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Live at Oak Tree is a DVD / CD series released by Daywind Records, featuring several Daywind artists singing in a studio setting at Oak Tree Studio.

Greater Vision’s entry in this series features quite a few songs from their Not Alone CD (their most recent recording of new songs), as well as several tracks from other recent projects and several of their greatest hits. Jacob Kitson, who surprised nobody in the industry by winning “Favorite Horizon Individual” at the 2009 Fan Awards, delights with his more than adequate renditions of songs from earlier eras of the group. In particular, he does so well on the Hymns of the Ages tracks that one wishes Gerald Wolfe would re-cut the vocals on that project and have a version available with his vocal. And his rendition of “So Much God” is the best Greater Vision has recorded.

Legacy Five’s Tim Parton joined Greater Vision for the video; the group was backed by a four-piece band that included Parton on piano, John Hammond on drums, Craig Nelson on bass, and Kelly Back on guitar. (Lari Goss took over on piano on several tracks.)

Particularly welcome are several songs—”It Means Just What it Says” and “Treasures Unseen”—that feature Greater Vision with just the live band. It’s these songs more than any other that make this project a must-add for fans who already have Live at First Baptist Orlando and other recent Greater Vision DVDs.

The cinematography is decent overall, though it’s not clear whether the grainy black-and-white footage from one angle was an accident or somehow intentional. Also somewhat distracting is the jerky zooming in and out on the multi-group songs in the bonus footage. The lighting is also good overall, though Rodney Griffin was over-lit to the point that his face lookes overly pale from a few angles. But despite those quibbles, the choice of camera angles and overall end product is enjoyable.

The extras include two songs featuring the three groups in this Oak Tree series (Greater Vision, the Booth Brothers, and Legacy Five) singing “I’m Feelin’ Fine” and “Jubilee,” as well as a tear-jerking bonus on Compassion International, featuring “Faces” as the soundtrack and featuring video footage of the group meeting a child they sponsored for the first time.

Though Greater Vision is at their best on a live stage—as Gerald Wolfe himself notes in the out-takes—this video is a nice change of pace, a welcome addition to their videography.

Rating: 4 stars. ♦ Group members: Jacob Kitson (tenor), Gerald Wolfe (lead), Rodney Griffin (baritone). ♦ Executive Producer: Dottie Leonard Miller. Producers: Paul Corley, Tre’ Corley, Norman Holland, Michael Turner, Shannon Lancaster. ♦ Available from: Artist. Review copy not provided. (And for anyone who actually reads the credits, that’s just a fancy way of saying that I bought it. Annoying FTC regulations … ) ♦ Song list: The Source of My Song; Tell Me the Story of Jesus; Share it with Jesus; It Means Just What it Says; He is Loved; I’ve Been to the Bottom; So Much God; It Pays to Pray; Treasures Unseen; I Want to Know that You Know; My Name is Lazarus; I Know He Heard My Prayer; He is to Me (Bonus Features: The Happy Jubilee; I’m Feeling Fine).

My journey with Liberty Quartet started several years ago, when I started hearing good things about them from a number of west coast friends (particularly John S. in California and Elysse B. in Idaho). At the time, I chalked up the rave reviews to local pride. So when I met them at NQC 2007, and they gave me a copy of their hymns CD,I politely thanked them, and promptly put it in my stack of CDs to review . . . at the very bottom. It ended up being December 2007 before I got to that CD—and promptly gave it a five-star review (here).

But no matter their talent level (or if they are full time), it’s not easy for a group that is literally off the beaten path to attract top-notch songs from top-notch songwriters. Between producer Phil Cross and then-baritone/pianist Doran Ritchey, they managed to come up with a number of strong songs on each project, but not enough to equal that five-star rating.

Until now.

The Journey proves that creative and progressive don’t have to be synonyms in the Southern Gospel thesaurus. Instead of relying on soundtracks to create a fresh sound, Liberty does it with their vocal arrangements. When was the last time you heard someone put a fresh spin on “He Came Down to My Level?”

The project starts out with the title track, easily one of its most memorable songs. The song is kicked off by an “almost exotic” drum solo (hat tip, Aaron Swain), before piano and orchestra kick in to carry this uptempo track along.

Nine of the twelve tracks are new songs. Besides “He Came Down to My Level,” the other two classic tracks are “Till There Was Jesus” by W. Elmo Mercer and “Welcome to Heaven” by Phil Cross & Carolyn Cross English. The latter track is a straight-ahead big ballad featuring lead singer Dan Gilbert that isn’t remarkably different from the Singing Americans original. But in this case the old adage “if it ain’t broken don’t fix it” applies, and it should be a concert favorite for the group.

For a second straight recording, Liberty Quartet and a major east coast group both simultaneously cut a Rodney Griffin song. With Amazed and Triumphant Quartet’s Everyday, it was “Amazed at the Change.” For this project, Liberty and Tribute Quartet both cut “I Love Living In Grace.”

Former Liberty Quartet baritone / pianist Doran Ritchey was still a part of the group during the recording process; he contributed five of the project’s songs and did a guest solo on “The Welcome.” He has since left to be a part of Phil Cross’ musical endeavors (including the group “Crossing”), but hopefully he will continue to send some of his best tunes to Liberty.

This project introduces new Liberty Quartet baritone Jordan Cragun (who, as has been mentioned before, is Kim Collingsworths’ nephew). He is featured on “I Made it Mine” and “In the Day of the Lord.”

Keith Waggoner unfortunately only had one solo, on “He Came to Me.” Bass and manager Royce Mitchell is featured on three, “He Came Down to My Level,” “Till There Was Jesus,” and “Too Long.”

Lyrics are included in the CD booklet. One would think this would be default in a lyric-driven genre, but unfortunately, it’s not, so it’s worthy of mention.

This project easily earns Liberty Quartet another 5-star rating—their second on this site, and first for a recording of new songs.

Rather than just write about it, though, I have received permission from the group to feature several tracks in the flash player for the month. So , for the remainder of this month, enjoy “The Journey,” “In The Day of Our Lord” (featuring Jordan Cragun), “God Made a Way” (featuring Dan Gilbert), and “Till There was Jesus” (featuring Royce Mitchell).

Rating: 5 stars. ♦ Average song rating: 4.33 stars. ♦ Group members: Keith Waggoner (tenor), Dan Gilbert (lead), Jordan Cragun (baritone), Royce Mitchell (bass). ♦ Produced by: Doran Ritchey, Phil Cross, Roger Talley. ♦ Available from: Group. Review copy provided. ♦ Song list: The Journey; He Came Down To My Level; I Made it Mine; I Love Living in Grace; Till There Was Jesus; God Made a Way; He Came to Me; The Welcome; Too Long; He’ll Come Through; In the Day of the Lord; Welcome to Heaven.

About a year ago, several former LeFevres family and group members gathered for a special concert to commemorate Eva Mae LeFevre’s 90th birthday. Though nobody there knew this, it ended up being Eva Mae’s final recorded performance. Performances from the former members are interspersed with several numbers performed by Eva Mae, with piano accompaniment by her long-time pianist, Mark Fuller.

Janet Paschal opened the concert with “Rock of Ages Hide Me Again.” After her song, the film cut to a conversation between Janet and Singing News’ Les Butler about how Eva Mae had taught her to be a professional.

Eva Mae sang two numbers, “Mansion Over the Hilltop” and “I Can Call Jesus Anytime,” with a video clip of Les Butler talking with her about her upbringing between the two songs.

After a video introduction from Eva Mae, her nephew Mike LeFevre and his group (LeFevre Quartet / Priority) sang the classic song “Must I Go, and Empty Handed” (penned by her brother-in-law Alphus LeFevre).

Former LeFevres member Ron Hutchins was featured on a brief interview segment before the next number, “Child of the King,” featuring Eva Mae’s pianist, Mark Fuller, singing the solo, with Eva Mae joining on the choruses. On the final chorus, an unidentified third voice (Janet Paschal’s?) joined in a third harmony part.

Ron Hutchins, Eva Mae, and Janet Paschal sang “Leave it There.” Janet had her part spot-on from the first note, and Ron picked his up quickly.

The LeFevre quartet returned for “Without Him.” Mike LeFevre sang the first verse; tenor Gus Gaches had the second, and took the melody through the end.

The Talley Trio kicked off the final song, “Sweeter as the Days Go By.” After the second chorus, all the singers featured at one point or another in the program joined them for the ending.

The video was finished and prepared for release before Eva Mae’s passing this May. Though not originally intended as a tribute, it serves as a good one—and perhaps as a good introduction to fans newer to the genre, just now discovering the over 70-year-ministry of this legend.

Rating: 4 stars. ♦ Produced by: David Staton. ♦ Available from: Label. Review copy provided. ♦ Song list: Rock of Ages Hide Me Again (featuring Janet Paschal); Mansion Over the Hilltop; I Can Call Jesus Anytime; Must I Go And Empty Handed (featuring LeFevre Quartet / Priority); Leave it There (featuring Eva Mae, Ron Hutchins, Janet Paschal); Without Him; Sweeter As the Days Go By (featuring the Talley Trio, the LeFevre Quartet, Janet Paschal, Ron Hutchins, Mark Fuller, Eva Mae).

When I interviewed Phil Collingsworth for this site’s April feature article, he explained why the Collingsworth Family only releases a project every other year:

It might be interesting for you to know that our cost of recording an album is almost triple what some of the other ones are. That’s what we put into it, because we put time into it, and time is money when you’re in the recording studio. We put a great deal of time into it because we want it to be a lasting product—something you listen to years down the road and say, “That’s still good quality.” We feel quality rather than quantity is the key issue here.

This attention to quality has paid off, since each of their projects has been a noticeable step up from the previous. Strength for the Journey (2003) was good enough to launch them into the national Southern Gospel scene. God Is Faithful (2005) was good enough to launch them onto the Gaither Homecoming scene. We Still Believe (2007) was a project worthy of a Gaither Homecoming tour artist. And, somehow, The Answer is even better.

Like every other Collingsworth project, The Answer includes a wide variety of vocal and instrumental configurations. Spreading six or seven configurations between fourteen songs—and that’s not even counting things like a Phil/Kim duet on a verse of “Oh the Thought that Jesus Loves Me”—gives the album the same variety their live programs feature.

The most noticeable change is a decreased reliance on the soprano/alto/baritone trio. In their earlier years on the road, many of their vocal songs featured Phil and Kim with their oldest daughter, Brooklyn, probably since she would have been the only child able to hold a part by herself. As the other siblings become capable vocalists in their own right, they have increasing liberty to reserve this lineup for the songs that it best fits. Only three songs use this configuration: “Jesus is Still the Answer,” the old Lanny Wolfe Trio classic, which has been getting a strong response at live concerts, a new Kyla Rowland/Dianne Wilkinson-penned ballad called “Within the Reach of a Prayer,” and a rare composition by Phil Collingsworth himself, “Bottom of the Barrel.” The latter track is the project’s first radio single.

Two other trios are featured. A trio of the Collingsworth teens (at the time of the recording; Brooklyn has since turned twenty) sings “Count Your Blessings Again.” It’s a new song penned by Daryl Williams and the project’s producer, Wayne Haun; it is also one of two tracks with a more progressive arrangement than they have used on past projects. The other, “I Shall Not Be Moved,” is the same song that Palmetto State recorded in 2006 on When it Pours, God Reigns. But the song is so completely reinvented that you’d have to compare the songs back to back to be fully convinced that it’s the same song.

Of all the various vocal configurations, the female trio of Brooklyn, Courtney, and Kim has the most unique and distinctive sound. It was the only lineup other than the entire family to be featured in the Collingsworth Family’s first appearance at a Gaither taping. During the two-day taping that produced Amazing Grace, How Great Thou Art, Rock of Ages, Nashville Homecoming, and Joy in My Heart, the entire family sang “May the Good Lord Bless and Keep You” and the ladies’ trio saing “God is in the Shadows.” Of that latter appearance, I said:

. . . Of all the vocal configurations the Collingsworth Family uses in any given concert, this female trio is possibly their best and certainly their most distinctive. The Collingsworth ladies are Southern Gospel’s female Booth Brothers. They match their enunciation and vocal placement more precisely than any other group in the genre (besides, perhaps, the Booth Brothers, the Isaacs, and Voices Won).

This lineup is featured on two of the projects’ best songs, “Fear Not Tomorrow” and “Ever Gentle, Ever Sweet.” The latter song is the same mid-tempo song that the Bill Gaither Trio recorded in 1974 on Because He Lives. But despite the (well-deserved) legendary status of the Bill Gaither Trio, their version can’t touch the simple beauty of this one.

With “Fear Not Tomorrow,” the ladies’ trio proves its abilities are not restricted to mid-tempo numbers. I saw the Collingsworth Family the weekend after their project came out (review here), and though this was the first time that the audience ever heard this power ballad, it brought down the house with one of the biggest responses of the night.

A new vocal configuration appears for the first time on this project: Phil, Kim, Brooklyn, and Courtney sing the project’s closing track, “More than Anything.” This quartet would be a strong default configuration for the group; adding Courtney to the mix gives the mixed quartet a much fuller, warmer tone than the mixed trio has.

Though the original plan for the project called for no instrumentals, evidently plans changed before the project was complete. Phil does a trumpet solo on “When the Roll is Called Up Yonder,” while Kim is featured with a piano solo on “Great is Thy Faithfulness.”

There are two other songs that the review wouldn’t be complete without a mention. “I Want a Principle Within” is a magnificent, sweeping rendition of a Charles Wesley hymn largely forgotten except in some holiness circles. The hymn deserved to be brought back, and this rendition does justice to the strength of the lyric and grandeur of the melody.

Since words fail me when discussing “Oh, the Thought that Jesus Loves Me,” I’ll resort to statistics. About the time I started this site, I switched from Windows Media Player to iTunes. Since I don’t re-set play counts, my automatically generated top 200 list tracks each time a song has been played for the last three or four years. After just a month of having this CD, “Oh, the Thought that Jesus Loves Me” is at #6 out of 19,319 tracks. It’s that good.

In closing, a few words need to be said about where this album positions the Collingsworth Family. In addition to a strong assortment of new songs, the project has three hymns (one vocal, two instrumental), several familiar Southern Gospel selections, and two or three songs from Inspirational music. Specifically, that latter group of songs is “Jesus is Still the Answer” (Lanny Wolfe Trio), “I Want Jesus More than Anything” (Truth), and depending on if you count the Bill Gaither Trio (which, historically speaking, you should), “Ever Gentle Ever Sweet.”

The audience of aging music fans that loved Inspirational music back in the 1970s is a largely untapped market right now. Contemporary Christian music long since passed them by, and though many have some familiarity with the Gaither television specials, many more have no idea that anything like the style they used to love can now be found again. The Answer fuses the best of both genres in a way that, if properly marketed, will win many new fans.

Rating: 5 stars. ♦ Average song rating: 4.3 stars. ♦ Group members: Phil, Kim, Brooklyn, Courtney, Phil Jr., and Olivia Collingsworth. ♦ Produced by: Wayne Haun. ♦ Available from: Label, Artist. Review copy provided. ♦ Song list: I Shall Not Be Moved; Fear Not Tomorrow; I Could Never Praise Him Enough; When the Roll is Called Up Yonder; I Want a Principle Within; I Know; Ever Gentle Ever Sweet; Jesus is Still the Answer; Count Your Blessings Again; Within the Reach of a Prayer; Oh the Thought that Jesus Loves Me; Bottom of the Barrel; Great is Thy Faithfulness; More Than Anything.

Rating: 4.5 stars

Average Song Rating: 4.3 stars

Executive Producer: Mark Trammell. Associate Producer: Dustin Sweatman.

Song list: Leave Your Sorrows and Come Along; Mansion Over the Hilltop; Hold Me; John Saw Me; Standing On the Solid Rock; While Ages Roll; Sweetest Song I Know; Sin Will Take You Farther; In the Sweet Forever; Hide Thou Me.

* * *

After Joel Wood joined the Mark Trammell Trio earlier this year, there evidently wasn’t enough time to turn around a CD of new songs featuring the new lineup by NQC. So the group decided to put out its second CD of classic songs. (Their first, Journey Thus Far, introduced Dustin Sweatman in 2006.) Much like Journey This Far, Vintage Gospel includes a mix of hymns, classic convention songs, and songs Mark Trammell was known for other with other groups.

Mark Trammell reprises his rendition of his Cathedrals hit song “Sin Will Take You Farther.” He also performs a song that originally featured George Younce, “Hold On.”

Uptempo convention songs like “Leave Your Sorrows and Come Along” and “Sweetest Song I Know” reinforce something I’ve said before: The Mark Trammell Trio is the best quartet without a bass singer on the road today. Other trios, like the Booth Brothers, Voices Won, and the Bishops, have (or had) a sound that was so trio a bass singer just wouldn’t fit. But this group is a mega-quartet waiting to happen.

Joel Wood is featured on “Mansion Over the Hilltop” and “Hide Thou Me.” Particularly on “Mansion,” his voice tone is enough like Eric Phillips that a casual observer might hear the song and not even notice that there’s a new tenor. His voice doesn’t seem to be quite as high, and seems to have a more power-tenor mid-range (should the group choose to employ it). But he should have little problem with the group’s repertoire.

Dustin Sweatman keeps improving as a vocalist. This is most notable on the song “John Saw Me,” where he has an impressively smooth yet powerful solo.

It took a member change to prompt Journey This Far—one of the group’s best CDs to date. It took another member change to prompt this project. If this keeps up, the group might soon find their fans doing something incredibly odd: Hoping there will be a member change … so the group puts out another table project of this caliber!

But, truth be told, it would be far more sensible for the fans to do something that would work just as well: Purchase so many copies of this project that it doesn’t take a lineup change for them to put out the next one.

Rating: 4.5 stars (of 5)

* * *

About two and a half years ago, Bill Gaither hosted two video tapings on consecutive days. One day was a hymns taping; three DVDs/CDs resulted (Rock of Ages, How Great Thou Art, and the Grammy®-nominated Amazing Grace). The other day featured a more familiar Homecoming mixture of new songs and classics. These resulted in two DVDs released this week, Nashville Homecoming and Joy in My Heart.

Let’s take a look at Nashville Homecoming.

• The Hallelujah Side. This is a nice up-tempo song to kick the project off. A trio of Charlotte Ritchie, Wesley Pritchard, and TaRanda Greene sing the first chorus and the second verse and chorus; Chris Freeman offers a soulful solo on the first verse.
• I Wish I Could Have Been There. Unlike most recent Homecoming tapings, where the artist could deliver the song either to a live audience or a semi-circle of artists which they could face while singing, this Homecoming setup places the audience of artists behind the singers, leaving the artists to play only to the cameras. Especially for artists new to the Homecoming video tapings (such as Perrys lead singer Joseph Habedank, featured on this song), this would only serve to compound the already jarring experience of singing to a sterile audience of high-definition cameras. So, perhaps understandably, Habedank started the first verse a little tentatively. But this wore off by the end of the first chorus, and the audience of artists stood for the encore. A second encore was called as the Perrys were walking off center stage; the video cuts away from this to a video of Bill Gaither talking with Duane Allen.
• Try a Little Kindness. This familiar song, featuring Tim Surrett, is a nice mid-tempo change of pace.
• I Wouldn’t Take Nothing For My Journey Now. Songwriter Mosie Lister had recently produced a project called Mosie’s Men, a project featuring about 50 male voices. He directs all the male voices in the Homecoming choir on this classic. The choir’s sound is so pleasant and distinctive that one wonders if this song’s success might spur Gaither to do more songs featuring just the male voices in the choir. Gene McDonald and Glenn Dustin are featured on the verses. McDonald is stellar (as always); Dustin’s solo is one of his career best. He has been a great bass vocalist from day one, but this song is one of several recent solos showing his growth as a singer.
• God is In the Shadows. This song is sung by a female trio of Kim, Brooklyn, and Courtney Collingsworth. Younger sister Courtney has the solo. Of all the vocal configurations the Collingsworth Family uses in any given concert, this female trio is possibly their best and certainly their most distinctive. The Collingsworth ladies are Southern Gospel’s female Booth Brothers. They match their enunciation and vocal placement more precisely than any other group in the genre (besides, perhaps, the Booth Brothers, the Isaacs, and Voices Won).
• Over and Over. This song, sung by Jeff & Sheri Easter (featuring Jeff), is Charlotte Ritchie’s final Homecoming appearance as part of the group.
• I Don’t Regret a Mile. This song features Johnny Minick playing piano and singing the lead; Guy Penrod and Sheri Easter added the trio harmony parts. As the first verse finishes, the video and audio both transition to Howard Goodmans’ narration from the Happy Goodmans’ 50 Faithful Years video. As the final chorus fades back in, the cameras cut between the 50 Faithful Years rendition and the live taping, and the Homecoming Choir’s voices were mixed in with Howard and Vestal’s vocals.
• Child of the King. In another video montage, Mike Allen kicks the song off before the video cuts to an earlier version of the song by Brock Speer (from Moments to Remember). Tim Duncan sings the entire second verse. Halfway through the second chorus, the video fades back to Brock Speer, and the audio mixes the classic and current Homecoming choirs.
• I’m So Glad. Practically every Homecoming video has its soul Gospel moment, and fans of those moments will appreciate this solo by Jessy Dixon and Alicia Williamson. Williamson’s verse is particularly enjoyable.
• The Dearest Friend I Ever Had. The first verse of the song is a musical background to a video clip of Kelly Nelon Clark and Janet Paschal trading memories of their days with the Nelons. The second features the Homecoming Choir. (The complete song may be on the CD, which I do not have as of the time I write the review.)
• Feet on the Ground. This song features Dallas Holm. Though his roots in contemporary music are evident, the song selection fits the rest of the project well.
• Bill Gaither reminisces with Jimmy Blackwood about James Blackwood’s role in the first few videos.
• O Happy Day. This song features Lillie Knauls, who was in the Edwin Hawkins Singers when this song became a big contemporary hit. The Talley Trio sings backup vocals. The look of shock on Knauls’ face when the encore kicked off was priceless, but she recovered instantly and turned in a strong encore.
• Jonah, Job & Moses. This song, featuring the Oak Ridge Boys, is introduced by a clip of their lead singer, Duane Allen, reminiscing with Bill Gaither about the great voices in Southern Gospel music, past and present.
• I Just Came to Talk With You Lord. This was Dottie Rambo’s final Homecoming performance; a brief tribute before the song honored her memory…but no tribute could be better than seeing her singing one of her classics. Fortunately for history, Gaither had a chance to capture her in high definition before her passing.
• The Promise. The Martins, who have come back together for occasional tour dates, sang this song, from their final release (Above it All, 2003).
• Ain’t Gonna Give Up on God. This song featured Gordon Mote singing and playing organ.
• Meeting in the Air. After a few less traditional songs, Gaither nods to aficionados of classic quartets by including a Joshua Pope piano solo. Pope, now 16, was 14 at the time of the taping. He is as good a showman as he is a pianist, looking up and smiling at the (nonexistent) audience at appropriate points in the song.
• Strike Up the Band. Legacy Five sings the opening track from what was a current release at the time of the taping, Live at Music City.
• In the Upper Room. Larry Gatlin said that one of the greatest honors one songwriter can pay another is recording their song. He thanked the Gaither Vocal Band for giving them that honor when they cut “Heartbreak Ridge and New Hope Road,” and said they would return the honor by singing this early Gaither composition.
• Bill Gaither reminisces with Lily Weatherford about the classic recording In the Garden.
• The One I’m Dying For. This song is performed by the Isaacs, featuring Becky Isaacs Bowman.
• It Won’t Rain Always. Bill Gaither introduced Janet Paschal by asking her to give an update on her cancer. (The update is slightly jarring to someone who follows Southern Gospel headlines closely, with the videos being recorded over two years ago.) Backup vocals were provided by Sheri Easter and Charlotte Ritchie.
• Make it Real. Mark Lowry sings this classic Gaither Vocal Band song. (More thoughts later.)
• I Need Thee Every Hour. Bill Gaither leads the Homecoming choir in this classic hymn, as a segue from the thoughts in the closing chorus of “Make it Real.”
• Yaweh. The Hopper’s powerful rendition of this Paula Stefanovich classic-in-the-making helps bring the project to a strong close.
• Send it On Down. This song features solos from Reggie Smith and TaRanda Greene. In an odd coincidence of history, the DVD’s actual release date (this past Tuesday) was the same day TaRanda was in surgery, donating a kidney to her husband Tony.

The video ends with a brief tribute to Dottie Rambo.

The Gaither team’s cinematography is excellent, as always. Overall, the Homecoming video crews have handled the transition to widescreen seamlessly, though there are a few minor glitches (such as a close-up shot of Kim Hopper toward the beginning of “Yaweh” where the bottom half of Dean Hopper’s head is a little too prominently in the frame for a little too long). But overall, the video quality shines; one can only hope that a Blu-Ray release may be in the works.

A bonus feature includes Bill Gaither discussing alligator hunting with Joel Hemphill (complete with photos of Hemphill with successfully hunted alligators). Before any controversy starts, in all fairness to Gaither, it must be said that this was taped well over a year before there was any public controversy over Hemphill’s doctrinal views.

In a slightly odd editing choice—I say “slightly odd” because I don’t see any particular connection between the two—the Hemphill interview segment segued into a bonus track from the Lewis Family, “A Step Away.” Most Gaither videos have included bonus segments as separate menu options.

Though a few deserving groups got their first Homecoming solos, or their first in quite some time, probably the most noteworthy part of the lineup is what isn’t there. There is no song featuring the Gaither Vocal Band on the entire project. Now it’s not like Gaither is trying to erase the memory of that lineup—after all, the companion DVD, Joy in My Heart, features the Hampton/Penrod/Hall lineup singing “Bread Upon the Water.” Yet this video will still probably go down as an anomaly in the series. I don’t know if I can definitively say whether this is the only Homecoming video without a Gaither Vocal Band song. (Do any readers know of others?)

Interestingly, the closest the video comes to a GVB song is “Make it Real,” a song featuring Mark Lowry, with backup vocals by Guy Penrod and Marshall Hampton Hall.

The taping that produced these two DVDs, and the Hymns DVDs, was the first Homecoming taping in four or five years featuring a fairly full, 150 to 200-voice choir. That makes these the first two DVDs of new songs taped in the classic format in a number of years—in fact, since legends like George Younce, Jake Hess, James Blackwood, and Vestal Goodman were still in the Homecoming Choir.

It’s not quite the same. It’s a little different—as it would have to be. But it’s quite good in its own way. There is really no other product out there (except maybe the NQC Live projects) that comes anywhere near to providing as broad a taste of the best Southern Gospel has to offer, in high-definition video and audio quality. Nobody knows how much longer we will have Bill Gaither preserving these moments for us. But it’s a privilege more or less unique to our genre—one it’s worth recognizing for the blessing it is while we still have it.

Available From: Artist.

Our Final Quarter is the joint autobiography of Dave Kyllonen, Duane Nicholson, and Neil Enloe. From the 1957 through 1980, they traveled together as the Couriers. Tenor Duane Nicholson and Neil Enloe traveled together at various points since, eventually handing the Couriers’ name off to a new generation in 2000. During those years, Dave Kyllonen was involved in music ministry with his family. In the last few years, they have reunited and tour together as Dave, Duane & Neil.

The first part is the recollections of bass/baritone singer Dave Kyllonen. His section focuses heavily on the final quarter of his life, as the title suggests; his original stint with the Couriers is dealt with in two paragraphs in chapter one, though referenced later. A fairly large portion of his section is comments and tributes from family members and friends. It provides a fascinating look into his life, but I was slightly concerned that if the other two sections followed the same model, readers could end the book without more than a basic understanding of how the Couriers got to their final quarter.

Duane Nicholson’s section rapidly remedied those concerns. His colleagues said he was the one to remember details and precise events, and he did not disappoint. His section is a gripping and fascinating look at the history of the Couriers.

The personality and integrity of the group shines through in his often understated comments. After describing their only major vehicular accident—a trucker had fallen asleep at the wheel, crashing into their bus and totaling it—he said: “Our lawyers wanted us to sue the trucking company, but we found out that the trucker had only three trucks and only two of those were being used. We could have put him out of business but we decided not to.”

He faced what must have been an even greater temptation to sue later, when a botched operation to remove a vocal nodule disabled his voice and indirectly forced the Couriers’ retirement (as they did not want to continue without him). Friends urged him to sue the doctor for malpractice, but he said:

The idea was that I should be compensated for loss of income because of malpractice, but this was not an option for me. By this time the Couriers were well known; if I sued, it would be in all the major newspapers and on radio and television. What kind of testimony would that be? I probably would have destroyed this doctor’s practice, but in light of eternity what would that accomplish?

This viewpoint of living life through the light of eternity permeated the Couriers’ approach to life and ministry. After God started calling them into missions work, they aimed to devote 10% or more of their time to performing in around the world in missions-type situations. Some of the highlights of the book are the sections where they describe how God opened improbable doors for them to minister in 80 nations.

Neil Enloe’s section closed the book. He adopted an approach like Nicholson’s (though briefer), giving a chronological recounting of his life and the ministry’s history, as well as discussing the stories behind some of his songs.

If I could make one recommendation in this review, it would be to place Duane Nicholson’s account first in future printings. His is the most detailed history of the group and provides an excellent background to more fully appreciate the other two sections.

The three wrote their sections of the book individually, without seeing what the others had written. This approach lets the reader see the same stories through different lenses. Yet their similarities are far more evident than their differences. Though these men are unlikely to be remembered as the musical megastars of their generation, their passion for living in the light of eternity has resulted in a life-work with an impact that will only be fully realized then.

Note: This is unrelated to the book review, but attendees to this year’s NQC will have the chance to hear Dave, Duane, and Neil as they perform on the mainstage for the first time in decades on Friday night (9/18). If you’re there, don’t miss this rare opportunity.

Members: Duane Nicholson (tenor), Neil Enloe (lead), Dave Kyllonen (baritone/bass).

Song List: One Nation Over God; From a Star to Stripes; Statue of Liberty; Statue on the Rock, Joshua; Whose God is Alive?; The Place of Prayer; Loaves and Fishes; Country Church; I Just Don’t Get It; Father’s House; Immortal, Invincible, Almighty God; He Has Forgiven Me.

Available From: Artist.

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For nearly 50 years, Dave Kyllonen, Duane Nicholson, and Neil Enloe toured as the Couriers. Several years ago, they retired and passed the name along to a new generation of Couriers (now performing as a duo). But several years after their retirement, they felt led to start performing together again, so adopted the group name “Dave, Duane and Neil.”

Several years ago, they released their only CD since their reuniting, One Nation Over God.

The project starts with the “God & Country Trilogy.” The first song is a new composition from Neil Enloe, “One Nation Over God,” discussing how a “small, yet very vocal sector of Americans” seek to remove God from our culture and place our country over Him. The second and third songs on the trilogy, also penned by Enloe, are the familiar classics “From a Star to Stripes” and “Statue of Liberty.” Though the project was produced by Phil Armenia, master producer Lari Goss was brought in to do the orchestral arrangements for the God & Country Trilogy, and the trilogy bears his signature touch.

Other than the title track, the project has two other recent compositions from the pen of Neil Enloe, “Loaves and Fishes” and “I Just Don’t Get It.” Producer Phil Armenia, Marie Armenia, Mike Hammer, Daryl K. Williams and John Darin Rowsey, Tim Enloe, and Toni Jolene Clay also contributed songs.

This project will primarily be of interest to Couriers fans, but it will also serve as a good introduction to their music for anyone unfamiliar with their classic recordings.

Rating: 3.5 stars (of 5)

Average Song Rating: 3.2 stars (of 5)

Members: Jerry Martin (tenor), McCray Dove (lead), Eric Dove (baritone), David Hester (bass), Jerry Kelso (pianist).

Song List: Hold On; I’m Gonna Rise; Leavin’ On My Mind; When I Wake Up in the Morning; He’s Gonna Smile on Me; A Little Good News; Back to Egypt; Little David; Jesus, He’s Everything to Me; He’s Sending Miracles.

Available From: Label, Artist.

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When the Dove Brothers released Anything But Ordinary, Everything but Typical in 2005, fans and industry insiders recognized that the album was indeed exactly what its title suggested for the group. It was quite the departure from the group’s classic traditional-quartet sound that had brought them to the top in the genre. What wasn’t immediately clear was whether the experiment would catch on, and whether their fans would follow them and warm to the new style. Evidently, enough of their fans liked the new style for the experiment to be a success, because Hold On is the Dove Brothers’ fourth project in this style.

As always, the Dove Brothers include a few tracks that pay stylistic tribute to their roots. “When I Wake Up in the Morning” and “I’m Gonna Rise” are solid uptempo quartet songs. David Hester delivers a stellar rendition of the Rusty Goodman classic “Leavin’ on my Mind.”

The track on this project that has already sparked the most discussion is their cover of the 1970s Oak Ridge Boys song “He’s Gonna Smile on Me.” Lyrically, the song is a rather interesting choice for inclusion on a Gospel project: “If I just say my prayers at night / And keep living right / He’s gonna smile on me.”

In another nod to country music, the Dove Brothers cover Anne Murray’s “A Little Good News.” The song was the title track of a project that won Murray won Album of the Year in the 1984 Country Music Association Awards. Though the lyrics of the original song do not reference Christianity,  Dove Brothers preface and conclude the song by singing the line, “You know, the Gospel is the good news needed today.”

I would point to the project’s most obvious standout tracks as “Leavin’ On My Mind” and “Back to Egypt.” The latter, in particular, would probably make a good choice for a radio single.

After several years of bringing back the quartet classics of yesteryear, the Dove Brothers intentionally shifted course to start making their own mark. And in a genre where any given group frequently has a number of groups that have a similar sound, the Dove Brothers have been consistent enough over the last few years that their albums have an immediately recognizable sound. Anyone familiar with their last few albums could listen to practically any 5 or 10 second clip from this project and know it was the Dove Brothers—and this sort of distinctiveness pays off.

Rating: 5 stars (of 5)

Average song rating: 4.5 stars (of 5)

Song List: Missing People; Someday; They Went to Pray; Mountain of Grace; When It’s All Said and Done; Cheer the Weary Traveler; God Saw a Cross; He Picks Up a Beggar on the Way; God Knows; He is the Only One; Reprise – Someday.

Members: Harold Reed (tenor), Phillip Hughes (lead), Bryan Hutson (baritone), Ray Dean Reese (bass), Cody McVey (pianist), Brandon Reese (sound engineer).

Available from: Label.

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The Kingsmen’s last release, When God Ran (2008), picked up quite a bit of positive buzz, even earning a 5-star review here. It was the first project with new tenor Harold Reed and returning baritone/lead Bryan Hutson; it was also their first post-band release. But even with all the factors I could enumerate that made the project different, there was one factor that I couldn’t quite put my finger on that made all the difference.

With Missing People, that factor is a little more obvious.

First off, the basics: Missing People has a street date of September 15, but the digital download is available for purchase on Crossroads’ site now. The same vocal lineup featured on the previous project returns for this one. Pianist Cody McVey appears for the first time, but that doesn’t make much difference in the group’s sound, since groups typically use studio musicians to cut soundtracks.

The project has one nod to the past, a lively cut of the convention song “Cheer the Weary Traveler.” But—as on When God Ran—the highlight is the new material. “When It’s All Said and Done” (penned by Dustin Sweatman and Scotty Inman) and “Someday” (by Woody Wright) are strong quartet songs that should go over well in live concerts. “Mountain of Grace” (Dianne Wilkinson) and “God Saw A Cross” (Rodney Griffin) are big ballads with powerful lyrics.

The title track, “Missing People,” has some similarities to the 1997 Kingsmen song “Missing Children” (on Shelter). Both start with first verses about the loss of family and loved ones on earth. But while the earlier song, “Missing Children,” takes the idea down a Good Shepherd / evangelistic path, “Missing People” contrasts losses here on earth with the lack of loss in Heaven. (One minor side note. I hate to be nitpicky on grammar, since I’m far from perfect myself, but on the first line of the chorus, the singular “There’s”—there is—doesn’t match the plural “people.” It really should either be “There’s no missing person up in Heaven” or “There’re no missing people up in Heaven.”)

So what sets these two projects apart from the last few years of the Kingsmen discography?

Since getting the rights to the Kingsmen back a few years ago, the current lineups have been constantly compared to decades of strong recordings from one of Southern Gospel’s most popular groups. So they did their best to capture that classic Kingsmen big-and-live sound.

They really didn’t do all that badly. After all, pretty much every project from 2004’s The Past is Past picked up a few reviews that said “with this project, the Kingsmen are finally back.” But the aptly named The Past is Past was just a few years prescient.

Today’s Kingsmen have recognized that even if they can come closer than anyone else, they can never quite be the 1979 Kingsmen. So while their sound and arrangements still frequently bring to mind the classic Kingsmen sound, this lineup has found its own niche. When God Ran and Missing People show a Kingsmen lineup comfortable in their own shoes.