019 names, I wasn\u2019t particularly surprised to see that Cindy Morgan was a contributor on one of the album\u2019s most poignant lyrics, \u201cFind Me.\u201d Faithfully following the principle that good things usually happen wherever Cindy Morgan is involved in the writing process, this song is sure to leave a lump in some throats, particularly parents\u2019. A sample:
\n
\nFind me in the little things
\nWhen life is turning upside down
\nFind me playing in the yard
\nCheering on my boys\u2019 touchdown<\/em>
\nFind me when I want to run
\nAnd I\u2019m afraid to face the dark
\nWhen I\u2019m brave enough to think that I can light the world
\nWith just one spark\u2026<\/em>
\nAnother lyrical gem is \u201cHeal the Wound,\u201d to which prominent singer\/songwriter Nichole Nordeman contributed. This song recalls some of her own better moments and is a deeply thought-provoking look at grace\u2014and remembrance. \u201cHeal the wound,\u201d it asks, \u201cbut leave the scar.\u201d This is a profound truth\u2014we need the scar to remind us of God\u2019s redeeming love and our unworthiness. Powerful stuff:
\n
\nI have not lived a life that boasts of anything<\/em>
\nI don\u2019t take pride in what I bring
\nBut I\u2019ll build an altar with
\nThe rubble that you found me in
\nAnd every stone will sing
\nOf what you can redeem\u2026<\/em>
\n\u201cIf Sunday Had Not Come\u201d stands out on the album because of its slightly \u201cdarker\u201d sound. A minor-key piece, it simply asks the question, \u201cWhat if Sunday had not come?\u201d Interestingly, it leaves it at a question with no resolving answer\u2014yet that feels right somehow. This is another piece that should provoke some thought.
\nProbably the album\u2019s most powerful moment is a cover of the recent worship song \u201cJesus Saves.\u201d Co-penned by David Moffitt and Travis Cottrell, it\u2019s already been covered in southern gospel by the Lefevre Quartet. Not having heard LQ\u2019s studio version, I cannot offer a fair comparison of these two versions. However, I can say that I absolutely love Wes\u2019s version. I had not heard the song before hearing it on this project, and the power of the lyric absolutely knocked my socks off. The flow of the poetry is so natural, so right, and more,\u00a0 fresh<\/em>. Worship music tends to suffer from sloppily crafted lyrics full of endlessly recycled cliches. This lyric is not only technically excellent and correct, but it is stuffed with rich doctrine. And Wes delivers it to perfection, ending on a high note worthy of David Phelps.
\nAnd of course, I could not leave a discussion of the songs without mentioning the closer, a studio cut of \u201cIt is Well\u201d with Steve Green. I was elated when I found out they were getting into the studio to do this, because (as I talked about in my introduction) the video of their duet had started everything for me. Vocally, this arrangement appears to be pretty much identical to the live performance. The accompaniment is kept very simple and lush\u2014a piano and a cello. But it\u2019s absolutely perfect (then again, you can\u2019t expect any less when Gordon Mote and John Catchings are in the same package). Although the polished studio version lacks some of the raw energy and power of the live performance, it is pure pleasure to listen to and is probably my favorite track on the entire album. Steve and Wes have a truly lovely blend, and their treatment of this classic hymn may be the best I have ever heard.
\nNow let\u2019s move on to\u2026
\n
\nThe sound:<\/strong> Stylistically, this album is much more CCM than SG. In fact, I could hear many of these tracks being played on my local CCM station. Whether or not listeners think that\u2019s a good thing will depend on their own personal preferences. Honestly, I would say it works better in some cases than others. Sonically, some of the up-tempo tracks (e.g. \u201cOne Day,\u201d \u201cHands,\u201d \u201cNew Day,\u201d title track) seem to run together, because they share that trademark blend of drums\/electric guitars that defines the CCM sound. This means that even though the lyrics are above-par pretty much everywhere, the style in which they are couched is sometimes a distraction.
\nHowever, this is not always the case. The gorgeously lush piano strains of \u201cBecause of Love\u201d set off the tender lyric beautifully with a rich chord progression, moving from minor to major to minor and finally ending in major. \u201cIf Sunday Had Not Come\u201d is also piano-driven and is set to a distinctive, hauntingly lovely waltz tempo that stays with you long after the music ends. The confessional \u201cSweet Surrender\u201d is particularly sparing, led by the elegantly simple sounds of an acoustic guitar. And as already noted, \u201cIt is Well\u201d features nothing more than piano, cello, and a little percussion. \u201cHeal the Wound\u201d packs somewhat more punch but still relies on a largely acoustic backbone of guitar and piano, complementing rather than intruding upon the powerful lyric. \u201cJesus Saves\u201d of course gets a soaringly anthemic treatment, but it takes its time to build and only really explodes at the climax.
\nThe fact that the project\u2019s most effective moments tend to come where \u201cflesh-and-blood\u201d instruments are being used indicates that Wes might do well to consider a somewhat more stripped-down approach in the future\u2014peel back the electric guitars and leave the piano, acoustic guitar, etc. to speak for themselves. And yes, I admit that I\u2019m an acoustic nut (see this review<\/a> if you really want to plumb the depths of my acoustic nuttiness) but in my opinion, lyrics are best communicated when they are not fighting to be heard. For his faster material, I could definitely see Wes successfully working with the kind of down-to-earth, folk-rock sound displayed in the early work of an artist like Bebo Norman (his album Ten Thousand Days<\/em> shows this style at its best).
\nAnd finally, a word on\u2026
\nThe vocals: <\/strong>Wes has definitely matured as a vocalist since he first began singing with the GVB, and this album shows it. In my opinion, this is some of his best vocal work so far. He shows excellent versatility, communicating a quiet ballad like \u201cSweet Surrender\u201d and a sweeping epic like \u201cJesus Saves\u201d with equal ease. \u201cJesus Saves\u201d is particularly impressive because the first part of the song showcases a richness in Wes\u2019s lower register that he rarely gets to display, while the climax has him soaring through the roof with a high B natural in full voice. And of course, he delivers his performance on \u201cIt is Well\u201d to perfection, once again displaying the fullness his voice has acquired over time and experience.
\nHowever, I feel once again that the CCM style is a bit of a hindrance in some places, because not every song on here really shows what he can do vocally. The fact that he sounds most in his element when delivering something like \u201cBecause of Love\u201d or \u201cIt is Well\u201d indicates that this kind of pure gospel or inspo style would enable him to harness the full extent of his vocal capabilities and would just be a better fit all round. I\u2019d love to see him go further with this style and perhaps even cover an old Imperials song or two on a future project\u2014like \u201cOne More Song For You\u201d or \u201cI\u2019d Rather Believe In You.\u201d And some good old-fashioned southern gospel singin\u2019 sure wouldn\u2019t hurt either.\u00a0 To put it in a nutshell, Wes is a singer\u2019s singer, but even singers\u2019 singers need to have a classic style for their voices to reveal themselves in full splendor.
\nConclusion:<\/strong> There\u2019s no question that Wes is one of the finest young tenors in gospel music today (Steve Green himself told me Wes was \u201camazing\u201d when I saw him in concert last May).\u00a0His voice is warm, tender, vibrantly youthful, clear as a bell and just plain beautiful. Although this album could have been better, it is an impressive first effort. Wes fans will want it because it\u2019s Wes, but everybody should find something to like here. Wes wanted the lyrics to be the main focus and definitely accomplished this goal. Hopefully he will keep this focus on future projects while simultaneously refining his musical approach so as to complement the lyrics even better. Meanwhile, this project has enough gems to be worth having on its own merits.
\n*********************************************<\/strong>
\nAcoustic Sunday, by Kevin Williams<\/strong>
\n(5 stars)
\n<\/strong>
\nI love acoustic music. I must confess, there is a small part of me that\u2019s a little disappointed when I listen to something with banjo\/fiddle, etc\u2026but then also an electric [fill-in-the-blank]. It may be good music\u2026but it\u2019s not acoustic <\/em>music.
\nI don\u2019t know about anybody else, but for me, there\u2019s something just so tremendously satisfying about the sound of unplugged instruments jamming away. It just hits the spot. There\u2019s nothing quite like it. The only thing that could make it any cooler would be if they were jamming on a beloved hymn of the church\u2026 oh yes, and if Buddy Greene were on harmonica. With Jeff Taylor on the accordion, naturally. And if you had a fiddle and a mandolin, played by one of Nashville\u2019s finest bluegrass musicians\u2026 maybe somebody like Aubrey Haynie.
\nOh wait a minute. That is <\/em>this album.
\nNeedless to say, my mouth was practically watering by the time I downloaded Acoustic Sunday <\/em>to iTunes. My musical palate was more than satisfied by the feast that awaited my listening pleasure.
\nSo let\u2019s dig in, shall we?
\nNothing But the Blood: Like an old friend, Kevin\u2019s guitar immediately kicks in, picking out a light, shuffling intro before launching into the melody of this classic hymn. Some delicate percussion sets a companionable middle tempo, and then the sweet sound of Buddy Greene\u2019s harmonica is added to the mix around 40 seconds in. Kevin finishes out the chorus, then Buddy takes over the melody, improvising and dancing around it as only Buddy can. For the third verse, guitar and harmonica trade off pieces of the melody. Buddy gets the last word, letting the last chord linger and hang deliciously in the air before Greg Ritchie\u2019s brushes bring things to a crisp close.
\nMy Savior\u2019s Love: Clapping guitar and percussion set the backdrop to a delightful fiddle intro for this arrangement. Kevin then plays the first verse and chorus as Aubrey\u2019s fiddle sways gently behind him, sliding back to center stage for the second verse. Kevin makes sure he doesn\u2019t go unnoticed however, spinning out some lovely backup licks towards the beginning of the chorus. Kevin takes the melody back on verse three, this time an octave up. For the chorus melody, he hops back down an octave while the fiddle harmonizes above him. This creates a wonderfully light, sweet effect. The chorus is then repeated with Aubrey and Kevin sharing the melody. And then we\u2019re back where we started, with an outro as delightful as the intro.
\nBlessed Assurance: The tempo slows down a tad for this one. As with many of these tracks, it sounds like Kevin stacked together two or more tracks of himself on guitar to enrich the sound. It\u2019s a lush, thick sound, sweeter for the simplicity of the melody. Somewhere around 50 seconds, the warm, expansive tones of Jeff Taylor\u2019s pump organ are added to the mix, making it still more rich. Then, suddenly, Jeff switches to accordion to carry the melody for verse two. But then the pump organ returns to the background for the chorus as Kevin takes the melody back. The organ is the last thing we hear at the fadeout, bidding us a warm goodbye. This is one of the tracks I find myself re-visiting most often.
\nPass Me Not: Unquestionably one of the most poignant tracks on the record, this arrangement is very simply done. Kevin\u2019s gloriously rich Taylor sets the mood, with a touch of mandolin in the intro. The mandolin then returns to carry the second verse and chorus, and the interplay between the two instruments is just achingly lovely\u2014the golden warmth of the Taylor and the sweet, minty freshness of the mandolin mingle perfectly.
\nLeaning On the Everlasting Arms: Now we\u2019re really getting into serious jam<\/em> territory. Kevin and Buddy go toe-to-toe on this one. (No offense Kevin, but I think maybe Buddy won\u2026) All kidding aside, this track is just dripping with juicy, bluesy goodness. Anybody reading this who\u2019s watched the Together <\/em>video\u2014featuring both the GVB and Signature Sound\u2014might remember a comedy segment where Jeff Easter kept trying to play this hymn on the harmonica and Kevin kept interrupting him. Eventually, he was allowed to proceed, and the hymn was performed with the audience singing along. Well, this arrangement is like a dressed up version of that arrangement sans<\/em> singing. The tempo is the same, and the basic concept is the same, with harmonica prominently featured. Buddy takes it away on the second verse\u2014I can almost see him smiling behind those glasses as he expertly caresses that little instrument. But Kevin\u2019s guitar has something to say too, laying down a crisp rhythm behind Buddy with one layer and doing some engaging improvisation of his own with another. On the third verse, he plays the melody with a blues tweak that\u2019s pure joy to listen to. This whole arrangement is just a feast for the ears and one of my favorites on a project stuffed with goodies.
\nHis Name is Wonderful: We\u2019re back to mellowness with another guitar\/mandolin duet similar to \u201cPass Me Not.\u201d As with that arrangement, Kevin takes the first verse, and Aubrey takes the second. The mandolin is even more prominent in this arrangement, and I love the way it keeps drizzling through in the background even when the guitar is the main instrument. Lovely stuff.
\nHigher Ground: This guitar\/fiddle duet has a wonderful swing to it. It\u2019s so deliciously light and effortless\u2014like a walk in the woods when the leaves are falling. The intro features a great sliding harmony lick which crops up later in the arrangement as well. Guitar and fiddle take turns with the melody. I\u2019m particularly taken with the fiddle on this track\u2014breezy, lazy, butter-smooth. This arrangement feels like an autumn day\u2014not too warm or cold, crunching leaves underfoot, woodsmoke in the air, and a foaming glass of cold cider.
\nAll Hail the Power of Jesus\u2019 Name: The mandolin kicks off another mid-tempo number similar to \u201cMy Savior\u2019s Love.\u201d As always, Kevin starts off the song but has the arrangement switch to the other featured instrument for verse two. The mandolin just sparkles on this track. Kevin suddenly changes key for verse three, then changes key yet again for verse four\u2014beautifully done. Terrific arrangement all round.
\nI\u2019d Rather Have Jesus: Another mellow cut. Kevin plays the first verse all by himself, but when we get to the chorus, Jeff Taylor creeps in almost unnoticed on the accordion, then takes the second verse. I\u2019m not positively sure, but it sure sounds like there\u2019s a tiny bit of mandolin that slips in part-way through Jeff\u2019s solo. But I don\u2019t hear a mandolin anywhere else on the track, so it\u2019s probably Kevin fingering out some high notes on the guitar. Kevin takes the second chorus while Jeff fleshes out the sound behind him. For a song that generally gets a pretty dramatic treatment when sung, this is a wonderfully understated, low-key arrangement.
\nAt Calvary: Back to jam territory. I don\u2019t have a favorite off of this record, but if I did, it would probably be this one.
From the get-go, you know it\u2019s going to be an exciting track. Percussion, fiddle, and guitar all come in together on the intro. Kevin plays the first verse simply enough, but you can hear the fiddle restless for attention in the background. Aubrey comes sliding in for his second-verse feature, done to perfection (naturally) while Kevin throws in some licks underneath. The third verse has a particularly stripped-down feel as Kevin plucks the melody instead of strumming it while the fiddle pants behind him. A fuller sound returns for the chorus. But then suddenly, Kevin\u2019s all alone. As percussion and fiddle gradually join him in the background, he cuts loose on a deep blues rampage that\u2019s probably his finest moment on the record. It\u2019s a terrific moment. Then all the instruments turn around and dive back into the chorus for the finish, giving the fiddle the last word with a sweet wrap-up.\nAmazing Grace: Another guitar\/harmonica duet. Kevin gently picks out the tune for verse one, rushing nothing, just letting each note quietly drip from the Taylor and linger\u2014sweet, familiar, timeless. Then good ol\u2019 Buddy comes in on verse two, equally slow, gently bluesy. They change key for verse three, and Kevin adds some light strumming under the melody to give it just a little bit of a swing. Another key change, and Buddy takes over once again while Greg Ritchie adds a bit of percussion in the background and Kevin picks out some laid-back blues riffs. Things end as quietly as they began, Buddy\u2019s last note melting away into the smooth batter of the guitar.
\nSoftly and Tenderly: And the album comes to a simple close, with this hymn of invitation. Nothing but guitar and accordion. Kevin starts off with just one guitar, very lush and understated. Then for verse two, I believe he switches to two layers, one for underlying strum, one for picking out the melody. Jeff Taylor\u2019s accordion also slips into the background on the second verse. He then plays verse three as a solo. It never ceases to amazes me how he can get an accordion to sound so beautiful. To me, it almost sounds like a harmonica on the higher notes. This is just a gorgeous arrangement, and like \u201cPass Me Not,\u201d may even make you a little misty-eyed if you just sit quietly and let it sink in.
\nConclusion: In what promises to be a banner year for A-list groups like Signature Sound and the Booth Brothers, Kevin has put together what I would venture to say may be one of the best albums of 2010. A sweeping statement, but, in my opinion, a fair one. In the course of writing this review, I\u2019ve listened to every track at least three times, some as many as eight, ten and eleven. And it still hasn\u2019t gotten old. Not only did Kevin do all the guitar work on each song, he also put together all the arrangements. Each one brings out the best in the musicians he chose to work with, and they sound like they could just as well be playing on their back porch as in the studio. Kevin said they wanted to capture that \u201cintimate feel of having 3 or 4 musicians just sitting around drinking coffee and playing music,\u201d and while the project obviously wasn\u2019t literally recorded live, they more than succeeded in capturing that tight-knit, spontaneous sound. It\u2019s at once refreshingly simple, yet subtly rich. It is, in a word, beautiful.
\nNow all Kevin has to do is record another project just like this one with all the same musicians, but this time bring in Gordon Mote on the piano and Ron Block on the banjo\u2026maybe throw in a little dobro too! How \u2019bout it, Kevin?
\n*********************************************
\n<\/em><\/strong>
\nDeclaration, by the Booth Brothers<\/strong>
\n(4.5 stars)
\n<\/strong>
\nI loaded up my iTunes library with this album expecting great things after reading the exceptionally thorough mega-review<\/a> of it that went up here and on multiple SG blogs some weeks ago. I\u2019m pleased to report that I was not disappointed. I had recently begun to discover the Booth Brothers\u2019 music but had only heard a small handful of songs by them. At this point, the general consensus appears to be that this is the<\/em> album to have for new and old fans alike. As a new fan, I concur. What little I\u2019ve heard of their music aside from this album is easily surpassed here. I predict that it will become a landmark project, not just for the Booth Brothers, but for gospel music as a whole.
\nNow\u2026on to the breakdowns!
\nA Higher Throne: I thought it was a classy move for the guys to begin the album with something by Keith and Kristyn Getty, who\u2019ve been making a splash recently as pioneers of the new hymns movement in the Church. While the Gettys have produced stronger efforts, this is still a good song. As Daniel pointed out, Lari Goss has definitely taken this version several notches up from the original by re-vamping it for a full orchestra. The melody isn\u2019t as exciting as it could be, but the lush majesty of the orchestra helps to make up for that in this version. The key changes are expertly handled and lend some welcome musical variety to the piece. The climax makes you feel like you\u2019re almost ascending to the throne room\u2014terrific harmonies. This cut lets you know right off the bat that this isn\u2019t going to be your average SG album.
\nGod Did It All: The piano almost caught my ear more than the big orchestra on this track. It\u2019s a key instrument in this arrangement, laying down some beautifully rich minor chords at the beginning. As for the song itself, I like it, though I feel like it takes a little long to really get going. This is largely a musical issue, but it\u2019s also partly because the second verse seems lyrically stronger than the first. But it\u2019s a wonderful lyric overall with a powerful chorus. My favorite bit of lyric comes from the second verse: \u201cGod sent his own Son here\/Redemption was won here\/By blood streaming down from a cross.\u201d As for the encore, I think it makes the song longer than it needs to be. The key change is great, but I feel like it should have been woven into the song direct instead of being tacked on at the end like that. This would kill two birds with one stone by at once shortening the song and making it more musically interesting. At this point though, I definitely agree with Daniel that they should cut the encore if they release it to radio (though it wouldn\u2019t be my first pick for a radio release anyway).
\nI See Grace: This is where the album really begins to pick up the pace. A chiming electric guitar (which continues to provide a rhythmic backbone throughout the song) leads into a vibrant mid-tempo number. It\u2019s mainly carried by the strings in pulsating, 6\/8 time. There\u2019s a real freshness about this one from beginning to end. Exciting music, powerful words. The second verse is particularly well-written, and as others have noted, the song\u2019s defining lyric is the last two lines of said verse: \u201cThose who have come through unbearable loss\/Not defined by the past, but defined by the cross.\u201d Jim Brady co-wrote the song and carries the lead for it as well. I\u2019m very impressed with his vocals on this cut in particular and just with his voice in general. He\u2019s a real anchor for the group, easily their most powerful singer. Memo to Michael: If Jim asks you for a raise, give it to him<\/em>. For that matter, give him anything he wants that will keep him happy and in the group. He may not be a bro, but he\u2019s a keeper.
\nThe Gospel Song\/Before the Cross: This is one of only a few tracks where I have literally turned right around and hit repeat after listening through it once. A blend of two songs, it is an absolutely stunning cut, easily my pick of the album. The acapella harmonies on the first song are truly breathtaking and very tricky to pull off in places\u2014some of the chords are so counter-intuitive that it must have taken a lot of practice to get them just right. And the song is incredible, but then again, that goes for practically everything with Bob Kauflin\u2019s name on it. Interesting that it\u2019s called \u201cThe Gospel Song\u201d\u2014 probably a deliberate bit of humor since this song is about as un-gospel as it gets. And yet it is a \u201cgospel song\u201d in the sense that it presents the gospel<\/em>. I love the way the last line, \u201cBy His death I live again,\u201d is held out in a prolonged suspension\u2026and then resolved. It\u2019s the perfect musical complement to a lyric about life after death. It\u2019s like stepping out into the warm sunshine after the rain, or waking up in the morning to hear your dad whistling after a bad dream.
\nSome gentle instrumentation kicks in right at the end of \u201cThe Gospel Song\u201d for a seamless segue into \u201cBefore the Cross,\u201d a product of Sovereign Grace Ministries. I\u2019d heard some other stuff from Sovereign Grace and was underwhelmed, but \u201cBefore the Cross\u201d is truly lovely. Michael said they were looking for a good song about the wrath of God, and they certainly found one here (although as we\u2019ve discussed elsewhere on this blog, he had to venture outside of SG to find it). This song is just stuffed with great doctrine. While it recognizes God\u2019s wrath, it points the way to Jesus as our high priest, our intercessor who pleads for us. And the melody flows along beautifully\u2014I believe it was none other than Bob Kauflin who said that the trademark of a good melody is that you can<\/em> remember it and you want <\/em>to remember it. I believe this one qualifies on both counts. And it\u2019s all wrapped up with Lari Goss\u2019s special production touch. The first verse and chorus is quietly done, with a woodwind instrument (pennywhistle?) adding some Celtic flavor. There\u2019s a beautifully low-key guitar solo between verses, but I love how the orchestra suddenly swells at the end of it to take the song to a new level of power. The guys trade off individual lines, but Michael is the main vocalist featured on this cut, and he does a great job with it. He\u2019s not the most powerful tenor ever, but this song plays to his strengths. There is a clarity and a purity to his voice that really shines through here, especially on the high falsetto ending\u2026really, the only good word there is \u201cwow.\u201d Vocally, the brothers\u2019 work on this one reminds me of the old Phillips, Craig & Dean. Similar harmonies, similar sound.
\nAll Over the World: This is the first of two back-to-back Steve Green covers on this album. I generally don\u2019t go for stuff with a \u201cworld music\u201d flavor, so I\u2019ve never really been able to get into this one. But the lyrics are thoughtfully done, and some of the Spanish guitar work is exceptionally dexterous. However, I feel like the melody is too random\u2014it jumps all over the place without much of a clear direction. I\u2019d probably peg this as the weakest track on the album. But it\u2019s more sophisticated than your average up-tempo SG song, so it was probably chosen on purpose for that very reason.
\nWe Believe: Ponderously slow, but then it was ponderously slow when Steve did it too. I\u2019ve always liked this song, but at the same time, I\u2019ve always thought it took kind of long to unfold. However, this version has grown on me with repeated listens, and even while none of these guys is the vocalist that Steve is, each has a beautiful voice in his own right, and this track really showcases that. I like the way they have each vocalist individually sing \u201cI believe,\u201d then change to \u201cWe believe\u201d when they all come together.
\nAs slow as it is, this is a powerful song. Once it gets going, it packs a punch, and the brothers do a great job building up the excitement. I thought it was interesting that they added some extra lyrics at the end\u2014sort of a re-cap of all the verses. I think the song is long enough as it is that they could have left that off, but it\u2019s a nice idea.
\nReally the only flaw in this arrangement is the electric guitar that keeps cropping up towards the end of the song. Don\u2019t ask me what it\u2019s doing there, but it\u2019s the piece that doesn\u2019t belong. Interestingly, I didn\u2019t have the same feeling with \u201cI See Grace.\u201d Perhaps that\u2019s because the guitar was used more sparingly there\u2014it filled in the holes instead of interrupting the orchestra.
\nI Still Believe In the Church: Cool jazz for a hot day. The intro to this song makes me think of popping open a soda can in 90 degree weather. This one had to grow on me, but now it\u2019s one of my favorite tracks on the album. Love those jazz harmonies! I counted a total of three key changes throughout the song\u2014all handled with incredible smoothness and dexterity. And the lyrics are terrific\u2014a very honest, down-to-earth look at the Church. Basically, yeah, she\u2019s a mess, but God still wants her and loves her. And as hopeless as it seems at times, she\u2019s still doing good work. This lyric sums it all up: \u201cWell she\u2019s been through the flood\/And she\u2019s been through the fire\/Not always what she should\/But she\u2019s still his desire.\u201d
\nNow excuse me while I go grab a lawn chair and take this one outside with me (along with that soda can and my coolest pair of sunglasses). I\u2019m lovin\u2019 it.
\nThen I Met the Master: This song appears to have been done to death. But I\u2019m a New <\/em>SoGo Fan, remember, so this was actually the first recorded version of this song that I had ever heard. To put it technically\u2026wow. Ronnie\u2019s tone is so rich and fits this song like a glove. And the arrangement is just epic\u2014it really takes you on a journey, from the minimalist acapella opening to full, climactic orchestral splendor. Hearing this arrangement unfold is like watching the sun rise\u2014first, a thin yellow sliver pushing its way up into the cool morning. Then the light grows gradually brighter and richer as more of the sun reveals itself\u2026until finally it\u2019s just hanging there, warm, golden, and radiant. That\u2019s what this arrangement sounds like, and I can\u2019t describe it any better than that.
\nThis is the Day\/I\u2019m Gonna Keep On Singing: I found the intro to this one a bit jarring after the last song\u2014vigorous drums and guitar announce another up-tempo number. But it\u2019s very enjoyable and easy to get into. Obviously it\u2019s not on a level with the true gems of this album, but it\u2019s a fun detour nonetheless. Only thing is, it\u2019s ungrammatical in one place\u2026 \u201cI will lift up mine eyes to which cometh my help.\u201d I thought at first that it had to be \u201cto whence cometh my help,\u201d though I\u2019m not sure if that\u2019s even quite right, but their own site lyrics have it written as \u201cwhich.\u201d Oops.
\nAbsolute Peace: Nice music, sweetly sung, though I prefer the Collingsworths\u2019 \u201cFear Not Tomorrow\u201d along similar lines. Lyrically, that song is definitely stronger. But this is a soothing listen. Musically speaking, it\u2019s very similar to Signature Sound\u2019s \u201cReason Enough.\u201d The melody even begins the exact same way.
\nIn Christ Alone (medley): Even though the concept of putting the two \u201cIn Christ Alones\u201d (the Getty song and the Michael English hit) together is nothing new, I like the fact that the brothers take several steps away from the Phillips, Craig & Dean arrangement and make it their own. They sing the first three verses of the popular worship song, then conclude with the chorus of the CCM hit.
\nGoss\u2019s production here is exceptional. I love it that he doesn\u2019t immediately go into the same riff everybody else uses as an intro for the worship song. It\u2019s a unique arrangement, perhaps my favorite version ever of this song (though Steve Green\u2019s is right up there too). I was actually getting a little misty-eyed the other night just listening to the beginning of this cut again\u2014the sheer beauty of what Goss has done with it can\u2019t quite be captured in words. Just one small detail that caught my attention: At the intro, a woodwind instrument (clarinet?) plays a small scrap of the melody from the CCM \u201cIn Christ Alone\u201d right before they start singing the Getty one. Then at the very end when they\u2019ve just finished the chorus of the CCM one, that same instrument plays a bit of melody from the Getty one. See, it\u2019s little details like that\u2026they show a true master\u2019s touch.
\nVocally, everybody nails it. Ronnie Booth gets the main feature and does a terrific job with the first verse of the Getty song. But Michael really steals the show with a high power note at the climax in the second \u201cIn Christ Alone.\u201d That part of the song just screams for somebody to nail it, and Michael knocks it out of the park.
\nI thought it was interesting that they never got around to the \u201cNo guilt in life, no fear in death\u201d verse. I like that verse a lot, but I think they made the right choice to leave it off. The\u00a0track would have felt too long otherwise. This is the perfect way to close the album, and I don\u2019t see how they could make it any better.
\nAnd I won a pre-release copy in the contest, so I can\u2019t offer a full analysis of the bonus track, which is the Booths\u2019 arrangement of \u201cStatement of Faith.\u201d I have heard the song though, and my impression of it is that it would neither add to nor take away from this album.
\nRadio Picks: I See Grace (these aren\u2019t in any particular order except that this should go to radio first, ASAP), I Still Believe in the Church, Before the Cross, In Christ Alone
\nConclusion: This album was a very ambitious experiment because it was such a departure from this group\u2019s usual sound.\u00a0The fact that it was such a departure makes it all the more impressive that they succeeded.\u00a0Sure, it\u2019s a little cumbersome in places, and sure, you can tell that they don\u2019t generally sing this style of music, but it\u2019s a noble effort. Really, the very fact that I could write an entire review of my own while largely avoiding overlap with an eight-page mega-review indicates the quality of what we\u2019re dealing with here. It\u2019s a multi-faceted tapestry of music that only grows richer with repeated listens. Incidentally, I\u2019ll be interested to see whether they continue to pursue this sound on future projects or go back to something more comfortable, but less innovative.
\nNow, regarding the complaint that it\u2019s too ballad-heavy: I think I agree with Brandon that it\u2019s almost impossible to listen to this whole album in one sitting. It\u2019s like trying to force yourself to eat five pieces of pecan pie all at once\u2014rich, good, but almost too<\/em> rich. Too much to try to stuff down in a hurry. The general consensus seems to be that the brothers should have evened out the mix better with a couple more up-tempo songs. Myself, I\u2019m not sure that more up-tempo stuff would necessarily have improved things. The big ballads are all wonderful and belong here for a reason (and some of the lighter pieces they did include were less good than the \u201cbiggies\u201d anyway).
\nI\u2019ll say this much though\u2014it might have helped if they had made some of them less \u201cbig\u201d by simply shortening them. This is most true of \u201cGod Did It All,\u201d but they could have done the same thing with other songs like \u201cA Higher Throne\u201d and \u201cThen I Met the Master\u201d by either (a) doing the key change(s) sooner, or (b) just not doing as many (or in the case of \u201cWe Believe,\u201d stopping the song where it stopped before instead of adding extra lyrics). This would shave off at least a minute and possibly more from each song, thereby easing that feeling of being overwhelmed on the part of the listener. And in some cases, like \u201cBefore the Cross,\u201d they hit the balance just right\u2014not too short, not too long. I\u2019d say they might even want to use that song as a model for themselves on future big ballads. So that\u2019s my two cents on the song selection from a listening perspective.
\nNow, from a song-writing perspective, I thought the song selection was brilliant. Not only did Michael go outside of SG for a lot of these songs, but he went to some of the finest songwriters in the Church today\u2014writers like Keith Getty and Bob Kauflin. And when he went to cover CCM, he didn\u2019t just go with any kind of CCM, he picked one of the most consistently excellent artists in its history\u2014Steve Green. Not to mention that the CCM \u201cIn Christ Alone\u201d is notably above-par for its field. Yet at the same time, they\u2019re far from abandoning their SG roots, whether they\u2019re breathing new life into an old classic (\u201cThen I Met the Master\u201d) or\u00a0introducing\u00a0 fresh material from the likes of Dianne Wilkinson or for that matter their own Jim Brady. (As a side note, I find it interesting that Jim was working with Tony Wood on \u201cI See Grace,\u201d because I\u2019ve lost count of the number of great CCM songs with Tony\u2019s name on them.) All of which is to say that I can tell Michael was committed to finding and choosing only the best for this project. What he has accomplished is a challenge to fellow SG artists to think outside the box. I trust and hope that others will soon follow his example.
\nThe vocals: Honestly, if you had told me before I listened to this album that the Booth Brothers were cutting a record made up almost entirely of dramatic, heavily orchestrated ballads, I would have had my doubts as to whether their voices were up to it. They had struck me as smooth, rich, easy on the ears, but not the power ballad types. More country than inspo. This album was a pleasant surprise for me. Each guy steps up to the plate very impressively here. As I said, it\u2019s not their usual style, and I still feel like they\u2019re a little overwhelmed by the orchestra at times, but overall they more than hold their own. \u201cThe Gospel Song\u201d in particular really shows what they\u2019re capable of\u2014more of the same, guys, please? Like, maybe, an entire acapella album perhaps\u2026?
\nI\u2019m not one to throw away a compliment. This is fast becoming one of my favorite albums, not just in SG but in any genre. If you don\u2019t have it yet\u2026go get it! Go get it even if you\u2019re not a fan of southern gospel. Shucks, just get it if you like good music. Guaranteed satisfaction, or Scott Fowler will give you your money back. Right, Scott?
\n*****************************<\/strong>
\nInfluenced II, by Ernie Haase & Signature Sound<\/strong>
\n(3. 5 stars)
\n<\/strong>
\nThe first thing I noticed when I got home and opened my copy of Influenced: Spirituals and Southern Classics<\/em> was the design of the CD. They\u2019d literally designed it to look like an old-fashioned record\u2014handsome black grooves and all. It put a smile on my face\u2014just a nice, classy touch. The liner notes are nicely put together as well. There\u2019s a classy new group shot on the back cover with a note from Wayne Haun, then musician and songwriter info on the inside. Lyrics would have been a nice addition, but musician info was certainly a must for this sort of project, so I\u2019m glad they included it. It\u2019s just a cool thing to know exactly who had those sweet banjo licks or that killer fiddle solo, even if I don\u2019t know the name from Adam.
\nNow without further ado\u2026on to the songs!<\/p>\n
- \n
- The Bible Told Me So (featuring Devin): This is a cute, up-tempo way to get the project going. They always open their concerts with this song, so anybody reading this who\u2019s seen the group recently knows that it\u2019s an Ecclesiastes paraphrase: \u201cThere\u2019s a time to laugh and a time to cry\/A time to live and there\u2019s a time to die, etc.\u201d Nothing heavy, but it does its job as a nice intro to the record and to Devin\u2019s voice. Tight, polished harmonies as usual.<\/li>\n
- Who\u2019ll Be a Witness? (featuring Tim): I love how this begins with just a creeping bass and finger-snapping. I do think the whispered \u201cwitneeeeess\u201d is a bit distracting. But I like the sudden switch from the initial lean rhythm backbone and unison singing to full instrumentation and harmony. This song isn\u2019t my favorite spiritual\u2014it doesn\u2019t have much of a tune and drags somewhat. But the guys do a good job with it. You can tell they\u2019re having a lot of fun, and for me as a listener, that enhances my own enjoyment of it. Tracey Phillips\u2019s piano work is impeccable and easily steals the show.<\/li>\n
- If God Didn\u2019t Care (featuring Devin): I just really like how this one flows. It\u2019s a slow, swaying piece with a bit of a Cathedrals sound. I like the precision of the vocals. Devin delivers a very smooth, rich performance. All the guys sound great on this track as a matter of fact. Ernie handles some very high harmony with his usual ease and confidence, Timmy provides some great \u201cbasement work,\u201d and Doug and Devin flesh out the sound beautifully.<\/li>\n
- That\u2019s How Rhythm Was Born (featuring Ernie): This was the probably the most unusual cover choice for the record. For a change, the guys picked something originally done by a female group\u2014the Boswell Sisters. But astonishingly, they make it sound like it was written for them. Just one more piece of evidence that these guys can literally pick anything<\/em> they like and make it their own. Appropriately, the production on this song has a very strong 40\u2032s feel. The classic, tight-knit band sound and the various instrumental improvisations make me feel like I\u2019m sitting in on the Boswell Sisters\u2019 own recording session. But that\u2019s the idea, of course. The highlight of the song is when Glen Duncan cuts loose on the fiddle during the musical bridge. I was immediately reminded of Joe Venuti, a popular studio violinist in the era this song was pulled from. What with one thing and another, this song literally inspired me to go pull out my collection of Bing Crosby & Andrews Sisters duets\u2014it sounds that authentic. Of course, the lyric makes reference to banjos, so the production wouldn\u2019t be complete without some dexterous pickin\u2019 in the mix\u2014listen closely at the end for some sweet descending licks. Interestingly, I feel like this song actually loses some of its flavor done live, mainly because they\u2019re working with a limited live band, so the more colorful bits of production (banjo, fiddle) get lost in the process.<\/li>\n
- It\u2019s Good to See the Sun (featuring Ernie): Nothing ground-breaking here, just a nice, slow, mellow piece about enjoying the sunshine of life while you have it. Although it\u2019s arranged to sound like an old song, the lyrics suggest that it\u2019s something newer. It is in fact co-penned by Haase, Haun, and Lindsey. Once again, Tracey Phillips provides the glue that holds the band together, expertly setting the mood with some delicious chords at the intro and closing with a lovely, tumbling waterfall of notes. Recommended listening on a lazy summer\u2019s day.<\/li>\n
- Walk Over God\u2019s Heaven (featuring Doug): I guessed from the samples that this was going to be a favorite before I ever heard it. I was right. The main instrument is (I believe) an electric guitar, and man,\u00a0 it just takes it away. I love how it never plays the same lick twice\u2014it\u2019s tweaked a little each time to keep things interesting. And then I love when the upright bass takes over at the end\u2014too sweet! And the b-3 organ spices things up beautifully throughout. Doug is obviously having a ball (as are all the guys) and does a great job. So I think I\u2019ve got this straight now\u2026we\u2019re gonna walk in the shoes, shout in the robe, and dance in the crown. Sounds good. Let\u2019s crank up the volume and hit the road! If this ain\u2019t driving music, I don\u2019t know what is. Roll down the windows? Sure, who\u2019s gonna stop me? I mean the guy next to me is blaring his heavy metal or whatever at 200 decibels, why not blare some good gospel back at him?<\/li>\n
- My Brother\u2019s Keeper (featuring Devin): Another smooth ballad. I like the acapella \u201cooooos\u201d to kick it off\u2014bit schmaltzy, but what the heck, I\u2019m a sucker for schmaltz. Lyrically, it\u2019s your typical \u201cmy brother is every man\u201d lyric, but I like how it turns around at the end: \u201cToday I\u2019m my brother\u2019s keeper\/But tomorrow he may be mine.\u201d Makes you think a little bit. Oh yes, and I\u2019d say this is definitely Devin\u2019s strongest feature on the project. He\u2019s comfortably within his range and sounds very natural and confident, with a nice, full-bodied tone.<\/li>\n
- Old-Fashioned Love (featuring Ernie): Well, even good projects deserve a little filler\u2026honestly, this is the only track I didn\u2019t import into my iTunes library when I got the CD. This features the famous kazoo solo, which has become the centerpiece of a comedy routine so popular that it\u2019s literally spawned a new product in the EHSS store\u2014plastic kazoos! But let\u2019s be honest\u2026while the routine is very funny done live, the song itself is rather forgettable. And the kazoo\u2026well let\u2019s just say it doesn\u2019t help. Again, makes a good comedy routine, but once you remove the live element, the end product leaves something to be desired.<\/li>\n
- Let It Go (featuring Tim): I just love songs I can relate to with my own personal life experiences. I love songs that meet me where I am. Case in point, this irresistible little number reminding us to let go of our grudges before we blow our tops. I fondly recall an incident from my early driving years\u2026like a good citizen, I was making a right turn into the nearest available lane. I couldn\u2019t possibly be in anybody\u2019s way\u2014or so I thought. That thought went right out the window when some idiot turned left into the exact same lane, forcing me to practice my defensive driving skills (read: slam the brakes) to avoid an unfortunate scene for all concerned. So you can imagine how moved I was when the following lyric from this song caught my ear: \u201cSomebody at the traffic light\/Was turning left as you turned right\/They cut you off and drove from sight\/So where\u2019s that golden rule?\u201d I couldn\u2019t believe it\u2014God surely must have inspired the writer to write this just for me. It just spoke to my heart. I\u2019m getting a little teary-eyed just thinking about it. Excuse me while I go grab a tissue or two\u2026 Okay, just kidding. But let\u2019s just say it struck a little close to home!<\/li>\n
- It\u2019s My Desire (featuring Devin): This is the \u201clisten to our new lead\u201d number that Ernie\u2019s taken to having Devin sing at each concert. I like the song\u2014though it does come off as a slightly inferior version of \u201cI\u2019d Rather Have Jesus.\u201d But Devin does a nice job with it. Interestingly, they leave off the key change after the first verse when they do this one live. Listening to the studio cut, I can see why\u2014Devin does sound a little strained after the key change. But he finishes strong, and the backup harmonies are just right\u2014they accentuate and complement Devin\u2019s work without being overpowering.<\/li>\n
- His Name is Wonderful: I pronounce this the gem of the project. It\u2019s completely acapella, which accentuates the harmonic interplay of the vocals. It starts in B flat, which happens to be the same key in which the group has taken to doing \u201cWonderful Grace of Jesus.\u201d They throw in an unexpected chord shift at the end of the first \u201calmighty God is he\u201d\u2014they hold out a four-three suspension, but instead of immediately resolving to the one, everybody else holds his place while the baritone steps down from a B flat to an A flat for a momentary key change to D<\/em> flat. Only then do they collapse back to the one for the rest of the chorus. I\u2019m not sure if I\u2019m entirely on board with it yet, but it\u2019s a neat twist. There\u2019s some great moving harmony second time through the chorus, and this time they all change key to D flat together and stay there for the rest of the song. The ending is just gorgeous\u2014wonderfully lush, intricate chords. I can\u2019t say enough good things about this arrangement. I hope they do more acapella work of this caliber on future projects. As of yet, they\u2019ve only begun to dip their toes into it, but here\u2019s hoping they continue to explore this sound. Frankly, I\u2019d like to see them do an entire record acapella one of these days\u2014perhaps an all-hymns project reminiscent of the Cathedrals\u2019 Worship His Glory<\/em>.<\/li>\n<\/ol>\n
Conclusion: Comparing this project to something like Get Away Jordan<\/em> or Dream On<\/em> is like comparing soft chalk to bright marker. As with Influenced I<\/em>, the guys obviously worked hard to create a deliberately vintage sound. Though the production is crisp and full, there\u2019s a down-to-earth, spontaneous feel to the instrumentation (and the vocals for that matter). It\u2019s precise without being glossy. It doesn\u2019t feel \u201cslick\u201d or \u201cpackaged.\u201d I haven\u2019t yet figured out whether they recorded their vocals on only two microphones like they did for Influenced I<\/em>. Cover art aside, I suspect they may not have, but even if they didn\u2019t, they did an excellent job capturing that same style they were aiming for with I1<\/em>. However, I think this project is a little tighter since they dropped the whole radio show concept from the first volume (which was cute, but disrupted the flow of the songs somewhat). Plus, if you don\u2019t count the intro, outro, and \u201cpoetry corner\u201d track from I1<\/em>, you\u2019re getting one more song for your money\u201411 versus 10. So for those reasons, I might give this sequel the edge over the first project, but I\u2019d have to listen to more songs from the first one to be sure.
\nUltimately, if you\u2019re looking for big ballads with powerful, deeply moving lyrics, you won\u2019t find them here. This is a pretty light, easy-listening album. But that\u2019s exactly what it was intended to be. It\u2019s not a landmark project, but it\u2019s a solid, enjoyable collection of songs that not only serves as Devin\u2019s major debut, but also showcases the group\u2019s maturing sound. This album is further proof that all \u201cboy band\u201d comparisons are yesterday\u2019s news. It\u2019s the work of a seasoned quartet who\u2019s discovering that sometimes less is more. Until their next big project (which is of course the Cathedrals tribute CD\/DVD combo), fans of the group will find plenty to keep them satisfied here in the meanwhile.
\n
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