Monday, December 31, 2007

Honoring History & Looking Forward.

I initially hesitated on posting on this topic, as this is no doubt a polarizing subject, but I feel I must.

The open letter from Dave Emery, the manager for the Chuck Wagon Gang, basically states that the NQC is forsaking its history because they have voted not to include them on the mainstage for 2008, instead offering them a spot on a showcase.

We must remember that James Blackwood and J. D. Sumner founded the NQC based on good quality, old-time gospel music.


While I agree with the "good quality" part, I disagree with the old-time part. James and JD started the convention in 1957. What is now considered "old-time music" was new and hip 50 years ago, but times have changed. If anything I would think that JD would want to see the NQC progress accordingly, instead of staying in 1957.

As much as people hate to admit it, the audience for southern gospel is getting older and older (and soon will be dying off). How can we as an industry expect to continue to grow if we cater to a dying audience? This is NOT a bash on the CWG. I understand and respect their long history in gospel music, but with all due respect, if you had to choose between an older group that sings old-style music over a younger, more progressive group to bring in a younger audience (and $$$), the choice is kind of a no-brainer. Do you think it's a coincidence that Beasley & Co. brought back Gaither and Signature Sound (and publicized the heck out of it??). They knew what they were doing.....they're taking advantage of that audience and trying to bring them in.

We can respect and honor our heritage, but at some point, we have to look at the industry and make the proper adjustments so we don't vanish into obscurity.

Is the magazine being replaced?

As recently as ten years ago, I would grab the Singing News at the bookstore to keep up with the SG industry. Now, being a monthly magazine, not everything was as current as it could be, but it was better than nothing.

Now, I can go to SingingNews.com (well, for the next 12+ hours, anyway) and a host of other websites to keep up with what's going on. I can get editorials, CD reviews, and the latest news almost instantaneously. Why would I want to subscribe to a magazine when I can get the majority of the info online?

Granted, the gap in publishing times actually worked against the industry sometimes when group shuffles would occur. People sing with groups for months at a time, by the time it would hit the magazine, it'd already be inaccurate. Today, you get the latest breaking news on who's singing with who usually the day it occurs (who would've thought my little blog would've been the one to break the news when Mercy's Mark got a new lead singer??).

If magazines such as the SN, Christian Voice, etc., want to keep up with the ever-changing news market, I think they need to make some changes. Shrink the magazine size and switch to a bi-weekly subscription as opposed to monthly. As it stands right now, the SN is fast-becoming a trade magazine (the number of ads is quickly overcoming the number of actual articles), and with the advent of online news sites and blogs, news is fast outdated.

Manufactured Perfection?

As is typical for each Christmas, I bought each of my brothers a couple CD's each for their presents. The two older brothers got compilations that included both new and old material (they're children of the 80's, so....). The younger brother, Kevin, got the new music.

After listening to it, he said that the CD he got (by a top-tier group with a quite a number of years under their belt) sounded WAY too manufactured. It was almost too perfect for his liking. The vocals were completely lined up with each other not just on harmonies, but on cut-offs, and even enunciation. It's as if the engineer sat down and said, "Okay, let's make these sound like one massive voice."

Curious, I listened to this same project, and came to a similar conclusion. The Antares is cranked to keep the harmonies dead on, and the phrasing, enunciation, cut offs, breaths....EVERYTHING was lined up. It was indeed "too perfect." The way Kevin put it, "I'd rather hear a few missed cut offs, but have it NATURAL than to hear a robotic quartet."

Not only that, but as I listened to it, I found that the overall mixing and mastering was done not to give the listener the best and smoothest listening ability, but for VOLUME. The tracks AND vocals were compressed to hades and back to the point that the S's and the T's were actually distorting digitally (which almost gives the mix a metallic sound, at least to my ears). Whatever header was left in the mix before mastering was obliterated, and the volume levels taken to the maximum. The result is an entirely unnatural sound that comes across as manufactured to perfection as opposed to pure human talent.

The first time I heard this was on an album by another top-tier group in 2000. It was just around the time that major compression was becoming the standard. The funny thing is, I could obtain the same sound from a flat mix and an old cassette player in our Aerostar (since it had a volume limiter on it).

I know that SG is trying its best to match the modern sounds of other musical genres today, at least from a production standpoint, but I have long said that the production values in mainstream music have gone DOWN THE TOILET. With the lack of talent in mainstream music today, the producers and engineers almost have to make up the difference with production tricks, and the result is a consumer who is accustomed to perfection that doesn't exist.

Perhaps this is a sign of what is happening to talent in SG as well. Are we really that strapped for naturally-good-sounding singers that we're willing to fudge the details with a little creative digital editing? I am all for advancing production quality and sound, but why should you sacrifice quality for laziness? It used to be that groups would spend hours just perfecting blend, timing, and phrasing. Now, the groups spend two days in a vocal booth and leave the perfecting to the engineer with ProTools.

UPDATE: Thanks to a friend on another forum, I came across this video that explains my point exactly....

Wednesday, December 26, 2007

YouTube Find of the Day

There are several versions of this song floating around YouTube land, but this is probably my favorite (aside from the 1993 "Live at Praise Gathering" video, which has yet to make it to "the Tube"). "Home Where I Belong" is a masterpiece written by Pat Terry, and sung beautifully by Mark Lowry. BJ Thomas did a version of it several years before, but in my opinion, Mark owns this song. See for yourself....

(Side note: this is one of the very few videos that shows the GVB lineup that included Buddy Mullins and Jonathan Pierce)

The Working Musician Review

Speaking of RSS feeds and linking to other bloggers, I'd like to take this opportunity to welcome a brand new member to the Blogworld - my brother, Kevin Boreing (a.k.a. Kevie B). Those of you who attended the [non-] NQC [-sanctioned] Blogger's Roundtable in September met Kevin (he was the one observing from the corner), and being inspired by his older brother (actually, he just had a lot of things he wanted to write himself!), he has joined the fray.

Kevin's blog, The Working Musician Review, is not necessarily southern gospel-related; his is a critique site for music and sound equipment and tools. Those of you concerned with Nick and Jessica (Trammell-Brown, not Lachey-Simpson) and the like probably won't find too much interest, but if you're looking for input on a new sound system, studio equipment, recording processes and techniques, and the like, this is the place to check out!!

As for experience, Kevin has spent the last 10 years involved (in some degree) in live audio and sound design, and is the founder of Wavemakers Media, a Cincinnati-based multimedia company that specializes in sound production, DJ services, and studio work, as well as a new video production division and graphic design. He is in charge of sound production for several area festivals and events. In short, he knows his stuff!!

I invite everyone to check out the newest blogger, and if you get a chance, leave him a comment of welcome!!

http://wavemakersmedia.blogspot.com

RSS Feeds

Thanks to the modern marvel known as Google (which is not only a noun, but also a verb apparently), I have the ability to create my own customized homepage with multiple topics of interest. I can also subscribe to any blog I want that has an RSS feed. This is how I keep up to date with all of the SG blog world (as well as some outside blogs). I have a special tab set up specifically for "blogs," and with a couple clicks, I can see any updates to my favorite blogs. It's a wonderful world!!

If there are any blogs out there who have RSS feeds, feel free to post them here in my comments section so that everyone (myself included) can add them to their homepages. And for those out there who are wondering, there is a link at the bottom of my page that says "Atom," that is how you subscribe to my blog (don't ask me, it's a Blogger thing).

Roy Webb

During his 12 Days of Christmas blogs, Daniel Mount mentioned Roy Webb and his venturing out as a soloist. To sum it up, he observed that Roy is taking on quite a challenge by not only going solo, but doing it as a pianist first and foremost, not a singer.

That's not to say that Roy can't sing (I'm sure he can at least carry a tune, as evidenced here), but judging by his website, it appears that he's banking on his abilities at the ivories to carry him. And if that's the case, I think he'll be safe talent wise, anyway.

The problem lies in the fact that southern gospel music is not the nicest industry to soloists of any type. It's taken years for the NQC to even allow soloists on the main stage, usually relegating them to "showcase status." Even outside the "National Quartet Circle, er, Convention," Kirk Talley has all but dropped below the radar in the past few years (for various reasons), Ivan Parker and Janet Paschal are doing shows together, and Mark Lowry keeps LordSong and Stan Whitmire on his bill. Even the soloists aren't truly solo anymore!!

Roy, however, is stepping into a unique situation. The two flagship gospel pianists, Anthony Burger and Roger Bennett, have both passed away.

Anthony took off as a solo pianist after years with the Kingsmen, and later with Gaither & Co. I don't think he ever was completely solo. I will say, after seeing one of his shows, that he COULD carry it on his own easily. Roger was never a soloist; he simply released solo CD's over the years while a member of either the Cathedrals or Legacy Five, and had built up such recognition that he became part of the "piano posse."

Yes, there are other pianists out there who doing solo material, but none have been as prominent as Bennett and Burger. Stan Whitmire is traveling with Lowry (and seems happy to do so), Gordon Mote doesn't tour as a soloist right now, and Stewart Vernado, while highly-praised, seems to stay to the smaller market.

This leaves a pretty much wide-open market for Roy to fill. He seems capable of putting together a show that won't tire easily. He has quite a dry sense of humor (kudos to whoever came up with the website intro!), and seems to be basing his new venture on jokes and piano playing, and by looking at his schedule, he appears to be teaming up with the Booth Brothers quite a bit, which should give him a pretty decent audience.

Monday, December 24, 2007

Merry Christmas to All - a mini memoir

Saturday evening, between finishing up a little bit of shopping and pulling a late shift at my long-standing part-time job at the Christian bookstore, I stopped at LaRosa's (Cincinnati pizza at it's finest!) for some dinner. I walked in, and the entire place was decorated with Christmas trees, village scenes, Christmas music, and an overall warm feeling. The waitress was an older lady, somewhat portly, and very sweet. I only intended to order a simple lasagna, but her demeanor talked me into breadsticks for an appetizer.

As she brought me my check, she smiled and said, "Have a happy holiday!" I smiled to myself, thinking about the ongoing political ruckus over whether or not someone COULD BE offended by the phrase, "Merry Christmas" (or "Happy Hannukah," or even "Happy Kwanzaa," although I highly doubt anyone would ever purposely wish me the the latter). I walked to the register to pay my bill, and the clerk (who just happened to be the General Manager) was laying on the schmutz a little too thick for my liking (as the manager of the restaurant, I understand that he has to set a standard for customer service, but I can't stand overly-polite - and often faked - service). I signed my credit card receipt (since NO ONE carries cash anymore) and put my wallet away as Mr. Niceguy gave his best contrived smile and said, "...and happy holidays to you, sir."

"Which one??" I asked under my breath, with a cynical smile on my face as I walked out the door and headed to the bookstore.

Family Christian Store was my first long-term job, which started in my senior year of high school. I have made many friends there over the years, some I still keep in contact with even after they've long-since ended their employment with the company. Over the years, I have remained on the payroll as an "on-call" helper, seeing as I am pretty familiar with the entire product line, as well as the store's general operation. Each year during Christmas, I'll usually work a few hours to help out with the rushes.

Several years ago, during one of these rushes, we were so backed up that my manager pulled me to the front of the store and assigned me the specific task of "line manager." This basically translated into "audience warmer;" keep the people waiting in line to be rung out entertained so they don't get hostile. This worked well for most of the season (except for those two hecklers who seemed determine to watch a kid bomb an ad-libbed standup routine at the front of a Christian bookstore), as I would essentially hold conversations with people waiting.

Even when I had to run register, I would still keep the conversations and jokes going, sometimes to diffuse an exasperated customer who can't use 10 coupons on one item, but more often than not just to keep things light. I would often end the transactions by thanking the customer for shopping with us (required) and then say, "Merry Christmas!" Most people wouldn't think twice about it until I tagged with it, "I can say that here and not get sued!!"

When I was growing up, we had a VHS tape of "Christmas Eve on Sesame Street," wherein Oscar the Grouch convinces Big Bird that Santa is too fat to fit down the chimney, and therefore can't leave any presents for everyone. Big Bird, determined to find out just how Santa does his thing, ultimately winds up on the roof, waiting for the jolly old guy to show up. It's a cute show that I still watch today for "sentimental value" (which is just a fancy way of saying that I still watch kids' shows).

One line in that show could easily end the entire "Happy Holidays/Merry Christmas" debate. Mr. Hooper, the elderly store keeper, is walking around helping deliver presents to everyone. He stops by Bert and Ernie's apartment specifically to give them two very special gifts and fondly wish them a "MERRY CHRISTMAS!" Everyone, it was assumed, celebrated Christmas on Sesame Street....that is, until Bob stopped Mr. Hooper on the street, smiles, and said, "Mr. Hooper, Happy Hannukah!" The old man smiled and said, "Thank you, Bob, and Merry Christmas to you!"

A children's show from 1979 got it dead on. They didn't make a big deal over making sure everyone was included. They didnt' turn it into a lesson of diversity and inclusion. They simply made it known that not everyone celebrates Christmas (and that their beliefs and holidays were still respected). And those who did NOT celebrate Christmas (Mr. Hooper) were NOT offended by "Merry Christmas." He even joined in!!

As always, it seems that so many of the problems we face as adults could be solved if we just looked at it from a child's point of view....

Right now, it is about 10:30am on Christmas Eve. I am writing this particular, non-music-related blog at my desk at work. Tonight, my family will gather together for our annual Christmas celebration. A fun and memorable time will be had by all.

It is my prayer that everyone out there in Blogland have a wonderful and Merry Christmas!! Unless anything major happens between now and 2008, I'm gonna go offline for the remainder of 2007, and will emerge faithfully come January!!

MERRY CHRISTMAS TO ALL!!!!!!

Wednesday, December 19, 2007

"God Must Be Busy"

There have been a number of "not-quite-gospel" songs over the years. Songs that try to convey a message of spiritualism, but don't quite get that message right, or put it in such a way that it tends to alienate more than it does draw listeners. Josh Turner, country music's gospel ambassador of choice for the moment, was the first one I really commented on with his "Me and God" song. It's not the first song to try to wrap a gospel message in a somewhat lopsided package, but at the time, was the most heard.

More recently, I heard "God Must Be Busy" by Brooks & Dunn while I was out this past weekend. For an act who had a rather noticable hit with "Believe," (itself more of a half-hearted testimony than a gospel song), I found myself stopping what I was doing to figure out where they were going with this song.

For those unfamiliar, the song talks about all of the disasters in the world - war, suffering, missing children, violence, pain - saying that it must be due to the fact that God is too busy to worry about it. The message there is understandable, I admit; sometimes it DOES feel like God is too busy. This is not a new idea by any means. However, by the time you get to the chorus, you hope that the outlook at least looks SOMEWHAT brighter....

And I know in the big picture
I'm just a speck of sand
and God's got better things to do
Than look out for one man
I know He's heard my prayers
Cause he hears everything
He just ain't answered back
Or He'd bring you back to me
God must be busy


WAIT A MINUTE.... We have what appears to be an honest look at a person's faith (or lack thereof), and it turns out to be just a bitter ex-lover who is made because God won't bring their significant other back?!?! "God must be busy, since he won't bring you back?!?!?!" That just makes the writer go from a philosophical theologist to a manic depressive....

Monday, December 17, 2007

Country kick continues....

I have been on a country music kick lately, it appears. This is something I have often been curious about, so I thought I'd put it here for others to offer opinions on.


Back in the 1970's, there was the Hee Haw Gospel Quartet, made up of Buck Owens, Roy Clark, Grandpa Jones, and Kenny Price; four country singers who comprised a gospel quartet. This was rather successful, yielding several albums and very popular TV segments. But since then, it appears that no one else has had this idea.

Now, I previously reviewed the Songs 4 Worship: Country project, and I still stand by my opinion, but I wonder if someone would take a similar idea, but make quartets out of current country stars.

Hypothetically speaking, these are some country singers I feel could pull off the various vocal parts, and in various mixtures, might make some interesting quartets:

Tenor: Jimmy Fortune, Collin Raye, Vince Gill
Lead: Ronnie Dunn, Clint Black, Tim McGraw
Baritone: Randy Owen, Gary Allan, George Strait
Bass: Josh Turner, Trace Adkins, Don Williams

Yes, I only went with three, but this is to get things started. Feel free to post more, and to mix them up in the combo's you like to see.

Reverse Crossover - Observations

Continuing from my post about Reverse Crossover from gospel to country music, I found some interesting examples that we could all learn from.

  • Russ Taff - Winds Of Change, released in 1995, it appears that Taff was attempting to take his waining CCM profile and transfer it to a country audience (either that, or he had just written a few country songs that he wanted to record). Either way, the result was somewhat of an uneven album. At a time when artists like Brooks & Dunn and Garth were hitting it big and Tim McGraw was having his first taste of success, the common theme seemed to be "smooth is good," as opposed to Russ' "scream it at 'em" pentecostal approach. It'd be like Don Williams trying to do death metal.....just doesn't quite mesh. Kudos to Russ for going back to gospel music, where he can get away with that style on songs like "Ain't No Grave."
  • Monument Quartet - A recent announcement by Monument basically states, "We're gonna be the next Statler Brothers," meaning they're gonna start singing "family-friendly" country music in their shows, as well as patriotic and standard gospel songs. Granted, this approach worked for the Statlers for quite a few years, but I'm sure there's a reason they retired....that kind of show isn't as popular anymore, unless you're in the Geritol group. They will make some money off of it for a while, but in the end, I fear they may be shooting themselves in the foot.
  • DMB - The Dixie Melody Boys (well, their band, anyway) attempted to make it as a country band in the mid-80's, ala Alabama, Exile, et al, with a bit of critical acclaim, but very little commercial success. I have not heard a lot from this band, other than historical accounts, but from what I HAVE heard, they were at least comparable to other country bands of the time.
Now, we could obviously name the two big groups who came from gospel music, the Statlers, and The Oak Ridge Boys, who were able to make the crossover to country music, but ask either of these groups what they had to do to make it, and they'll tell ya...."sing country songs!" The Oaks struggled for 5 years with attempted crossovers to country radio using songs about "the birds and the clouds," but DJ's were laughing them off. To quote Duane Allen, "We had to sing about a saloon to get the disc jockeys to play us!"

It may seem like I'm going against my previous post, but in reality, this is something I am 100% intrigued by, and fully believe can be done with the just the right circumstances. The trick is finding the correct formula for doing this, which as you can tell from the above examples, is REALLY hard to find!!

Tuesday, December 11, 2007

Bookends

Coomer's Cove found a funny post over at the Singing News forums concerning tenors and basses. I'll let you guys mosie over there and check it out for yourself, but here's my little contribution:

The one thing I hear more than anything out of Gaylen is this: "We gotta have our bookends!"

Monday, December 3, 2007

Gospel music on Country radio

While having a discussion with a friend over lunch yesterday, the idea of releasing gospel music to country radio came up. In years past, most (if not all) country stations would play gospel music exclusively on Sunday mornings, and often would slip the less-preachy songs into their regular rotation throughout the week. Nowadays, it seems like more and more country artists are just recording gospel songs themselves, somewhat monopolizing what is left of the southern gospel market.

You know the songs I'm talking about. "Jesus Take The Wheel," "Three Wooden Crosses," "Believe," and every other Josh Turner single, are all "reverse crossover" songs, so to speak. They are released to country radio as country songs, then are adopted by the gospel crowd. If you walk into a Christian bookstore nowadays, you can find albums like "Country Salutes Gospel," "Country Comes Home," and the like, with country artists singing gospel music. As I listen to Solid Gospel, I have heard Brad Paisley & Dolly Parton no less than 3 times singing "When I Get Where I'm Going."

Why can't southern gospel go in the other direction??

There are plenty of gospel songs that could easily fit on FM Country radio nowadays. Give me one good reason why the Gaither Vocal Band's "Give It Away" couldn't hit the country charts based on the catchy melody and repetitive lyrics alone. Add the country track by producer Michael Sykes (who spent some time in country music in the 80's), and you should have the perfect recipe for a country crossover.

I think if someone were to simply spend the $$$ on a production, and hire someone who knows the ropes in country music, gospel artists could easily hit the country charts. Jeff & Sheri Easter definitely have done some country songs (I heard them do Don Williams' mid-70's hit, "My Best Friend," at the NQC a few years back), let them take a stab at dethroning Tim & Faith.

Now, many will say, "You know country radio will NEVER let gospel artists on the air!! Keep dreaming!" Maybe not on their own, but get a unique paring. I'm not talking about Tanya Tucker & The Imperials (yes, they really are doing a Christmas tour together this year!!). Legacy Five recorded a Randy Travis tune, have them work together.

I think Gaither may be already tinkering with this idea to an extent with his latest video taping. He has included Marty Stuart, Vince Gill, George Jones, et. al, in a "Country Bluegrass Homecoming." I'm not sure the artist roster is the kind he would need to attract mainstream country radio, but it's a start. I just hope it doesn't turn into the "Bluegrass Homecoming" from a few years back that, while creatively good, didn't receive near the recognition of some of his other projects.

Another problem with breaking into country radio is that it is almost entirely label-driven. Unless you are under one of the top-three label umbrellas, your odds are next to none. My answer to this, at least for some artists, is that Daywind has a distribution deal with Word. Word and Curb are under the same label umbrella. Curb is the home to Mr. Faith Hill himself, Tim McGraw. So, we not only have the Hoppers on Canaan/Word now, we also have the potential for gospel's biggest label, Daywind, to get country airplay with the right songs.

I'm not saying everyone could qualify. All due respect to Gerald Wolfe, Greater Vision just wouldn't cut it with Rascal Flatts, but I believe that the more contemporary voices like Danny Riley, Marshall Hall, and even Doug Anderson could easily fit on country radio with the right song.

I am NOT saying that gospel artist should COMPROMISE their material for country acceptance. I'm just saying that "Calvary Answers For Me" wouldn't work near as well as something that's a little less preachy. Maybe a story song (country is REALLY big on stories!). Not only that, but production value across the majority of the industry would have to come WAY up. No more five-piece bands in a small studio trying not to break the budget. I may be preaching to the choir here, but fork out the dough, make the BEST project possible, and send it out. Trust me, I've heard some of the country stuff lately, and their production value is decreasing rapidly, but is still ahead of SG.

Anyone who says that country radio is not the home for gospel music, take these two points into consideration. First, the majority of the gospel music audience has their radio tuned to a country station during the week anyway. Might as well give them something they'd enjoy.

Secondly, those within the industry who are trying to say, "Well, we're not country artists, so we shouldn't try to get on country radio because it's secular....", I say.....DUH!!! Would you rather watch the industry implode on itself simply because it refuses to grow, or would you like to see it reach new levels with much broader appeal?? Not only that, but think of the souls that could be reached if they were to hear God's word in the middle of their work day or their drive home! That alone should be worth the labor.

Actually, as I was writing this, the idea hit me (and if Mr. Gaither should happen to find this particular blog, please consider this....); try releasing Signature Sound's "Until We Fly Away" to country radio. Doug's got the voice. The song has the modern arrangement and very tight, solid production. The message is not real preachy, but very sound, and with the groups' reputation for....um.....less-than-conservative stage dress, this might be an opportunity to take a current gospel hit and get them even wider exposure.

Okay, if anyone reading this has anything to add, PLEASE do. I wanna make sure I'm not completely off my rocker on this one!