An artist whom you all know and love asked if he could submit the following observations on NQC anonymously. While I don’t necessarily agree with every single point, this letter makes quite a few valid points. So between the valid points and my respect for this artist, I agreed to run it as a guest column.

I write this as a fan and an artist. I am concerned about the direction of the National Quartet Convention. I remember my first year in 1995. It was thrilling. Every booth was packed with groups from all over the country. There were legends around every corner, and the atmosphere was electric. I have been performing at the NQC for just a few years and have been saddened to see all of the changes that have been made.

Let me begin by saying that I am not a disgruntled singer who has not gotten what he feels he deserves from the higher ups. On the contrary I am overwhelmed just to be there. What I am is concerned for the future of this great event.

I have heard recently that the economy has hurt the NQC yet I see growth at Myrtle Beach, Winter Convention, and Lebanon, Missouri, and other venues that seem to say the contrary. I believe the major problem is that the fan has been taken out of the equation when making many of the decisions. I am sending this to as many people as will read it. I encourage any fan who agrees to send it to anyone and everyone you know including blogs, Facebook and stock holders. This is a list of changes that I believe will turn the tide of the NQC and bring it back to where it belongs.

BRING BACK QUARTET NIGHT! This one is simple. All male quartet night was one of the most popular nights of convention. This would allow for some quartets to be on who might not be considered otherwise. I would also suggest changing it up a little and doing some “scrap iron” quartet features throughout the night. Fans love it when singers who have never sung together do a classic that everyone knows.

Tuesday night would return to mixed group night under this change and I think fans would really love that. Again, this opens the door for family groups who may not have a main stage appearance otherwise.

NOT SO MUCH COMPASSION! I sponsor 2 children under Compassion and World Vision. I believe in their causes. What I do not believe in is interrupting the flow of a concert every night with emotional pitches to “save the children”! I would encourage a Compassion Showcase, where all of the arists interested could do a really bang up afternoon concert. Bring up children who have been changed by this wonderful program. Do whatever you want to do for 2 hours and then leave it alone! You are beginning to make the fans angry and that is the last thing you want to do.

BRING BACK THE FAN AWARD’S! Duh! I hear almost every night that someone has quit coming to NQC because of the removal of the fan awards. The straw poll was a waste of time. No one wants to spend 3 hours watching who might win something that they are not going to attend a month later. Bring back the classic feel of yester-year when it was THE event of the week. Everyone wore their best and the building had an electric feeling.

NO MORE VIDEOS IN BETWEEN ACTS! Talk about a waste of precious time. We don’t want to watch a little boy talk about his finger getting bitten by his brother Charlie. We want SINGING. We don’t want a bad comedian on the stage for 4 or 5 minutes. We want SINGING. We don’t want America’s pastor or anyone else’s pastor plugging his newest book and his appearance the next morning. We want SINGING! Get the point!!

ONE EMCEE FOR THE WEEK! Stop using artists who don’t know how to bring other artists on. My suggestion would be to bring back Dr. Buck, but I would also be very happy with someone like Duane Garren. He is an incredible emcee and would treat every group fairly. One emcee would help the flow of the event and give some familiarity to the people.

MORE LEGENDS! I understand that many of them can no longer sing like they used to, but truth be told we would not be here if it wasn’t for them. Any artist in that building would be more than happy to stand on stage with Ben Speer, Sue Dodge, Lily Weatherford, Jack Pittman, and Naomi Sego. The new artists could sing the classics with the legends. I guarantee it would be a hit at the convention.

LESS JEWELRY PLEASE! If you had not canned 25 groups from the convention we might not have to walk down flea market row in the exhibit hall. The booths used to be for singers. Let’s try that approach one more time.

LESTER’S IS MORE! I agreed completely with some of the groups who were removed from the main stage. Some I could not disagree more. To take off the Lester’s and the Dixie Melody Boys was as ignorant a move as I have ever seen. Talk about a disconnect with the fans. The 2 groups have a combined history of 130 years. The Lester’s are still at the top of their game, and as was evident at the “FAKE” fan awards the Dixie Melody Boys are still a crowd favorite. Rethink who you take off.

BRING BACK THE FUN! The celebrity roast, the let’s make a deal, and the classic quartet was some of the most popular showcases at convention. Now we have every local group on the planet paraded through like cattle in front of the 30 people who don’t like the big groups. BORING! Bring back some creativity to the afternoon showcases!

GOING TO THE CHAPEL! My favorite part of the week used to be the bible study. Now it is not worth getting up for. Move the Study back into the small room. Bring back an actual bible teacher, not a comedian who throws in scripture. Have it return all week long, and leave it alone!

LEAVE THE POLITICS TO FOX! This is my last request. If you have to bring in a key note speaker, make it Dave Ramsey, Steven Baldwin, Beth Moore, or some other Christian figure that is not wrapped up in politics. It is too divisive. It needs to stop!

Make this the year of the fan. Let us know that you still care and thank you for your time!

Concerned Artist and life-long fan

A unique opportunity came my way yesterday morning, when Ron Blackwood offered this father’s day tribute to his father, founding Blackwood Brothers baritone R.W. Blackwood Senior, as a Father’s Day tribute.

Some know him as R.W. Blackwood, Sr. He was “Daddy” to me. He died at a young 32 years of age in a plane crash while, sadly, the pilot of the plane. I was thirteen years old and my brother Winston was 11. Still to this day, fifty-seven years later, his memory is so plain in my heart and mind. Yet the great pain is still there.

Dad was a very strong person and definitely made us mind—or it was the “board of education” we would receive! With all that, he always showed much love. Many times at the dinner table, he’d say “Boys, help your momma, and remember, Jesus loves you.”

He traveled a lot with the Blackwood Brothers Quartet; he was one of the original members. So we did not see him like most kids were able to be with their dad. Yet, I KNEW he loved me. I can say he was known by his peers and friends as an extremely honest and a man of his word. A hand shake was his bond. (There’s not much of that in today’s world!)

Many times, Jake Hess said to me that he was a tough business man, but if he was your friend you could count on him anywhere, anytime to be there for you. He was always there for me.

I could never measure up to Dad. I have failed many times, but God knows my heart. He was MY HERO—even fifty-seven years later!

My Hero IS in Heaven and I will see him again. Thank You, Jesus, for allowing R.W. BLACKWOOD, SR., to be my dad!

This guest post is offered by frequent reader and commenter David Mac.

This is a guest post from NewSoGoFan.

By the time Steve Green released The Mission in 1989, he was already an established force in the world of inspirational Christian music, with numerous hits such as “Proclaim the Glory of the Lord,” “He Holds the Keys,” “God and God Alone,” and “Find Us Faithful” to his credit.  The title track of this album would go on to become another landmark song.

But the “sleeper hit” of the project was the quiet ballad “Embrace the Cross,” which later found its way onto Green’s recent Journey of Faith compilation CD/DVD (an excellent project, by the way, which can be purchased here). Unusually for Steve, it’s a gentle, reflective piece where the highest note he hits is delivered in an exquisite falsetto (rather than the sort of gloriously roof-raising power delivery customary for the “80s era Steve”). It begins with a simple Galatians 2:20 paraphrase featuring Michael Card as a guest vocalist, first acapella, then with instrumentation. This is repeated several times before going into the main body of the song, which is a meditation on what it means to be truly “crucified with Christ”:

Embrace the cross where Jesus suffered
Though it will cost all you claim as yours.
Your sacrifice will seem small beside the treasure
Eternity can’t measure
What Jesus holds in store.

The song has no chorus, but the lyrics only become more powerful as the song progresses, and the bridge forms a sort of quiet climax:

Oh wondrous cross, our desires rest in you.
Oh Lord Jesus, make us bolder
To face with courage the shame and disgrace
You bore upon your shoulder.

It goes on to end with the promise of life to come: “An empty tomb concludes Golgotha’s sorrow/Endure then ’til tomorrow/Your cross of suffering.” And, simply, it leaves with this: “Embrace the cross/Embrace the cross/The cross of Jesus”:

The song can be heard on YouTube here.

I’ve always loved this song, because it communicates a truth Christians need to hear, namely, the need for us to be willing to suffer.  Sometimes we automatically think, “Jesus suffered so we don’t have to, right?” Wrong. As one hymn-writer put it, “No there’s a cross for everyone/And there’s a cross for me.”

When Daniel and I were discussing who might tackle this in a Southern Gospel setting, I said that it seemed to work best as a solo. But Daniel rightly pointed out that no soloist could ever do this justice without sounding like a pale imitation of Steve. It would have to be taken in an entirely different direction.

Daniel suggested a mixed trio, perhaps the kind of impromptu lineup Bill puts together for Homecomings. Immediately, my mind went back to a clip from “When I Survey the Wondrous Cross” on the Rock of Ages Gaither DVD (here). The first verse is carried by a mixed trio composed of Reggie Smith, Charlotte Ritchie, and Joy Gardner. For three singers who generally don’t sing together, it’s a strikingly lovely blend.  Eventually, we thought that this could work very well if Charlotte put it on one of her solo projects and brought in these two singers as guest vocalists. (Or perhaps Reggie and Ladye Love could furnish guest vocals.)

Of course the key would have to be lowered if this trio tackled the song.  B flat could work well. Joy could start the introductory tag, then Charlotte could add a higher harmony, then Reggie could join in the for the final couple of repetitions. Then for the main part, Charlotte could carry the melody and sing the first verse as a solo. But the harmonies could be woven together for later verses, with alternating step-outs and perhaps some of the earlier lines done just as a male/female duet. For the bridge, I picture Charlotte singing most of the melody, perhaps briefly handing it to Reggie on the line “Oh Lord Jesus, make us bolder.” Then the harmonies on the conclusion would be  lovely on the ears.

What do you all think? Could this work? Would it satisfy die-hard Steve fans as well as the average SG fan?

Editor’s Note: This is a guest post from David Mac. I am running this despite the fact that I don’t necessarily agree with everything he says—because I thought he expressed his viewpoint cogently enough to earn a hearing (and because he has contributed so much to the discussions on this blog to earn credentials as a vital member of this community; I likely would not have run a column on the same topic from a first-time visitor). Oh, and the Red Bull reference sealed the deal! – Daniel

Do the fans own the artists?

This question is vexatious, as is the subject at large – the seemingly never ending cycle of coming and going within southern gospel music groups. Is there genuinely a problem? And, is there anything about the management of change which can be changed for the better in the future?

The following quotes all came out of the same thread on this blog as a result of the [shock horror] announcement that Tim Duncan is leaving / has already left Ernie Haase and the Signature Sound Quartet, or EHSS as the group is commonly referred to in blog-sphere shorthand.

The reactions have varied across the blogs, and run the gamut of emotional reaction from feigned indifference to intrusive speculation, that Timmy is/was: a) sacked, b) joining another group, c) not recovered from past illness, d) wasting away, e) suffering from cancer, f) been abducted by little green men, g) none of the above.

Take your pick – only one of the above postulations is correct! Strange though it might seem the correct answer is (g) and so the WHY we are not actually privy too.

The BIG question is: What should we know?

One commenter put forward this viewpoint: “Fans have No right to such information!!. For your 10, 15 or 20 dollars you Do Not get the right to know unpublished information nor who will sing what song!!!..one of the many problems with SG !..Fans think they own the artists!~ What you Do have a right to is to see the group you paid for!.. It. That group now consists of different members or if they have the members switched around..So Be It !”

It is not so difficult to see how this, legitimate enough, position may be argued against. Let us step back a little and consider. A southern gospel group – any group – is a not a band but a BRAND, especially a “supergroup” with a global reach such as EHSS. We might suggest the “Gaither” brand is the Coca-Cola of southern gospel music, in which EHSS may be Red Bull. Both are packaged and presented in such a way to appeal to a stable but growing “customer” base across the globe, not just in the southern states of the US. Both appeal to a definite “taste” and a consumer sector across the world markets.

We buy into the EHSS brand because we like their products, they appeal to our tastes and to own their merchandise says something about us which we are comfortable to project as part of our own “image.” Do the Fans own the Artists? Absolutely not. But, here is the crux of the matter I think, EHSS [as an example] is not just an entity which sells and performs. It is not just an organization, it is in fact an organism! Ernie is a real person – truly – with a real wife and an extended family, not a stage family but real living breathing feeling hurting emotionally connected people. So is Tim, he is not just a Voice or a Bass Singer, he is a person, weary, worn, lonely, happy [whatever] with a wife and two teenage sons who surely must miss him desperately when he is absent often. Thus the pull between footlights and fireside which Jake Hess often reminded us of. So Tim, the person, is lost to us –for a time – and going back to his family, perhaps for a time. BUT, the “No such right” commenter IS right in this respect, we should be satisfied with what we ARE told, and in a dignified Christian manner, pry no further. Pray not pry. Period.

Another commenter remarked, by contrast, “I understand both sides! I saw them right after their last change [David Mac edit: when Ryan left]. It didn’t affect me because I had never seen them before and I did not have a favorite of any member. I agree that it is their life and they have to do what is best for the group and their families.” So, here is another matter – some “fans” have formed association with groups, or members, over time and truly care about the people as well as the product. To listen to the Tribute CD gives me goose-bumps after 100 plays, yet to talk to Ernie, Doug, Tim, Devin and Wayne once, is to connect with real Christian men who love to sing about the gospel and who connect with their support base in a special way. Though the “brand” remains constant, and the contents perform as the label says – and few, if any, want a refund – yet what Donne the English poet said was so right, “No man is an island entire of itself. Each one is… a part of the main.” For some to lose Timmy’s presence is significant, for others as long as the new guy makes an OK bass noise it won’t really matter!

Where the line needs to be drawn is between the WHEN and the WHY. To manage the change so as not to destabilize the position of the “brand” is crucial. That is a marketing reality. One genuine fan who really bought a ticket just to see Tim, and who went home saddened because they had no prior knowledge of his going, is one fan too many; if it is at all avoidable. One of the most poignant regrets in life; and suffered at times by most of us is, “I didn’t get to say good bye!” Yet the pressure on the outgoing member to say “Good bye” AND sing – for a week or a month surely is immense, as Daniel himself commented; “It would have to be incredibly tough on the person leaving during that period, unless he’s been there so long as to be a legend. After concerts, he’d have constant inquiries about his health, where he was going, why he was leaving, what kind of terms he was leaving on, ad infinitum. Put yourself in that person’s shoes, and it quickly becomes a whole lot easier to see why some people don’t want that kind of fuss!” The counter argument should consider the psycho-spiritual pressures generated by followers who – as is often the case – know the mind of God for us far more clearly than we do ourselves, “God told me to tell you to stay” is not an impossible response to a sincerely expressed “Good bye”! If, perchance, the member departing is leaving on family or undisclosed health grounds, for example, the psychological pressures will be immense. If the person is of a shy nature – as Tim Duncan appears to be – the very fear of the prolonged departure may precipitate a walk-out instead, so the latter end will be worse than the first. Perhaps this, above all, is the reason why many of the changes in SGM are NOT flagged up in advance?

Is there a reasonable, Christian compromise? I humbly suggest the following might be practiced to profit in the management of change in SGM:

1. agree a ‘bowing out’ period with the outgoing member, once the group manager has been notified of their intent, possibly covering a minimum number of appearances.
2. appoint a replacement and a start date, before the outgoing member departs, so that continuity is presented, and both may appear together.
3. announce the change in advance, who is leaving when, and who is coming in, and when from in relation to tour dates / appearances etc.
4. agree in advance how much of the “Why” should and will be told. Before the departure and after.

Perhaps this simple model would alleviate a lot of the speculation and sensationalism in SG group changes – though it might reduce the blog-column-inches as well! The SG business has garnered – and not totally unfairly – a “Revolving Doors” reputation over the years. Publicity is the oxygen that drives a brand, but contrary to marketing speak, not all publicity is beneficial especially in light of the greater goal; spreading, in song and testimony, the gospel of salvation through faith in Jesus Christ.

Where there are problems in the life of a member which are severely damaging to the testimony – not only of the individual, but also the group associated with, and in fact the testimony of the body of Christ – then the only recourse would be immediate withdrawal. In such case, in keeping with New Testamant teaching it might also be better if this were so said. Sensational or salacious detail is never necessary but something of the nature of “…… is no longer able to perform with …. due to circumstances in their life which are inconsistent with what is expected of a believer in the Lord Jesus.”

What do the other commenters think?

This is a guest post from NewSoGoFan.

As great of a “sound” as Signature Sound has always had, Ernie has always thought visually with the group. It was not a CD project that launched them into the stratosphere but a video—five years ago with their self-titled Gaither DVD. They were already on their way up, but 2005 was the year things really began accelerating for them. Since then, they have found some detractors, but at the same time they have found a large and loyal fan base.

Much as I enjoy the group’s music and sound, my favorite moments from the group have mostly come when they settle down for something classic and classy like “Lovest Thou Me” or “Since Jesus Passed By.” Of course I wouldn’t be without the high energy of “Trying to Get a Glimpse” or “Stand By Me,” but in terms of presentation and delivery, the group shines best when they do it low-key. They have proven time and again that their famous “choreography” is a dispensable part of what they do.

When approaching this tribute project, Ernie knew that classy was the way to go, and now that I’ve seen the finished product, I can say that it has paid huge dividends. This could quite possibly be their best video since the early days of Stand By Me Live. The set is majestic without being ostentatious, the wardrobe couldn’t be more tasteful (matching blue pin-stripes), their hair is combed ( ), and virtually all of the numbers are delivered “flat-footed” with minimal choreography.

Yet while the importance of these things cannot be stressed enough, obviously what drives the project is the songs and the music. So without further ado, let’s watch how this concert unfolds…

“Wedding Music”: The concert opens with lights down and a live band introduction playing variations on “Here Comes the Bride.” The group has taken to using this clip as an introduction for their concerts on the tour, and it works well to open up the night. “Here Comes the Bride” was chosen, of course, because of the title of the opening song.

The crowd applauds and stands when the quartet makes their appearance, and the lights go up when they begin to sing. This introduction provides a marked contrast with something like Get Away Jordan, where the guys run out on stage with big smiles and bring the microphones into place with their feet. None of that here: They just step forward and sing.

The crowd responds immediately at the beginning of Tim’s solo, and he delivers it with great confidence. Ernie nails his tag at the end just like old times with the Cats. Just a smooth performance and a natural choice for an introductory number.

At this point they moved directly to “Step Into the Water,” which was easily one of the best performances of the night. Every single member is in peak form here. Tim does some awesome improvisation even beyond what he does on the CD—the descending “Yeah, yeah, yeah, yeah” bass line going into the final chorus sounds exactly like George.

I mentioned that Doug and Ernie’s duet was a treat to listen to on the CD, but it’s even better to watch. The two of them together on stage are absolute vocal dynamite. They’re like sparring partners—they sharpen each other as they work together. They’ve known each other longer than any other two members of the group, and it’s obvious that they are good friends both on and off the stage. The addition of Devin on the last line of the verse then makes an awesome triple punch—love the way they draw out the word “eternally.”

The group’s trademark choreography makes a small appearance towards the end of the performance with a few hand motions. Nothing over-the-top, it just works well with the song.

Generally on their previous DVDs, Ernie has paused after two songs for a speaking segment. Here they just keep going, and next up is “Boundless Love.” My thoughts on the “boom, boom, CLAP” rhythm at the beginning remain the same, but it is admittedly a great attention-getter and draws the audience in from note one. Dianne Wilkinson said they had her hooked right away.

This is a guest post from NewSoGoFan.

Eight years ago, Signature Sound released their debut album. At the time, George Younce had these words to say about them and about his experience as he listened to the project:

So many memories came rushing in as I realized that this is the “sound” and the style of songs Glen and I always insisted upon down through the years as the “Cathedral Quartet.”

…It is evident that the goal of this quartet is to remain faithful to their “High Calling,” to their gospel roots, and to the audiences for which they will be privileged to sing.

Though this is just their first project, I think you’ll agree that the “Signature Sound Quartet” definitely has that “signature sound,” and with the Lord’s help, these young men are destined to be a positive force in this industry for years to come.

For this young, promising group, George’s words would be amply borne out, as they went on to rise very swiftly to the upper echelons of the genre. Now eight years later, they have paused on the journey to look back and pay their respects to George and Glen. These men were honored in their generations and were a glory in their days. Their legacy lives on through the men who served with them. With their own groups, they continue the ministry today, as they continue to render thanks and honor to the memory of George and Glen. They are a privileged few, for they can close their eyes and remember these two old men—with hope in their hearts and a song on their lips.

This is a great trust, and as George’s son-in-law, Ernie has carried a special responsibility with him through the years with his group. Yet he and they have carried that banner with class and excellence. With this project, they have not only paid worthy tribute to the Cathedrals legacy, but they have also set a new standard for themselves. There are moments that especially stand out, but as a whole, it remains remarkably consistent across its 19-song span (plus two bonus cuts). The result is both a wonderful trip down memory lane for those who remember the Cathedrals and a perfect introduction for those who are discovering this music for the first time.

So let us begin…

Wedding Music: This is a very classy way to kick off the project. It’s a low-key number, but it’s a perfect opening song. The simple strumming of an acoustic guitar sets the stage for a tasteful  re-visitation of this classic, creating an air of expectation for what lies ahead. “Is that wedding music I hear?” Understated and smooth.

Step Into the Water: As the Cathedrals’ longest-running #1 hit, this song was an obvious pick for the project. It’s just a great song, with a terrific message in the lyrics. I have always especially loved verse one: “It’s time we the people stand up for what is right/It’s time we squared our shoulders back and raised our swords to fight.” Amen! Sometimes I think the church tends to slip into “group hug” mode without remembering that we got a war going on. God is raising up an army indeed!

This arrangement remains very true to the spirit of the original but adds a few twists. There is some tasty banjo strumming in the background which gives it a bit of a country flavor. Doug and Ernie’s duet on verse two is a real treat. Their voices complement each other superbly. At the end of the song, an extra refrain is added that works perfectly to tie it off—a great example of how to give a classic a new touch without detracting from its power.

Boundless Love: This song provides the project’s most unusual moment, and that’s the “We Will Rock You” rhythm that kicks it off and continues in the background for the first part of the song. It’s fresh and creative, to be sure, but it’s generated mixed reactions. My verdict is that while it’s a fun idea, it creates a musical clash of worlds that doesn’t quite work, aesthetically speaking. There’s a very literal sense in which that rock rhythm gives a downbeat feel to an upbeat song. The effect is even more noticeable when listening with headphones. It’s simply too heavy for its musical context. But after the second verse, that rhythm fades away, and it is then that the arrangement really takes off. At that point, we’re back to that country/gospel rhythm of “clap, clap, clap, clap” instead of “boom, boom, CLAP.” It fades back in briefly later, but by then it’s too late—the song has already moved beyond it. Overall, this is an excellent arrangement, and it is best appreciated live with several encores. Like many of these songs, its full flavor only comes through on the DVD, because the live energy just adds so much.

I Thirst: This is the project’s first single, which is a very nice touch considering that it was not the best-known song off of its original project (the stellar High and Lifted Up). The arrangement is handled tastefully and gracefully, different from the original, but without losing the golden touch. They begin with an introductory acapella tag. Doug then takes the lead on the first verse and communicates the poignant lyric very effectively. Ernie takes over on verse two after a key change. The closing harmonies are hauntingly rich. This version may not replace the original, but it stands on its own as a lovely piece of music.

Please join me in welcoming Brian, whom you have frequently talked with in the discussions here, for his first guest post. And what a way to start! It is safe to say that this is one of the most extraordinary posts ever to appear on this site!

This project was born from my quest to obtain every album on which my all-time favorite gospel singer, Mark Trammell, has appeared. My inherent nerdiness eventually led me to try to find out just how wide his impressive vocal range was. What you are reading now is a result of many dollars spent on music, and many hours of listening to songs. But those are dollars and hours I wouldn’t trade for anything.

I made a list of every song Mark has been featured on in a recording since he joined the Cathedral Quartet in 1980. I defined a “feature song” as one in which Mark sings by himself for an extended period (typically at least a verse). The final count of songs was 154 (130 of them unique, not including different recordings of the same song), spanning his recording career with the Cathedrals, Greater Vision, Gold City, and the Mark Trammell Trio/Quartet, as well as his solo work. I then listened to every song and recorded the highest and lowest notes he hits in the song, while singing solo (including harmony notes would have overcomplicated the project). I got help from Daniel Mount himself on one song, from a Cathedrals album I don’t yet have. Unfortunately, I don’t have the albums from Mark’s days with the Kingsmen and the Senators, so this list is admittedly incomplete. Maybe an update will be in order one day.

The spreadsheet containing the data can be found here: http://www.southerngospelblog.com/reference/cathedral-quartet/mark-trammell/range. There you will find the full list of songs, with their high and low notes, and ranges. The notes are translated to numerical values, as explained at the top of the spreadsheet.

Here are the highlights (and “low”lights)!

Highest Notes

Bflat5 – “He Keeps Me Singing”, Treasures of the Heart: Volume 1, Solo, 2003
Mark climbs the ladder with a big finish, hitting his first recorded high B-flat at the end of the song. This would be a good time to mention that none of these high notes are cheap; they are all in full voice, and exceedingly powerful.

Bflat5 – “If Only Just a Few”, Always Have a Song, Mark Trammell Trio, 2008
Perhaps overshadowed by “Loving the Lamb” on the same album, this is a tremendous, huge ballad with an equally strong message and arguably an even more dramatic arrangement. Mark’s knocks a B-flat out of the park near the end of the song to put icing on the cake.

A5 – “Go Jonah”, Oh Happy Day, Cathedrals, 1982
This gospel remake of the Oak Ridge Boys’ classic “Elvira” is certainly one of the most unique songs in Mark’s recording career. It’s also the feature song where he is consistently the highest, never dropping under the A-flat below middle C, and topping at a high A natural.

A5 – “Come on Home”, Travelin’ Live, Cathedrals, 1986
One of my all-time Trammell favorites, and one I’d love to see his quartet record some time. Mark’s impressive range is just part of what makes this song special. The Spirit-led spontaneity of “Go ahead, sister” in the repeated second verse makes the song. If you don’t know what I’m talking about, find a copy today.

A5 – “Look for Me (Around the Throne)”, I’ve Just Started Living!, Cathedrals, 1989
Mark takes the last verse from George and gets a-way up there.

A5 – “Calvary Came Through”, Renewed, Gold City, 1994
Mark hits a high A at the beginning of the bridge, which is a chorus of the hymn “I will Glory in the Cross”. A trend-setter for his tenure with the quartet, it was the first of the powerful ballads that he would record on almost every Gold City project he was on.

A5 – “He Who Was and Is to Come”, Pressed Down, Shaken Together, Running Over, Gold City, 2001
With another power ballad, Mark finishes his Gold City tenure on a high note…literally.

A5 – “Even Thomas Couldn’t Doubt It”, Once Upon a Cross, Mark Trammell Trio, 2007
Mark finishes high on the second verse of this up-tempo number.

A5 – “Once Upon a Cross”, Once Upon a Cross, Mark Trammell Trio, 2007
One of many songs about the cross that Mark delivers with power and conviction. More on this one later.

A5 – “Heaven Came Down”, Treasures of the Heart: Volume 2, Solo, 2007
One of my favorite hymns, with a high finish.

Lowest Notes

E2 – “More Than You’ll Ever Know”, This Time, Mark Trammell Trio, 2005
Mark reaches down into a bass range on this largely forgotten song. Most of these lowest notes are very quick drop-downs, but are still legitimate pitches.

E2 – “Once Upon a Cross”, Once Upon a Cross, Mark Trammell Trio, 2007
While most of the high notes are at or near the end of songs, logically, most of the low notes are toward the beginning. This is no exception. Notice that this song is on the “highest” and “lowest” lists…

F2 – “Show Me the Cross”, Standing in the Gap, Gold City, 1995
Mark shows off a rich, low baritone range in the verses of this country-flavored tune.

F2 – “Hold Me”, Vintage Gospel, Mark Trammell Trio/Quartet, 2009
This is on-average the lowest song Mark has been featured on, never rising above the G below middle C. He sings it only one half step above where George Younce recorded it in 1988.

The lowest sustained note Mark has recorded is a G2, which he hits with authority on solo recordings of “Until Then” (Treasures of the Heart: Volume 1) and “How Great Thou Art” (Treasures of the Heart: Volume 2).

Largest Range (# of half-steps)

29 – “Once Upon a Cross”, Once Upon a Cross, Mark Trammell Trio, 2007
Mark covers 30 half steps (E2 to Bflat5) in his recording career, and he spans 29 of them (two and a half octaves) in this one song. In other words, this is without a doubt one of his most impressive vocal performances.

25 – “More Than You’ll Ever Know”, This Time, Mark Trammell Trio, 2005

24 – “Calvary Came Through”, Renewed, Gold City, 1994
Gold City gives Mark a two-octave workout in his first feature with the group, and he doesn’t disappoint.

24 – “The Lighthouse”, King’s Gold 4, Gold City, 1996
Parker Jonathan does an admirable job on the first verse, but Mark steals the show with a fantastic, and fully live, 2-octave range on the second.

24 – “He Who Was and Is to Come”, Pressed Down, Shaken Together, Running Over, Gold City, 2001

24 – “Until Then”, Treasures of the Heart: Volume 1, Solo, 2003

24 – “How Great Thou Art”, Treasures of the Heart: Volume 2, Solo, 2007

24 – “Loving the Lamb”, Always Have a Song, Mark Trammell Trio, 2008

One amazing thing about Mark Trammell’s voice is that it hasn’t lost any steam after over 30 years in gospel music. Most of these two-octave songs are in the most recent decade of his career. Most recently, he goes from a low A-flat to a high A-flat on the Mark Trammell Trio/Quartet’s biggest hit to date.

This post has obviously been primarily about the vocal abilities and performances of one of the greatest singers in the history of gospel music. But Mark Trammell would be the first to tell you that all of that means nothing compared to what is done for the kingdom of God. Few if any gospel music artists can claim his vocal track record, but just as few have as strong a testimony of service to Jesus Christ. I can’t help but think that he’ll be one of God’s featured singers in heaven one day. And he’ll be singing whatever part he wants.

Please join me in welcoming frequent commenter David Mac for his first guest post!

In Song Writing and Old Testament Literacy, Daniel recently wrote:

One point worth noting, clearly evident from the citations and from similar but rare instances in Southern Gospel songwriting, is that most of the obscure references and allusions are to the Old Testament. Many New Testament allusions, no matter how obscure, are familiar to church audiences today, but Old Testament references can be another story.

On the blog and in email we debated the relative nature of “obscurity” and other commentors avowed that “Adam” and “Eden” were not numbered among the obscure! Personally I do feel however that in Sunday School, Youth Work, mainstream Church Service, and Gospel Outreach, we are;

1. Preaching in a moral vacuum.
2. Presuming biblical knowledge that is no longer the prerogative of the masses and,
3. Underestimating the flood of evolutionary effluent which is drowning even an acceptance of literal biblical history among the rising generation.

Poisoning the water source is an old and vicious tactic of retreating armies in our part of the world. If the “water of the Word” is apparently poisoned at the creational source – where or why should man look for God in any other sphere of existence? With this as background I have, at Daniel’s suggestion, picked out ten scriptural analogies recently used here, in point of fact more than ten were used just within in the thread referred to, so the material is there for the choosing. It would be interesting then to gauge the level of awareness among readers of:

1. The hymn from whence the couplet or verse comes.
2. The location [book at least] from whence it is taken in scripture.
3. The main character referred to in the scriptural context, and /or
4. The literal place referred to in context.
5. The generally accepted application / meaning of the analogy – to us today!

In the essay quoted, Bernard Manning also says of Charles Wesley, “His verses are a commentary on the passage as well as a restatement of it”, which chimes very nicely with further comment in the blog thread. So, here are five scriptural analogies by Wesley, and five by other song writers. Are we all in any way familiar with the Biblical background, or do we need a commentary to expound the hymnology?

Words by Charles Wesley:

None is like Jeshurun’s God
So great, so strong, so high,
Lo! He spreads his wings abroad,
He rides upon the sky!

My Zerubbabel is near,
I have not believed in vain;…
Christ the head, the corner-stone,
Shall be brought forth in me;

In soft Laodicean ease we sleep
Our useless lives away,
We live in pleasure and are dead

Less grievous will the judgment-day.
To Sodom and Gomorrah prove,
Than us, who cast our faith away,
And trample on thy richer love.

FATHER, into thy hands alone
I have my all restored;…
Take when thou wilt into thy hands,
And as thou wilt require;
Resume by the Chaldean bands,
Or the devouring fire.

Ricky Atkinson:

Feasting on the Table of the King.
A poor and lonely man
dwelling in the distant land of Lodebar.

Robert Robinson:

Here I raise my Ebenezer;
Here by Thy great help I’ve come;
And I hope, by Thy good pleasure,
Safely to arrive at home.

Michel Payne:

We won’t bow to your idols,
the Hebrew children proclaimed.
And so the king commanded
they were thrown into the flame!

Elizabeth Clephane
[This hymn is reputed to have beenwritten as a poem, and produced from the pocket of Ira Sankey, when Moody requested a new hymn – and the music composed as he played!]

There were ninety and nine that safely lay
In the shelter of the fold.
But one was out on the hills away,
Far off from the gates of gold

Jonathan Oatman:

Lord, lift me up and let me stand,
By faith, on Heaven’s table land,
A higher plane than I have found;
Lord, plant my feet on higher ground.

The analogy in this tenth and last is not so specific, but may link us back to another recently discussed scriptural mountain vista!

So; Stating the obvious? Totally obscure? Or highlighting the need for re-education in biblical historical truth, today, through the power and influence of gospel music? You say…

This is a guest post from NewSoGoFan.

In 1995, Steven Curtis Chapman released his first Christmas album—The Music of Christmas. It was a lush, orchestral project with many highlights, but one in particular stands out: “Our God is With Us,” co-penned by Chapman, who wrote the lyrics, and Michael W. Smith, who provided the melody. The song begins with portraits of pain: “One of us is crying, as our hopes and dreams are led away in chains… One of us is dying, as our love is slowly lowered in the grave.” And yet the chorus provides the redemptive message that God has come to share our sorrow and bear our burden. “Our God is with us—Emmanuel!”

The second verse is equally powerful, comparing the Old Covenant with the New. God hid his face from mankind, until he chose to reveal himself in the form of… a child.

The melody soars and complements the lyrics wonderfully. While re-visiting it of late, it occurred to me that this song could be very powerful as a quartet piece. Especially on the chorus, the harmonies would be quite strong. It would be a moving addition to any Christmas project and a gripping live number.

I really don’t have any specific ideas about which quartet should do it—except I keep hearing Doug Anderson’s voice on lead in my mind. I believe it would fit him very well, and he is an excellent communicator when it comes to a lyric.

Thoughts? Here is the song, for those who are interested: