Imperials Fiasco

I'll admit, I've been confused myself by which group on the road today is actually "The Imperials." There is a group that includes Terry Blackwood, Joe Moscheo, and Sherman Andrus that calls themselves "The Imperials;" there's a group featuring Armond Morales and Dave Will named "The Classic Imperials" (although according to their website, they're now using some sort of Crown symbol). Then there's what many are referring to as "a younger group" who is using the name "The Imperials." To say the least, you have a few options!!

Going by simple logic and natural progression, the "younger group" should be the official Imperials. This is the group that stemmed from the original 1964 lineup. As with many long-term groups, there had been quite a bit of turnover over the course of almost 4 decades, but the one constant was group owner, Armond Morales. You would think that as long as Armond was with the group, there was no question of who the Imperials were, much like Ed O'Neill with the Dixie Melody Boys, George and Glen with the Cathedrals, or Bill with the Gaither Vocal Band.

The problem lies, apparently, when Armond decided to leave the group. Ownership of the group name became fuzzy (at least in some peoples' eyes), and the question of who could actually call themselves "The Imperials" became a point of disposition. Armond, from what I can tell, still feels that he can use the Imperials name in some form (whether he believes he still owns it, should own it, or just deserves it). The current group of Imperials (which, sadly for the situation, includes Armond's son, Jason) disagrees, claiming that multiple groups using the same (or a similar) name is not only confusing, but detrimental to their own careers.

According to an "open letter" on their website, when Armond left the group, he not only gave his blessing and "passed the mantle" to the current group, but also signed legal documents releasing his ability to use the name "Imperials," as well as any common law interest. The entire situation is quite complicated, and to try to explain it here would take too long, so I'll refer you to their site for that. To make a long story short, after all of these transactions occurred, Armond began using the name "Classic Imperials" to promote a new group (made up of 50% old Imperial members). It's a nice gimmick, but can obviously lead to some confusion.

In the mean time, Terry, Joe, and Sherman have begun billing themselves as "The Imperials." With the exception of Terry's name, these three haven't really had a whole lot of recognition outside of the Imperials, and these three are usually the ones who take part in most of the Elvis tribute shows (as either "The Imperials" or "Former Imperials Members"), so I can see why they'd want to use the name, but in reality, it seems like they're just trying to take advantage of the fact that they were once in the group (and used to sing backup for the king of rock 'n' roll). It'd be like Mike English, Mark Lowry, Terry Franklin, and another bass singer claiming to be the Gaither Vocal Band....it just ain't right.

Unless I have read their open letter incorrectly, it seems that in the entire 40+ years that the Imperials have existed, no one in the group ever thought to register the name as a trademark!! As a result, someone else had registered the name at one point, still holds the name, and is putting a kink in the entire proceeding. Talk about dumb luck!! Not only are they fighting each other over the name, they now have to go through a third party (who, at least from what I can tell, has nothing to do with any of the existing "Imperials" groups). As a result, trying to prove ownership of the name is that much harder.

Back in the late 1950's, Wally Fowler gave Smitty Gatlin use of the name "Oak Ridge" in exchange for debts he owed. Several years later, Fowler tried to start a new group using the "Oak Ridge" name. Gatlin sued Fowler, and a judge ruled that Fowler could not use the name "Oak Ridge" or anything "confusingly similar" as a group name. In a 1969 TV appearance, when asked if they go by "Oak Ridge Quartet" or "Oak Ridge Boys," Duane Allen responded, "We go by both names, and we OWN both names, but we prefer 'Oak Ridge Boys'." To this day, both "Oak Ridge Quartet" and "Oak Ridge Boys" are trademarked by the group. None of the current members were in the group at its inception (in fact, at least one of them hadn't even been born yet!), and plenty of turnover occurred, but like any business that sees a change in management, group members would join, leave, buy in, and get bought out.

According to the "younger group" of Imperials, the group had indeed bought out the group from Armond Morales, making them the rightful owners of MOSH, Inc., which is the company that the Imperials operate under. That alone should give them the right to use the name, but again, with the trademark being in question anyway, it appears that at least two groups are taking advantage of the mishap. Ultimately, it's going to be up to a judge to determine who rightfully owns the name, who has the right to use the name, and who will have to make some changes.

To add to the confusion, a LOT of publicity has been put into a "new" release by The Imperials - a "lost album" of material recorded in 1977 by Armond Morales, Jim Murray, Russ Taff, and Dave Will. At a time when the current group is trying to establish themselves, we have a project reminding us of a past group. Inconvenient timing? I wonder if any of the current members had to sign off on that release, or if Armond did (if anyone outside of Word had any say in its release).

On a side note, it appears that the Classic Imperials are (at least for the time being) taking a cue from Prince; they are using an elaborate crown logo (with a strategically placed "I" in the middle) and calling themselves, "The Artist Formerly Known As The Imperials." It's not TECHNICALLY using the name, but there's no question about who they are trying to be. It's almost like they are mocking the current group (and, intentionally or not, parodying a rock singer) just so they can still identify with the old monicker.

This isn't the first time that a group has become involved in legal proceedings over a name. Ed Enoch had to change the Stamps name to Golden Covenant until he could secure the name from JD Sumner's estate. Same with the Kingsmen (who were briefly known as the Carolina Boys) and the estate of Eldridge Fox. In both cases, however, the previous owners were deceased, and without stipulations in a living will, transitions involve time. Triumphant was originally known as Integrity for about a year until the name was called into question by another organization, but a simple change took place, and all was well.

In the case, however, it appears that there will be no simple answer....

Contributors

Daniel Mount brought in a contributor during Christmas, and Wes Burke did the same on his blog recently. Does this bring blogs one step closer to becoming replacements for standard print publications?

When an artist covers themselves

The tracklist for the new GVB album, Lovin' Life, got me to thinking....why does an artist feel the need to cover their own material?

I can understand SOME instances where this works. When the Gold City lineup was basically rebuilt in the early 90's, they released a project called Classics, which was described as "the new Gold City singing old Gold City songs." With one exception, they just took the tracks from the original recordings and added the new vocalists. While not necessarily a "new" album, the idea was interesting at the time (although it became somewhat of a mixed bag, as it became a source of comparison between the two eras....do you like Jay's or Brian's version of "John Saw" better, for example). The last I heard, GC was working on a "Classics Volume 2" project; while I haven't heard any official confirmation of such, this video might be an indication to the affirmative. This would actually make a little more sense this time around because, unless they cover any of their Daywind material, this really will be an entirely new group singing the songs.

The Cathedrals had a history of covering their old material, although I think this was more born out of necessity than choice, at least in some instances. They covered "The Last Sunday" within 5-6 years of its original release, but it was covered on a table project, which makes me guess that they may have run out of the original Canaan Records version (or it had gone out of print) by the time they cut the Greater album in 1982. Other covers include "Shout Over Heaven," and "Statue of Liberty," among others, but these were also done on two different labels, and my guess would be that the old versions just went out of print. They may have also wanted to do something similar to Gold City, in that they were showing the new group doing the old songs, but I tend to lean to the former in this instance.

The Gaither Vocal Band, on the other hand, is a different situation altogether. About every two or three albums, you got a different group of some sort due to the "revolving door" nature of members joining and leaving. For example, between 1990 and 2000, the longest streak of albums featuring the same lineup was three (and this was the Phelps, Penrod, Lowry, Gaither combo). Other than that, you have two from the Murray/English combo, two with the Franklin/English group, only ONE with Pierce/Mullins, and two with Pierce and Penrod. So, if you bought any two GVB albums produced in the 90's, you stood a good chance of at least one member being different between the two.

I can understand doing covers in this instance, at least to an extent, because you really were getting a different group, but it seems like they recycle songs a LOT more than other artists, especially when they really don't have to. What really doesn't make sense is that these songs were just released within the last decade and are still in print. I was rather surprised to see "I'll Tell It Wherever I Go" on the Give It Away project, but when I found out that they just recut vocals on the existing music track, I just had to scratch my head. The fact that they singled it just made it all the more bizarre. If you're gonna cover a song, at least take the time to do a new track.

Now the new album appears to include TWO 90's covers: "Search Me Lord" and "Build An Ark." Both of these songs are still available and in print on their original recordings ("Search Me Lord" was on Southern Classics Volume II and "Build An Ark" was on the masterpiece, Testify). I have been told that "Search Me Lord" just recycled the SC2 track. I have not heard whether "Build An Ark" does this as well, but again, I have to ask, "Why?". The only possible reason I can think of is to put the new group's voices to the track, but in the case of "Search Me Lord," you only really have two new voices, as this was from Guy's first project with the group. Given this setup, I doubt that "Build An Ark" is an all-new cut.

Now, my all-time favorite group, The Oak Ridge Boys, have recut their big hit, "Thank God For Kids" twice. The first time was in 1995, and Steve Sanders was on lead. Unfortunately, Sanders left the group a month after the album was released. It was recut again with a "God & Country"-themed album, Colors, with William Lee Golden back on lead. Each time, a brand new track was cut, and the song was designed to fit with the project. In the instance of the GVB, however, there is no real reason to include these songs unless it was just to bring them back to the stage.

Now, I guess my question will be....will Signature Sound ever recut "Stand By Me".....

Michael English - "The Prodigal Comes Home"

Some may be questioning why I'm reviewing a contemporary project on a southern gospel blog. I have two reasons. #1 - Michael English got his start as Mike English belting out songs for the Goodmans and the Singing Americans int he early 80's. Can't get much more SoGo than that! #2 - it's my blog, and I'll review it if I want to! Being a reputable source of information is important to me, but there are times where executive decision making takes a backseat to the fan boy.

As I have stated at least once before, I have been anticipating this project since I first heard the title track nearly two years ago on MySpace. The song was, from what I understand, to be included on Michael's Greatest Hits package when it was in its developing stages, but didn't make the final cut. I'm glad they decided to hold onto it, because it became the basis for this new project (as well as his autobiography - the only book I've ever read cover-to-cover in one setting).

To fully understand the significance of this project, one must backtrack about 15 years or so. In the early 90's, Michael English was THE hot item in Christian music. He had been spending several years working as the lead singer for the Gaither Vocal Band (at the height of their "inspirational" movement), and had recently recorded two very successful solo projects. His start was really starting to shoot upward, and in a matter of a few short years, he became one of the top draws in the industry with a full-production stage show and sell-out concert halls. It all came to a [rather ironic] peak in 1994 when Michael won several Dove Awards, including Artist of the Year, which broke Steven Curtis Chapman's long-time reign.

Anyone who has followed Christian music is familiar with what happened next. It almost goes without saying nowadays, and the details have been well documented, but in a nutshell, the bottom fell out following a MUCH publicized scandal (which I won't go into here). In the years that followed, Michael's life began to spiral out of control, culminating in several visits to rehab for painkiller addiction.

He had made an attempt as a "comeback" in 2000 with Heaven To Earth, but he admittedly was intoxicated during much of the recording sessions, and just as the project was being released, he was arrested on drug charges. Since then, while he hasn't released any material of his own (with the exception of his 2003 Christmas CD), he has definitely had his hand in gospel music as a producer and background vocalist (most notably working with former partner, Mark Lowry). His Greatest Hits collection, released in 2006, included his first new solo efforts in nearly 6 years. Perhaps this was Curb Records testing the waters to see how much appeal English would still have.

In the end, I feel that it was well worth the wait for this project. Michael English's first all-new solo project in 8 years definitely lives up to the expectations (and exceeds it). Considering the last time English really hit the gospel music scene full-blast was in 1992 with his Hope project (which heavily-reflected the early 90's synth-heavy pop sound), listeners will find this to be very relevant to today's market. Songs like "Sanctuary" and "A New Day" have a driving rock sound comparable to artists like Casting Crowns (not a huge surprise there, as the project was co-produced by Sawyer Brown's Mark Miller, who has worked closely with Casting Crowns as their producer). "Break Through" has a modern "FM Rock" feel to it with a 3/4 power ballad tempo, also an easy fit for modern CCM.

The moving ballads on this project are what really stand out, however. The lead off single, "The Only Thing Good In Me," is an interesting perspective on those in ministry who struggles just like everyone. "Feels Like Redemption," the "last-minute addition" to the project, is being pushed to Southern Gospel radio, and while I feel this is a wonderful song, it may have trouble on the more conservative stations because of it's contemporary feel. I doubt that this is a priority for Curb, but it is a nice idea to re-introduce Michael to the audience that originally gave him a home.

My favorite cuts on this project are (in no particular order) "Don't Think I'm Not Thankful," "Time," and "The Prodigal Son." "Don't Think I'm Not Thankful" sounds like a modern country song (and could probably be done just as easily by Keith Urban), and I wouldn't be surprised if Curb tries its hand at some country airplay with the song. "Time" is a stripped-down, restrained praise song, one that I would not be surprised to see a SG group cover. The title track, while a little different as far as chord structure, pretty much sums up the entire project (and English's life to this point). As I said, this was the first song I heard from this project, and it is what initially got me so interested in hearing the final product. It is also unique in that English's old bandmate (and current Rascal Flatts member) Jay DeMarcus helped in producing the track. Fans of Michael will remember Jay from his TV show on TBN.

The only song that doesn't quite seem to fit in the mix is "Have A Little Faith In Me." The liner notes have this listed as "A song for Marcie," English's wife. It's a touching tribute to the woman who has helped to keep his life straightened out, but from a commercial standpoint, kinda sticks out a bit. It's not the first time (and definitely won't be the last) that an artist has covered a song for a loved one (does anyone remember when Steven Curtis Chapman covered "I'm Gonna Be (500 Miles)" on his All About Love project??).

What really stands out to me about this project is the production quality. In a day and age where CD's are mastered to be as loud (and compressed) as humanly possible, these tracks sound very clean and crisp. There is still a noticable amount of compression but it's not overdone. On a song like "Don't Think I'm Not Thankful," it could've easily been drowned out in the mastering process, but it comes across nicely. The heavy, driving songs push this a little further, but that's to be expected if they want to get some CCM airplay.

I truly believe that, if promoted properly, this could be the project that finally gives Michael English the [positive] attention he deserves within the industry. He is going on tour with Avalon to promote it, and a couple singles have already been sent to radio, so it has the makings of a great album.

P.S. - Here's a slight "I told you so" to David Bruce Murray....I went to Wal-Mart last night, about 10 minutes after midnight, and sure enough, sitting in the CD rack was.....yep, you guessed it!!

I was actually pleasantly surprised. I've done the "midnight shopper" deal several times at Wal-Mart (and Meijer and other 24-hour department stores) before, and was only successful once in 2002 with Freedom Band. Granted, Michael is on Curb Records, which has a very solid reputation for being represented in mainstream locations, but outside of the CCM world (so far), this album hasn't gotten a whole lot of attention. Regardless, I was perfectly happy to pick up a copy.

I will say that it seems one of the tracks have been replaced. "Walk On Some Water," which was listed on the original distribution sheet a few months back, is absent, and replaced with "Feels Like Redemption," which is now his first southern gospel single.

So, DBM....it kinda goes without saying, but I told you so, buddy!! :)

Jimmy Fortune - "I Believe"

With the announcement of the Statlers being inducted in the Country Music Hall of Fame, I thought now would be a good time to review Jimmy Fortune's gospel CD, I Believe.

From a production standpoint, part of this CD kinda sounds like an indie release (which it was until Song Garden released it), but that is part of what gives it its charm. The mixing is rather tight (more so than When One Door Closes, Fortune's debut solo release), and while the overall sound is somewhat tinny at times, it's very clear and clean for the most part. My only complaint would be the overuse of the Antares on a couple numbers (in particular, "He Touched Me," in which his voice actually is "bent" a little to make the note), but overall, a very professional-sounding project.

The song selection was also surprisingly strong. Unlike his previous project, only two songs were composed by Fortune; the rest were either pulled from other catalogs or are covers of standards. Of the two songs written by Fortune, one is a blatant SoGo Quartet number ("He's Gettin' Me Ready") which could easily be done by, say, Legacy Five or Gold City. The other is a somewhat generic (if not still moving) testimony, "I Believe." While not necessarily the strongest song on the project, it still is a nice effort. The string intro is a nice touch, but I would've preferred live strings as opposed to the synths.

The two best songs on this collection, however, were written by Tony Brower. "Be With Me" is somewhat remeniscent of "Rise Again," in that it tells the story of Christ's crucifixion in the first person, but rather than addressing the crowd, He is speaking directly with the Father. The details are what makes this song work so well. Lines like, "It's just like You said it'd be/Kinda strange to finally see it all unfolding," make everything feel so real. It is quite the hidden gem. "I Wrote It In Red," while not necessarily the most original idea, once again gets its strength in the details. What could easily fall into the trap of red-letter euphemisms instead gets is power from describing the doubt that we feel as Christians, the trials we endure, and how no matter what, God will be there for us; it was so important that he "wrote it in red." The production on this track is almost a throwback to the mid-to-late-80's country ballads (especially with the electric guitar voices), but given that this is where Fortune really made his name, this is not necessarily a bad thing.

It seems like Jimmy is trying his best to carve his own niche as opposed to following on the Statlers' coattails. The opening song, "Take Me There," lends itself more to contemporary Christian than, say, "Noah Found Grace In The Eyes Of The Lord," and his arrangement of "Amazing Grace" sounds quite similar to Billy Ray Cyrus' rendition on his The Other Side project with a blues/rock feel. "That's What I Call Love" has a modern country feel to it (and probably the most commercial sound of project).

As for the other covers, "He Touched Me" is pretty much like any other version - rather vanilla, typical modulation, not all that bad, but unremarkable nonetheless. "How Great Thou Art" is a stripped-down arrangement with just Fortune and a piano. While this is a good version, songs like these have been done so many times that it's hard to get enthused when someone else records it. That's not really the artist's fault; there's only so many ways someone can do these songs!

That's not to say that all of the cover songs don't work. "I Fly Away" is pretty much pure Southern Gospel, with slight bluegrass overtones (and a lightening-fast dobro solo). "Over The Sunset Mountain" is done beautifully in a straight-ahead bluegrass arrangement. The harmonies, simple acoustic arrangement, and restrained vocal performance make this quite a nice change of pace. It may seem slightly out of place among songs like "Take Me There" and "That's What I Call Love," but given Fortune's versatility, it works nicely.

The only track that left me scratching my head was the inclusion of "The Lord's Prayer." It is nothing more than Fortune, for lack of a better term, reciting the prayer on melody acapella. It's a strange choice compared to the rest of the project; it would be like someone dropping a Catholic mass in the middle of a Pentecostal service.....it just doesn't mesh. While his intentions I'm sure were good, from the aspect of an entire album, it brings an otherwise enjoyable project to a screeching halt. It's no wonder he followed it up with "I'll Fly Away," any other song, and the project may not have recovered.

It's a shame that this project just isn't getting the attention it so rightly deserves. As I stated before, the only way I've been able to get a hold of this CD is by ordering it through jimmyfortune.com. I haven't seen it in stores (for whatever reason), and it's a shame, because it could be quite a seller, especially given the Statlers' recent induction announcement.

If you get a chance, order yourself a copy of this CD. It's well-worth a listen!

It didn't happen by accident

If you wanna see something funny, you should see me when I get to talking to other insiders about the "business side" of SG (or music as a whole). My brain switches to sponge mode, and I soak up every ounce of input I can get. This usually happens when I get a rare chance to sit down with those who have been in the industry for a while and have quite a bit to share. As a result, I wind up with a wealth (and eclectic mix) of information that just seems to file itself away in my brain for future use.

This past weekend was just such an instance. I got to have lunch with a couple friends (SHOUT OUT ;) ) who have "been around," so to speak, in the business. As soon as the topic of discussion turned from "nice show, where are you headed next?" to "what do you think of products hitting the marketplace today?", I become a wide-eyed vaccuum of knowledge (forgive the analogy, it's early in the morning!).

One thing that came up shortly before the end of lunch was the idea that all of the major success stories within SG (or any industry, music or otherwise, for that matter) "didn't happen by accident." They involved careful planning, consideration, analysis, and good old-fashioned WORK. Wanna be a better singer? WORK at it. Wanna release a top-tier project? Sit down, put the time into it, and PLAN it out. Wanna make an impact? Take a look around you, find out what your target consumer is, and create a product that not only meets, but EXCEEDS that consumer's expectations.

Many of the great artists in SG, both past and present, didn't become great on their own. They practiced (forgive the term) religiously. The Statesmen would do their morning radio show and head straight for a rehearsal room and practice....DAILY. They didn't just come together one day and say, "Wow, that sounds great! Let's get a couple mic's and hit the road!" Even today, some of the best vocalists are students of vocal coaches. Brock Speer, even into his later years, would drive (if I remember correctly) once a month to Florida to take vocal lessons. BROCK SPEER! A person who had been singing literally his entire life, would visit a vocal coach.

As far as product goes....when's the last time you heard a project that just flat-out blew you away? I'm not talking, "Relevant for it's day and time," I'm talking that "timeless" feel to it; one that could easily be played 10-15 years from now and STILL sound good? My guess is that it's been a while. Why is that? Because people are so concerned with "now, now, now." They want to put a project out, regardless of quality, just to have something to sell. There is very little (if any) planning ahead. More often than not, it's a case of, "It's not the best, but we need it on the table." This, to me anyway, is a huge shot in the foot. Sure, it takes more time, more money, and more effort. Again....success doesn't just "happen," it takes all of these elements.

Every project, in some form, is a representation of your group at that time. It becomes a piece of history. Will you be able to look back on this album and say, "Man, that was a good project," or will you say, "Man, I wish that CD would just disappear"?? If you're answering with the latter, then you need to sit down and take a look at where you are and where you want to be (and the steps you're taking to get there).

I have a feeling there are at least a couple people out there who will challenge me and say, "It's a ministry, God will provide, who are we to 'plan out' God's work?" Yes, this is true to an extent. We ARE providing a ministry for God, but how many times have you heard, "God will help those who help themselves"? God didn't build the ark for Noah. He simply game him the specs and said, "Get crackin'." He gave Noah the TOOLS he needed, but Noah had to do the work. It is the same principle here. He gives us, as artists, musicians, singers, what have you, the TOOLS we need to build a solid ministry. It is up to US to use those tools to build the best, most solid ministry we can for Him. What kind of testimony are we showing when we're saying, "Well, this is good enough, no one will know the difference."

While the average listener/audience member may not know the difference, God sure knows!!

Clarification

Okay, let's get one thing straight here (which I apparently forgot to mention in my previous post)....

Younger audience DOES NOT....I repeat....DOES NOT mean CONTEMPORARY MUSIC.

I have seen a few comments questioning my opinion, thinking that I meant that Southern Gospel needs to sound more contemporary to attract a younger audience. This is NOT the case. Southern Gospel Music (and by that, I mean the great 4-part quartet male harmony, family groups, etc.) does NOT need to change. The music itself is fine just the way it is.

When I say Demographics, I am speaking STRICTLY from a marketing standpoint. Gaitheropolis aside, when's the last time you saw a cardboard stand-up for a SG artist at the store? When's the last time you saw Wal-Mart featuring the latest Legacy Five project? When's the last time you saw a concept music video for Greater Vision?

My guess is that you HAVEN'T!!

SG has taken the position of "sleeper hits." A CD is produced, sent to stores with little fanfare (if any at all), and relies SOLEY on the die-hard fans that come into the store strictly for SG music. The only marketing I ever see for SG is on SG websites (i.e. SoGpspelNews.com, Singing News). This, to me, is unacceptable if an industry is expected to grow.

I hate to keep using the same examples, but let's take the Signature Sound boys. Their CD's are made up of quite a bit of covers of standard quartet fare ("Stand By Me," "Someday," "Will The Lord Be With Me," "Get Away, Jordan"), and yet they are up for group of the year at the Doves (as in group of the year across ALL Christian genres). Not a whole lot of contemporary sounds, but an energetic stage show and a LOT of marketing toward younger groups has made quite a difference. They didn't earn the "Southern Gospel Boy Band" label by accident. Same music, different marketing.

Another MAJOR problem (which has been addressed by other bloggers as well) is the severe lack of SG presence on iTunes and other online sources. I have seen indie artists get their music on iTunes before, so I know it can be done.

Now, before I start getting bombarded with, "You need money to do all that" comments, let me just say this....it takes money to make money. If you don't have it, start asking for it. Start ticketing your events. Charge $10-20 for a ticket the next time you sing. Most kids have no problem forking out between $50-100 a ticket for Billy Ray Cyrus' daughter, I think they can afford $15. Worried you won't draw a crowd? We get back to the promotion side.

It is a scary and risky circle if not done properly, I'll admit. You can sink a ton of money into promoting yourself and fall flat on your face, but that can happen in ANY industry. As long as you have a top-quality product to offer, and market it appropriately, you'll easily make back the money you've spent.

So, to make my point as clear as possible....don't change the music. Keep SG as it is - it is a fine genre with fine talent and fine music. Just change how it's being pushed and who it's being pushed to. Trust me, the loyal (and often older) crowds will remain loyal.

Boundless Love - Before and After

Here is something kinda interesting to observe. I have uploaded the original DVD version of "Boundless Love" from "Travelin' Live," then did a remix replacing the DVD audio with that of the final album cut as it was released on LP. Someone mentioned before that they felt that the DVD and the LP came from different concerts. These videos will prove that they did indeed come from the same show, but some songs were [heavily] overdubbed.

Video #1 - Unedited Version
This was done live with no edits. It does not have the synthesizer in the mix, and the vocals are much more raw (uneven cutoffs, slightly pitchy). There is also no applause before the song starts. This appears to be exactly what the audience saw that night.


Video #2 - Edited Version
I took the track from the LP (well, from the Collection CD) and replaced the DVD audio. Not only is the tempo identical (which is nigh on impossible with live performances unless they have a track or metronome, neither of which appear to be the case), but George's cues ("Do that trio part again for me....") are dead on. You'll notice that I pulled the footage from the second verse to repeat so it matches what was done on the CD (which was apparently fixed in post production).

Cathedrals Reunion - Where's the band?!

While watching the plethora of southern gospel that seems to have invaded YouTube, I came across a lot of clips from the Cathedrals' reunion video (including my all-time favorite rendition of "Yesterday"), and I got to thinking - WHERE'S THE BAND?!

Original trax were only used on two songs (that I can tell) - "Sunshine and Roses" and "Champion Of Love." The rest of the songs sounded like they had a full live band behind them (although, unless they're hiding under the risers, they are NOT on stage). If you watch closely, you'll find that Mark Trammell is playing bass just off to the side for several songs, but when, for example, "Somebody Touched Me" is being played, Mark and Roger are both playing, as is a full band, but they are never in sight.

My guess would be that they were overdubbed later in post production, but that is awfully risky business, especially with tempo fluxations that are bound to happen (such as at the beginning of "Somebody Touched Me," or during Danny's testimony). Not only that, this leaves me to believe that the entire concert, as seen live, was done with just a piano and bass. While I can see that working just fine for songs like "Plan of Salvation," or even "Sin Will Take You Farther," I just can't see "Yesterday" being pulled off the same way.

Since I wasn't there during the taping, I have no way of knowing for sure. Anyone happen to be there (or know if I am correct)??

On a side note, does anyone know why an extra chorus was added to "Master Builder" when the companion CD was released?

Conveniently forgotten?

Does anyone happen to own a copy of Southern Gospel's Top 20 Songs of the Century Volume II? It was a compilation released around 2002, pictured here. Among the cuts on this project was the Singing American's version of "I Bowed On My Knees And Cried Holy." The insert includes liner notes for each individual song, giving a brief history of the song and the group. For some reason, however, liner notes for "I Bowed On My Knees" are missing....

Was this a simple error in production, or was it intentional move to avoid mentioning Michael English? I can understand if it was simple mistake by the producers, but I find it to be somewhat coincidental that the missing one has to do with gospel music's black sheep....

Is the Prodigal Coming Home (so to speak)?

According to a press release, Rick Hendrix will be promoting a new single from Michael English's upcoming CD to SG radio. This is the first time I've seen any of Michael's solo material marketed to the SG audience, and this might be the make-or-break point as to whether or not he'll be accepted back into the industry he so dearly loves and made his start in. Personally, I'd love to see him get a second chance (God knows he's paid dearly for everything he's been through).

Nashville,TN- The Rick Hendrix Company announced today a promotional agreement with Michael English and Curb Records to release the single "Feels Like Redemption" to Southern Gospel radio. The much anticipated project The Prodigal Comes Home will be hitting retail February 26th.

"I am excited to be a part of such a great ministry and career that has stood the test and prevailed," stated Rick Hendrix.

"This mans voice just gets stronger with time, he is going to find a great home on our station," stated Carmen Beatriz of KORI in Louisiana.

The song will be arriving at radio for an add date February 19th. For more information visit http://www.rickhendrix.com or http://www.michaelenglishmusic.com

(source - SoGospelNews.com)

On a side note, it seems that English has taken on an almost cult status among SG enthusiasts; a quick search of YouTube reveals a number of old GVB, Singing Americans, and even Goodmans videos, all featuring Michael and all with positive comments. Perhaps this is a sign that the Prodigal might actually be coming home, so to speak.

I can't wait for February 26th!!

Demographics

This topic has been approached before, but I'll give it another shot....

Why is SG so afraid (or just flat out refusing) to attempt to attract a younger demographic?? David Bruce Murray's post on CCM Magazine changing formats asks the question, why are the Singing News and Homecoming Magazine, which are both under the same publisher as CCM (Salem Communications) remaining in print format? Are they not as popular to warrant a fully-online version?

The answer, in short, is yes. They are popular enough, numbers wise, I would imagine. The problem lies in that the demographics (read: target audience) of SN and Homecoming are, as I commented, the blue-hairs. Older folks are buying them because they have no need (or desire) to go online.

Yes, I know that this audience is incredibly loyal, but they are also OLDER. Everyone complains about how SG seems to be dying out. It's not the music or industry that's dying; it's the audience that is. If we continue to cater to the same aging demographics, eventually we won't have an audience left!!

You can't tell me that SG doesn't appeal to young people. Look at Signature Sound. They have just as many teen groupies as they do little old ladies following them around. They're not doing anything innovative, per se; they cover a lot of old songs on their stage shows ("Someday," "Shout Brother Shout," "Will The Lord Be With Me"), and as far as the dancing and stage moves, watch an old clip of Hovie and the Statemen on stage. They are doing straight ahead, 4-part southern gospel music, but they are doing it in a way that it markets to the younger crowd. These teenie boppers are going to be around a lot longer than Aunt Ethel.....

Every time someone tries to win over a young crowd, it seems the old folks take offense. SG is "their music." Yes it is, but unless we pull in a younger crowd who will continue to support us when the older generation is gone, then "their music" will die out.

It seems to me that, with a few exceptions, the only youth currently in SG are the ones singing with family groups....

What happened to Song Garden??

Song Garden Music Group started out with much hype with Nick Bruno and Robbie Hiner at the helm, bringing in artists as diverse as the Chuck Wagon Gang, Jimmy Fortune, and the LeFevre Quartet. After a few years, however, Robbie and Nick were both out, and David Staton (lead singer for the LeFevres) seemed to have taken over.

Now, though, with the LeFevres signing a deal with Canaan Records (and taking Staton with them, I think it's safe to say), what does this mean for Song Garden? Their website has been revamped (and is a little easier to navigate now), and according to the site, has just recently signed the Needhams to a roster that still includes the Chucks, Fortune, the Webbs, Canaan's Crossing, and Paid In Full. Apparently, they have plans of continuing in some form, but to what nature?

I'll admit, the only Song Garden CD I have ever been able to get a hold of in stores was the CWG's 75th Anniversary CD. I've never seen the LeFevre's much-talked-about Total Praise project on store shelves, and I had to order Jimmy Fortune's CD online through Fortune himself. It just never seemed to have a decent distribution (or promotional) deal. My guess is that they are affiliated with New Day Distributors, but if that's the case, you'd think they could at least get SOME shelf space....

Guess we'll have to wait and see. I hope it doesn't follow in the footsteps of Cathedral Records and disappear after a few strong projects..... They seem to have a decent artist roster (especially with the addition of the Needhams), so there's not much reason why they can't start making a dent in the market.

The Cathedrals - High and Lifted Up

I must be in a CD-reviewing mood (thanks to my recent trip to the flea market!!). Not only did I pick up another copy of Gold City's First Class, but I also got a hold of a couple Cathedrals CD's, one is a collection of Benson material, the other is one of my all-time favorites, High and Lifted Up.

I originally bought this CD when I was working at Family Christian Store back in 2001. Someone had ordered a copy of it, and we received two by mistake, so I took it upon myself to correct the situation by buying the second copy. I'm glad I did!! Since then, through various moves, the CD has since been scratched and damaged beyond playability, and the only copy I had was ripped to a computer that is currently not working, so when I found an original copy of it at Trader's World, I grabbed it.

First off, the production on this CD is probably some of the best on any Cathedrals CD. The mix keeps the voices out front, the tracks are very smooth and tight, and it has an almost "untouchable" feel to it. The vocals, oddly enough, are not the tightest in some spots, but it actually gives an otherwise-flawless album a "natural" touch. Also, tracks NEVER overpower the voices; the balance is very even throughout. Perhaps part of this is due to the heavy reverb effects on the voices, allowing them to "blend" into the tracks a bit more, but either way, this is probably THE example of how voices and tracks should be mixed.

The album starts off with "A Comfort To Know," a classic "Cathedral Quartet" up-tempo song - piano intro, George Younce solos, and high-tenor ending. Nothing spectacular, but for die-hard fans, this is your die-hard sound.

It follows with a song co-written by Ernie Haase, "Death Has Died." I have long-said that Ernie is not my favorite tenor (nothing personal, just not my cup o' tea), but this is by far my favorite Haase lead. This seems to be the point where he really comes into his own, singing wise, and develops the depth and fullness to his voice that seemed to be lacking somewhat on previous projects.

"Jesus Has Risen" is a very unique song. Hammered dulcimer is rare in gospel music, but leave it to Lari Goss to try something different. Given the waltz tempo, it gives the whole song a more classical feel. Not only that, but it also gives Roger Bennett a chance to shine on the second verse. I know when it was done live, Roger and Ernie traded off high notes on the last chorus, but I still can't quite tell if they did so on the record. Either way, Roger's range really shows with this song.

"At The Name Of Jesus" is a wonderful Glen Payne lead. A slower "gospel praise" ballad, he flat out nails this song. Some beautiful harmonies on this song, as well.

"High and Lifted Up" is another lead by Glen. From the time Mark Trammell joined the group (and even more so when Scott Fowler took over), Glen moved more toward baritone status, with harmonies stacked higher above the lead rather than the standard tenor, lead, baritone arrangements. Perhaps this was done to keep Glen from doing any damage to his voice. This song, however, shows just how much of a range Glen really had. The end of this song is probably the highest I have heard Glen sing in years. This is the album's epic ballad, and while the orchestra definitely gets a workout, but as stated before, the tracks never overpower the vocals. The result is a powerful song without being overpowering, a rarity indeed.

"Jesus Saves" is another epic, but it's an uptempo epic, full of horns and strings. This was the big hit from this album, written by Roger and Debbie Bennett. Scott Fowler gives a strong, confident lead on this album, giving us a taste of what was to come with Legacy Five.

"I Thirst" is what I consider to be the "sleeper hit" from this project. While not necessarily a big hit for the group, it has gained a steady following among gospel fans. Written by Bev Lowry (yes, Mark's mom), George shows off his upper range beautifully. He holds the lead throughout the majority of the song, letting Ernie take over on the last chorus.

"Everyday, Every Hour" is interesting in itself. The song was written by Terry Franklin, who was singing with the Gaither Vocal Band. The GVB also recorded this song the same year, but with a much more contemporary arrangement, heavy on synthesizers and drum loops, while the Cathedrals' version is much more southern in nature, taking on a slight big-band arrangement. I prefer this version of the Vocal Band's simply because it seems to play much better with the simplistic lyrics and hook.

"I'd Like To Say It Again" is the only song I think could've been left off the project. I can see why it's the last song; while a decent composition, it just kinda sits there, and if it were placed halfway through the album, it would've slowed the pacing down considerably. Not the most spectacular song, and I'm not sure if I like George speaking the lines as the rest of the group sings, but like I said, a decent song.

If you'll notice, I left "Come Home" for last. This is my favorite song on the entire project, and also my favorite Scott Fowler lead. It's a beautiful song about redemption (and is the perfect song for an altar call) that gets straight to the point of heeding God's call. Although the studio version is great, the live rendition with just a piano backing is probably the best performance of Scott's tenure with the group.

All in all, a very fine album by one of the greats.

Gold City - First Class

This is another of those projects that kinda got lost in the shuffle due to label workings, politics, money, and even line up, yet was still a pretty strong release, given the circumstances.

According to Brandon Coomer's GC Discography, this project was originally to be titled Gospel Truth (a title which I like better anyway), but for one reason or another, was changed to what we know today. It was GC's second release with Todd Payne's short-lived Cathedral Records (which, by then, was in it's second incarnation as well), and from what I can tell, they were ready to pull out all the stops to promote the project, complete with a mini poster within the CD insert.

The first hiccup came with the departure of Jay Parrack. I distinctly remember seeing pictures of Jay in the studio during the early staged of production on this album, as well as Jonathan mentioning that both he and Jay were battling colds at the time. With Jay leaving the group, the tenor part needed redone before the CD could be released. Steve Ladd came in and redid the vocals, and we had a completed project.

Another change came with the retirement of Tim Riley. Although I don't think it was designed to be his final album with GC at the time, First Class was indeed Tim's last full effort with the group in the studio (some very nice liner notes were included at the time of the release from Tim, as well). This kinda put a strange twist on the CD, as Bill Lawrence was already singing with Gold City by the time this project was released (and some promo photos included both Tim and Bill in the group), but even though Steve Ladd's voice was added to the mix, Bill's was not (owner priveleges, I guess!).

A lot of initial publicity was put into the album, but it was released just as Cathedral Records began their big downfall financially, and no where near the money was put into pushing it as should have been. Granted, two fairly successful singles came out of First Class ("That's Just Another Red Sea" and "He Threw Out A Lifeline"), but in the end, the singles were just about all that was left of Cathedral Records. Legacy Five had already left for Daywind, Ivan Parker and Mark Bishop jumped ship back to Crossroads, and [soon-to-be-Ernie Hass &] Signature Sound were quickly floating toward the Gaither Music gang, so all that was really left of the label roster was Gold City and the Cathedrals' back catalog. Within months of the release of First Class, Cathedral Records closed their doors for good, making the project hard to find in stores (when the store I worked in at the time finally got copies of it, it was with a bunch of other discontinued products at a discount as part of a massive bundle).

On its own merits, the project seemed like the beginning of the transition period for Gold City. It was the second project produced by the late Doug Riley (the first being Walk the Talk), but its more reminiscent of GC's Daywind albums than it's predecesor (heavy horns, more traditional arrangements, less modern-country sounding). The title track could've easily been produced by Mark Trammell with the same effect, while others, like "Red Sea," seemed tailor-made for the Christian-Country sound. It's almost as if the group was aware of a shift that needed to take place, but were not quite sure as to where to go.

I will say, one of my favorite Doug Riley songs came from this project, the Jonathan Wilburn-lead single, "He Threw Out A Lifeline." While not necessarily a marvel of modern production, the song's lyrics and powerful message hit a chord with me. I also greatly enjoyed "The Gospel Truth," which tells quick, short stories from each of the authors of the first New Testament books (Matthew, Mark, Luke, and John) in a mid-tempo country feel. The most interesting cut (to me, anyway) is "About A Cross." I'm not sure if it was originally designed this way, but Steve Ladd sings the entire first half of the song (including a full chorus) solo, which from a production standpoint leaves it sounding almost half-finished. Granted, this was probably originally done by Jay Parrack in the studio, but I can't help but wish I heard some background vocals on that first chorus. It is worthy of a listen if only to hear Steve's first studio sessions with the group (compare it to "Preach The Word" and you can see just how far Steve has come with Gold City).

I believe that you can still order this CD through Gold City, and although not their strongest project, is worth a listen from a historical standpoint.

SGN Awards

Just out of curiousity, why does SoGospelNews.com feel the need to be redundant? They announce every nominee in every category once, then are flooded by a bunch of press releases by individual artists announcing their own nominations again (like here, and here). Granted, this isn't entirely SGN's fault other than just posting the PR's, but to all the artists out there.....we saw the list, we know you're on it. Announcing it to us kinda sounds like you're begging for a vote....

YouTube LAUGH of the day....

It's a slow news day, and this has nothing really to do with southern gospel, but it's just so doggone funny, I thought I'd post it for everyone who needs a laugh. This was posted by a YouTube poster by the name of BrokerTim, and he says this is his father. Enjoy!!