At the Blogger Conference, we talked about how artists tend to focus on table sales and not retail, even though retail accounts for 60% to 70% of their total unit sales.

Since the conference, I’ve wondered why this is the case. Perhaps it is because many contracts are worded such that the artists only starts getting album royalties once costs are recouped. Since albums cost quite a bit to produce, there may be cases where an album does not break even, costs are never recouped, and thus the artist never sees money from retail sales.

Now artists undoubtedly want their album to sell as many copies as possible in a retail setting. But if 75% to 100% of their money from a project comes from table sales, then I can see how they would focus on that.

Whence comes the Inspirations’ popularity?

I’ve been pondering that the last few days, and came to a conclusion today. It’s the songs.

Sure, they are helped by a stable lineup, and no matter what critics may say, they can carry a tune. (If they couldn’t, then kindly explain to me how one of the singers can launch into an acapella reprise and hold the group on key throughout a chorus so that Martin Cook comes back in on piano at the end in the correct key.)

I came to this conclusion when listening to their rendition of “Shoutin’ Time” for the first time. I got to thinking about the songs they’d introduced or popularized that other groups have recorded.

Take “Glory to God in the Highest.” John Scheideman–far and away the best Southern Gospel historian among the fraternity of Southern Gospel bloggers–let me know that the Inspirations actually introduced the song in 1992. Since then, Brian Free & Assurance has recorded the song, the Old Friends Quartet made it a radio hit, and Signature Sound is currently setting stages on fire with their energetic rendition of the song. But the Inspirations introduced it.

The Inspirations introduced another classic in “A Rose Among the Thorns.” The Bishops did a nice rendition of the song a few years back, but again it’s an Inspirations song.

“Shoutin’ Time” was the breakout song that put the Hoppers at the head of the list of the most popular family groups of the ’90s. Yet it was an Inspirations song originally.

Of course, the Inspirations are known for being nearly the only group introducing innovative, new songs with a walking bass part on every album. Take “Overwhelming Joy,” “He Broke the Chains,” “In the Twinking of an Eye,” “Is That Footsteps I Hear,” and dozens of others. They have a good selection of songs that address America’s Christian heritage and current direction. Then there are the tenor songs that feature Archie Watkins’ instantly recognizable voice: “Golden Street Parade,” “Touring that City,” and “Two Shoes.” (Off-topic: “Two Shoes” drove me crazy the first twenty times I heard it, but it has really grown on me to the point where it makes me cry now.)

The Inspirations seem to have a knack for picking classics with every album. There are groups like the Mark Trammell Trio and Palmetto State that get to where they are despite their song selection, but the Inspirations would have to join groups like the Kingdom Heirs and the Perrys who manage to fill a ten-song album with at least eight songs that their average fan would really like. I think their songs are the secret of their success.

Once again, the Kingdom Heirs are in the market for a pianist. This announcement was posted on their website today:

There are times when decisions are made and everything goes according to plan, and then there are times when they don’t. Back in January we hired Joseph Cox as the new pianist for The Kingdom Heirs. As of today, Monday March 12, we are again searching for a new pianist. To the simple point, things just didn’t work out for us or Joseph. He is a wonderful young man with a ton of talent and a promising future. We are thankful for the time we have spent together and we wish him the best. We will continue on using split tracks along with the bass and drums until a replacement is found.

I changed themes for this blog over the weekend. I wanted to move to a larger font, a three-column format, and a white-on-black instead of black-on-white color scheme. This theme incorporated all three features I was looking for.

But, that said, what do you think of the new design?

Last Saturday, I had the opportunity to see the Inspirations and the McKameys, both for the first time. They were appearing together on their Family & Friends tour. Due to the fact that forty or fifty songs were sung, I won’t put you through the exorbitant eyestrain of a full paragraph per song. I’ll just offer a song list with comments.

The concert started with both groups on stage together singing “How Beautiful Heaven Must Be.” The nine or ten vocalists (four McKameys and five or six Inspirations) produced a remarkably pleasant full blend that left me wanting more. All the way through the end of the concert, I was hoping they’d join for more songs, but the rest of the concert featured the groups in alternating sets.

After the first song, Reuben Bean of the McKameys introduced “the boys from Bryson City, the Inspirations!” They took the stage singing tenor Archie Watkins’ signature song, “Touring That City.”

• Touring That City (featuring Archie Watkins). Archie didn’t disappoint on his signature tune.
• We Need to Thank God (featuring lead singer Matt Dibler). It was greeted by enthusiastic applause. There were one or two standing ovations (see later in the post), but enthusiastic applause was pretty much as good as it got during this concert.
• I’ll Not Turn My Back on Him Now (featuring Archie).
• I Can Tell You Now the Time (featuring Matt, bass Mike Holcomb, and Archie)
• He Made a Way
• One Door to Heaven (featuring Jack Laws). Former Inspirations baritone / sometime specialty number vocalist Jack Laws was able to make the trip this weekend. I got to talk with him briefly beforehand, and found him to be quite friendly and down-to-earth.
• He’s My Bread (featuring Jack Laws).
• He Swept Me Off My Feet (featuring baritone Melton Campbell)
• Two Shoes (featuring Archie). For some reason, the song seemed to lose just a bit of its emotional momentum near the end. It didn’t have quite the “punch” it sometimes does in the final verse, but it went well nonetheless.
• I’m Not Ashamed (featuring Melton). This song got the only standing ovation except a general one at the end when the audience was getting ready to leave. The Inspirations responded by doing an acapella reprise of the chorus. It took several members of the audience until nearly the end of the encore to stand up, and there were no standing ovations for the rest of the evening.
• I’m a Winner Either Way (featuring Matt).
• Resurrection Ground (featuring Matt). Matt told the stories behind both “Winner either Way” and this song. He told the story behind this one after the first verse and chorus, while pianist Martin Cook and upright bass player Melton Cook (Martin’s son) played a musical interlude.
• If You Only Knew (featuring Mike).
• I Have Not Forgotten (featuring Matt). This song was well received and encored. Then Martin Cook had Matt preach a bit before Matt launched the group back into an acapella encore. The acapella encore was particularly impressive; they didn’t have any musical cues to start back on the right notes. Perfect pitch they might not have (as some bloggers remind us often enough), but they have a pretty good sense of relative pitch to pull off an acapella encore without musical cues after a few minutes of preaching. This song was easily one of the highlights of the concert for me.

The Inspirations’ set ended with this song, and the McKameys took the stage.

• My Jesus I Love Thee (no solo). This song was a good choice to change the pace (from an all-live male quartet to a mixed group that uses soundtracks).
• It’s All Good (featuring Peg McKamey)
• Trophy of Grace (featuring Carol Woodward). This was followed by some improvised comedy from Peg while her husband Reuben Bean (the group’s “bass”) and their son-in-law Roger Fortner (bass guitarist / sound technician) replaced the battery in Reuben’s microphone.
• Let Me Point You to the Lamb featured Reuben on his only solo of the night–a song on which, interestingly enough, his wife did not sing. He sang it as a trio with Carol Woodward and Connie Fortner.
• Resurrection Morn (featuring Connie)
• Over the Horizon (Peg). I’m not sure of the title on this one; it could just as easily be “The Rising of the Son”
• It Takes Time (featuring Eli Fortner). Eli, son of Roger and Connie Fortner, is twelve. His voice has shown distinct improvement over the last year or two.
• You’re Still God (featuring Peg)
• How Sweet is the Victory (featuring Connie). Incidentally, Connie appeared to forget a few words at one point, and Peg filled them in without missing a beat.
• I Will Trust You Lord (featuring Carol)
• God on the Mountain (featuring Peg)
• I’ve Won (featuring Connie)

After intermission, the Inspirations took the stage again.

• I’ve Never Gotten Over Getting Saved (featuring Melton)
• Rock of Ages, Hide Thou Me (featuring Mike). Mike Holcomb hit his lowest notes of the evening on this song. Another reliable observer present observed that the ceiling could actually be observed to shake during his lowest solo.
• They’re Holding Up the Ladder featured Archie Watkins on the first verse and Mark Clark on the second. Mark is a tenor who sings on stage with the Inspirations to help Archie out.
• The Wonder of Wonders (featuring Melton)
• Glory to God in the Highest. This was easily the shock of the night. Other groups have done it in the past few years, but right now this is primarily a Signature Sound song. To hear the Inspirations’ take on this song was both singular and extraordinarily memorable.
• Amazing Grace (featuring Archie). This acapella rendition of Amazing Grace turned out to be the Inspirations’ last song of the night.

The McKameys came back on stage to close the evening out.

• Walk a Little Farther (featuring Peg)
• Over and Over (featuring Carol)
• Joy Comes in the Morning (featuring Connie). Peg said this was a brand-new song, and that it was Connie’s first time to sing it without a lyric sheet. She appeared to forget a few words in the second verse, but did quite well elsewhere. I think this song will do well for the group.
• Roll That Burden on Me (featuring Peg)
• He Calms Me (featuring Carol). I must admit to taking my eyes off the stage for a minute or two when a cute little toddler came zipping down my aisle. It turned out to be Martin Cook’s grandson, who had come along for the trip. He made it as far as my row before he was scooped up and taken to the back by his father Myron.
• How Does it Feel (featuring Peg and Connie)

With that, the McKameys concluded their set. I was expecting both groups to do a finale for a song or two, but Reuben Bean concluded the night in prayer.

I have to admit that I primarily went to see the Inspirations. (In fact, I didn’t even realize that the McKameys would be there until my tickets came in the mail.) Now I realize that there is some truth to the statements that Archie Watkins’ voice shows signs of wear and that the Inspirations don’t always sing every single note perfectly on key. I know that to be true, but I’m still simple-minded enough to enjoy a night of great quartet singing.

Simple-minded? Yes, perhaps I am. But if I ever become so smart that I cannot enjoy an evening like that one, may I also be smart enough to shut this blog down.

Is Jeremy Peace leaving the Kingsmen? So says Chuck Peters at the Southern Gospel Reporter. [EDIT, 11/8/10: The link appears to be down, and has been removed.]

Edit: SoGospelNews has the story. [EDIT, 2/22/13: Broken link removed.] The website does not tolerate rumor, gossip, or innuendo, so I guess it is now official.

*Edit* After another participant told me there were inaccuracies in my original post, I removed nearly every specific statement in hopes of fixing this problem. 

Yesterday, Crossroads Music hosted a bloggers conference. About half the bloggers invited were able to make it; I couldn’t be there, but participated via telephone. Daniel Britt, David Bruce Murray, and Doug Harrison were all there in person. Several record producers and industry executives were also present.

The meeting started with the moderator telling us that bloggers have been saying things that record executives have been saying for years–behind closed doors. They wanted to get together with us to exchange ideas and information.

They discussed that traditional Southern Gospel media outlets, such as the Singing News knew about the event. But they specifically were only inviting independent bloggers.

There was quite a bit of discussion as to reforming the Singing News radio charts–how, for example, there were six charting stations in northern Alabama within a 75-mile radius of one another, but no charting statements in Birmingham. There was also talk of how the charting is basically based on the honor system, not actual airplay. They are active in efforts to require that stations that want to chart use programs to record actual airplay, and they also want to see more equal geographic representation from various markets. I asked what percentage of charting stations base their reporting on actual spins, and they replied that we simply don’t know. Some do, many don’t.

They also mentioned that within the last few days they heard about cashola problems with a Southern Gospel promoter and radio stations. Artists were essentially buying chart placement. Various individuals plan to work together to reform the process. If radio stations will want to play, they will have to play by the rules and report actual airplay.

They mentioned that Southern Gospel radio play is connected to sales growth. As it stands, we can’t use the charts we have now to go to retailers or anyone else who is selling SG, because nobody believes the charts. One of the steps in trying to build and grow the industry is creating credible radio charts.

We discussed the fact that CCM radio moved to Nielsen Soundscan to measure airplay about 10 years ago. What convinced them? It was the increased ad market. Ad sales increased for stations that did it.

We talked about how record labels are the bank, and discussed how the songs were central to the investment, and how record labels sometimes invest in an album without hearing the songs involved. Someone said it was like making an investment in property without checking whether it was on a flood plain.

We talked about how long records last. A while back, there was discussion of going to an eighteen-month cycle, so that they could single more of the songs from a project. But the artists told them, “You’re killing me.” The artists go to places once a year and want something new every year. If they spread out major projects, the artist does a table project. Spreading the albums out a little farther helps retail sales, but artists typically see only the table sales side of the coin.

Someone from Crossroads commented that there is a pervasive idea that a record company puts releases into stores. Many years ago, that was kind of true. But it is not true now. Distributors handle this now.

Another thing that has been difficult on the labels is that record stores are typically returning products if they do not sell quickly. If it doesn’t sell quickly, it comes back. This helps the high-level artists, but makes it harder on the middle-level artists.

In the mid-1990s, when EMI and BMG bought up the Contemporary Christian Music industry, it became all about the next big thing. It’s all about marketing plan in CCM. If it doesn’t sell in 45 days, you’re gone and it’s all about the next big thing. Some people are trying to push Southern Gospel in that direction.

We discussed the American Gospel Music and Lifeway’s sponsorship. (Lifeway ignored and excluded Southern Gospel for two years, only to find that it was their third-highest-selling category when they brought it back.) Several things are happening on the American Gospel Music front, but the idea faces significant hurdles that it might not be able to overcome.

We discussed digital downloads. Their music is now available from most of the major digital download sites.

Various bloggers suggested ideas. Doug Harrison discussed paying royalties regularly. David Bruce Murray focused his comments on improving Southern Gospel radio. Daniel Britt addressed developing legitimate new talent shows, to find new artists. I discussed improving their website—something that they are already working on.

Let me try to conclude by answering a question that many people will be wondering. Will my coverage of Crossroads be any different because of the conference?

I don’t really think it will change my coverage much. I hope my coverage will be more accurate. I don’t think I will cover Crossroads any more or less than I otherwise would, though.

Participating by phone was quite an experience. (I have never spent seven straight hours on one phone call before!) Next time—if there is a next time—I hope to make it in person and actually meet my colleagues in the independent Southern Gospel blogging world.

Thank you, Crossroads, for setting this up!

Legacy Five has a Q&A box in every newsletter. In their most recent newsletter (mailed yesterday), Jo Kennedy from Springfield, Illinois asked: “Do you have a song that you have sung that means more to you than any other song?”

I must admit I cheered when I read their answer:

Another tough question… there are so many great songs and it would be impossible to pick one as the all-time favorite! That said, there is one Legacy Five song that has probably been requested more than any other… that is “I Stand Redeemed” from the “Strong in the Strength” project, which was our first single release in 2000. We get requests for that song almost every night, and we haven’t been singing it for a long time.

However, we’re happy to inform you that we just finished recording tracks for our upcoming new CD titled “Know So Salvation” and it will feature a new version of “I Stand Redeemed”. The new CD will be released at our Memorial Day Celebration in Nashville and we should be able to start singing that powerful song again real soon!

That song is one of the most powerful songs that any group has released in the past decade. That said, I believe the original is in the key of G, and though original tenor Josh Cobb could handle singing it that high, I think it’s keyed too high for his two successors to do and to sound good doing. So I have a feeling they either took the key down a couple notches or down an octave and handed the solo to one of the Scotts.

Either way, it’s unfortunate when a group can’t stage its best song, and I am glad to see them bringing it back.

From SGN Scoops e-magazine:

TIM GREENE TO SELL HIS CATALOG OF MUSIC TO PURCHASE MEDICINE

Tim Greene, of the Greenes, owns West Carolina Publishing Company with 170  original songs written by Tim. The entire catalog  of Tim’s music is  for sale. Call 910-616-5610 for this investment opportunity, Tim is selling his entire catalog to purchase medication for his illness.

A little searching reveals that the songs are licensed through BMI, and include songs such as “Glory Mountain” and “I’m So Happy.”

I regret to see that his illness has progressed so far that this move is necessary. Since I’m a songwriter myself, I can’t help but feel that this move would be equivalent to an owner selling his group to pay for medical expenses. I guess my reaction to this is roughly equivalent to how the average Southern Gospel fan would hear if Roger Bennett and Scott Fowler were to sell Legacy Five to pay for Roger’s medical bills.

Hopefully things will work out for Tim.

This makes the price for broadband worth it: Watch James Dobson joining Signature Sound in choreography on “Glory to God in the Highest.”