1. “What Will My Cross Testify”
Adam: Ron Martin’s power vocals on this Kyla Rowland tune really kick this project off. Ron is one of the best vocalists in Southern Gospel music that chooses to remain in the ministry instead of the limelight. “What Will My Cross Testify” is a powerful song to kick off this new project from The Rowlands.

Daniel: Of course, the ministry and the limelight aren’t mutually exclusive, but I do understand what you’re saying.

2. “Did I Mention”
Adam: Tenor Wes Green sings the lead vocals on this new Kyla Rowland tune and cranks out a great vocal offering. This was my first exposure to the song, but The Perrys have also recorded it on their upcoming release featuring Libby Perry. This should be a great radio release. Awesome song.

Daniel: The lyrics on the verses are, at least in my opinion, the most memorable part of the song. The verses have some powerful thoughts.

3. “Back To Me”
Daniel: This song, which was recorded by Triumphant Quartet in 2005, is one of only two songs on the project not penned by Kyla Rowland. (The other is “Resting in His Grace.”) Yet this song, written by Marty Allen and Robert Arthur, does fit the feel of the rest of the project well.

Adam: Ron Martin once again shows his vocal prowess on this tune. This song was originally released to radio in 2007 by Eighth Day. It reached #26 on the October, 2007 Singing News Top 80. It is basically a tune written about the Prodigal Son and is a great setup song for an invitation in a church service.

4. “A Table In The Wilderness”
Adam: The Mike Bowling Group originally cut this Kyla Rowland song in 2006. The Rowlands have upped the tempo just a bit from their version and have made it much more appealing to the ears. Baritone Kenneth Stepp takes the melody on the verses with Ron Martin finishing the melody on the chorus. This song is one of the highlights for me on this project.

5. “Safe Thus Far”
Daniel: This is the same song the Hoskins Family cut several years ago. For those who don’t particularly care for vocal embellishments, this is a much more straight-ahead version of the song. This rendition has less, both in the way of instrumentation and vocal embellishments, to distract from the lyric, and the lyric comes through with a new power.

Adam: This simplified version of the tune made popular by The Hoskins Family is much more appealing than the over-embellished original.

Daniel: Precisely.

6. “He Crossed Out My Sin And Shame”
Adam: This ballad sung by Ron Martin is a fairly mellow tune. I really like the imagery of Christ ‘crossing’ out my sin and shame on the cross of Calvary.

7. “Moving the Hand of God.”
Daniel: The Mark Trammell Trio released the best-known version of this cut on their 2007 project Once Upon a Cross. Both the Mark Trammell Trio version and the Rowlands’ version sound like a quartet song waiting to happen, just lacking a bass singer. It is not too hard to imagine a group like the Kingdom Heirs or the Perrys turning this into a barn-burner that audiences beg to be encored.

Adam: I’ll agree with Daniel. A bass singer on this song would be awesome!

8. “One Scarred Hand”
Daniel: Unlike the classic Gold City rendition, this Rowlands rendition stays in the same key throughout the whole song. Unlike the classic Gold City rendition which modulates up a fourth into each chorus, and manages to cover the keys of A, D, B-flat, and E-flat before the final bars, the Rowland start in A and stay in the key of A throughout.

Adam: The Rowlands have sang this song for years and have finally recorded it. This is a calmer version than Gold City’s, but that’s is not a bad thing. Wes Green is very comfortable with the song and it shows in the recording.

9. “We’ll Go Down Standing Up”
Daniel: The Rowlands have access to Kyla Rowland’s songs, oftentimes before the major groups get them. This song is a major group’s hit song just waiting to happen. It addresses a theme (persecution) many Southern Gospel songs avoid addressing this directly.

Just as a side note, speaking as a songwriter, “Lord” and “God” are two words that don’t rhyme easily. This song comes up with a pretty unique rhyme combination in the chorus: “We may be run through with a sword / But we’ll keep standing for the Lord / We may go down, but we’ll go down standing up.”

Adam: This is probably the most unique song on the project due to the theme of the song.

Daniel: Other than the already-classics, this is definitely the song that stuck out the most in my mind, one that kept playing through my mind after the last notes of the CD faded off. If I was a group manager and was sent a demo CD of all the new songs on this project, this is the one I would definitely jump to place a hold on.

10. “Resting In His Grace”
Adam: Kenneth Stepp penned this song that he also sings the melody on. It’s a good song and to me, there is nothing like a songwriter singing their own songs. I can’t wait to hear this one live!

11. “How Blessed”
Adam: At first, this song would not have been my choice to close out a project, but after hearing Ron’s powerful voice tell us just how blessed we are, you can’t help but close the project reflecting on the goodness and grace of our Savior. “How blessed is the one who died for me” is a lyric that really sticks to you. We are indeed blessed and this song turned out to be one of my favorite from the new release.

Final Rating:
Adam: 3.8 star song average / 4 stars overall
Daniel: 3.4 star song average / 3.5 stars overall

• Daniel J. Mount (www.SouthernGospelBlog.com)
• Wes Burke (Burke’s Brainwork)
• Aaron Swain (Swain’s Musings)

1. Amazed at the Change
Aaron: The album with a slightly slow, country-style tune. Sounds like something out of The Kingdom Heirs’ songbook. Nice way to open up the project.

2. Keep Me
Wes: This is a nice midtempo song with a slightly progressive edge to it.  The harmonies are nice and smooth, and they do a really good job of using some unison lines and verses to keep the song musically interesting.  This is a really nice cut.

Aaron: This song utilizes some great progressive harmonies to drive it. The group would do well to release this to radio soon.

3. Broken But Blessed
Daniel: This song, featuring tenor Keith Waggoner, is musically subdued but lyrically powerful. It was co-written by Twila LeBar and Sue C. Smith, two of the best but least recognized songwriters in Southern Gospel. (LeBar is co-writer of songs like “Orphans of God” and “The Great I Am Still Is”; Sue C. Smith has co-written songs like “But For the Blood,” “He Forgets,” “Forgave Me Saved Me Raised Me,” and “Realms of Glory Bright.”)

Wes: Keith does a great job on this song.  He’s not the highest tenor you are going to hear, but he has a very pleasing voice and does a great job interpreting this song.  There’s nothing really flashy here, as Daniel alluded to, but just some solid singing on a nice tune.

Daniel: Keith actually does have a few high notes in him. But he’s said in the past (here) that one thing the group stresses is that none of the vocalists push the limits of their range—that they only record and stage what they can consistently produce.

Aaron: That’s an interesting tidbit, Daniel. That shows me that these guys care about putting out quality music and preserving their voices.
The project’s first truly slow song is a good song. Just straight-forward singing, no vocal showboating.

4. Just Stand
Wes: Midtempo number featuring bass singer Royce Mitchell.  This sounds a lot like something you’d hear from the Kingdom Heirs.  Actually, there are several songs on this disc that sound a lot like KH tunes.  Since the KH are one of the most solid quartets around, that’s a good thing. This is a very enjoyable tune.

Daniel: Royce has had professional voice training and often utilizes an operatic voice. On this song, he drops the vibrato. I’d agree with Wes’s observation that this gives the song a Kingdom Heirs feel.

Aaron: Like the other guys have said, this does sound like a KH song, but I also find that it recalls the song “God’s Still Good” from Gold City’s Revival project. Mitchell displays a nice lower range here.

5. Into the Water
Daniel: This uptempo song is a nice change of pace from a string of slower ballads. If Liberty singles an uptempo song, this is probably the most radio-friendly uptempo song on the CD.

Wes: There is some nice smooth harmony on this song.  These guys know how to sing and how to blend.

6. Call It What it Is
Daniel: This song has a distinctive enough lyric and melody to be unique—but at the same time, it is unmistakably a Southern Gospel big ballad. This song should stand out and do well if singled. I received the CD about a week ago and (rare for me) the song is already on my top 50 most played list on iTunes (out of 11,000+ songs).

Aaron: Awesome song. Lead singer Dan Gilbert has a sound to his voice that sounds like Bryan Hutson, and it works very well for this track. Great choice for a single.

Daniel: Interesting comparision. I hadn’t thought of comparing Gilbert to Hutson—I’d been thinking along the lines of a comparison to Phil Cross or even Arthur Rice.

Wes: I actually don’t hear any of the 3 comparisons.  I think Gilbert has a sound all his own.  That doesn’t detract from the fact that this is one of the strongest songs on the disc.  Nice smooth harmonies on this number.  I really like this song.

7. Music at Midnight
Wes: Nice uptempo number.  This song sounds like the group was going after the type of sound that was found on Gold City’s “If God Be For Us” with strings and brass behind the more traditional SG instrumentation, including some nice banjo/guitar interplay on the instrumental break.  This song doesn’t quite measure up to Gold City’s gem, but it is still very enjoyable, and kudos on the arrangement.

8. He’s Been There Too
Daniel: Liberty Quartet bass singer Royce Mitchell is featured on this song. It’s somewhat unusual to give a bass singer a solo on a big ballad, but Mitchell is equally adept at singing straight-ahead low bass and almost operatic higher bass, and he showcases his operatic bass/baritone range to great effect here.

Aaron: As a first-time listener of Liberty Quartet, one would be hard-pressed to believe that the featured singer here is the same guy that was rocking the low end of the spectrum a couple of tracks back. But it is indeed Royce Mitchell, and like Daniel said, his bass/baritone range sounds great here.

Wes: This is a nice ballad, and Mitchell really shows some nice range.

9. Why Wouldn’t I
Aaron: Lead singer Dan Gilbert is a two-fold singer; on slower songs, he sounds like Bryan Hutson. But give him a hard-driving faster song like this and you have a young Arthur Rice. This is a good, country-style track.

Daniel: I didn’t notice earlier that you were about to get to the same comparison I had in mind!

Wes: This is a nice, solid uptempo track.  Nothing flashy, but just good solid singing.

10. He Will Quiet You

Wes: This is a nice, soft, tender ballad.  I like the echo harmonies on the first part of the chorus up against the unison echoes on the last part of the chorus.  The round like harmonies on the bridge are very nice as well, and something to set this song apart.

11. That’s What Love Does
Daniel: This song was written by baritone/pianist Doran Ritchey. The group pulls off some tight jazz harmonies with confidence.

Wes: I’m a sucker for jazz influenced songs, and these guys pull it off very well.  They have a really smooth sound, and this is one of my favorites.  The soft swing beat gets your foot tapping and your head bobbing.

Summaries:
Daniel: This is one of the strongest independently released projects I’ve heard this year. A label would really do well to pick this group up as soon as they can.

Aaron: I can’t say much more than Daniel has. It’s about time that this group gets the national recognition they deserve and get picked up by a major label. Of course, with Crossroads signing groups like nobody’s business these days, it may not be long!

Wes: These guys are one of the best kept secrets in Southern Gospel music.  These guys are solid at every position in the group and have a good concept of their strengths as vocalists.  They play to their respective strengths and don’t try to be something they are not.  They’ve done a good job of including a variety of styles on this project as well.  Somebody needs to pick these guys up on a major label, and soon!

RATINGS:

Daniel: Average song rating – 4.0. Overall rating: 4.5.
Aaron: Average song rating – 4 stars. Overall rating: 4.5 stars.
Wes: Average song rating – 4 stars.  Overall rating: 4.5 stars

Producer: Jeff Collins
Label: Crossroads
Website: www.theskylineboys.com

Contributing bloggers:

• Daniel J. Mount (SouthernGospelBlog.com)

• Adam Edwards (SouthernGospelCritique.com)

Click read the rest of the this post for the full text.

1. Movin’ Out Of Here

Daniel: Since the group doesn’t have any marquee voices yet—not to say that it may not be in their future—it makes sense to start the CD with an uptempo song featuring the group’s harmonies all the way through.

Adam: I first heard this song on a project by The Crossmen from 1995. This version by The Skyline Boys has been countrified from what I knew of the song. I’ve always loved this song and I wonder why it was never singled by The Crossmen. This has already been sent to radio stations as a single and should do well for the Skyline boys. Good start to the project!

2. Heaven Is Real

Daniel: Nitz’s solo and the descending chord progressions on the chorus make this one of the project’s most enjoyable tracks.

Adam: Solid track…mellow, but nice.

3. Oh What A Change

Daniel: Rob Nykamp sounds like Randy Shelnut.

Adam: What a great compliment for a lead singer…to be compared to Randy Shelnut. Nycamp is a treat to listen to. This track should do well in a live setting.

4. Look For Me

Adam: Classic song performed in the classic tune. It’s a good version, but like a few other tracks on the project, it lacks originality.

5. I Can’t Wait For Heaven

Adam: Strong rendition of the song. I really liked this cut.

Daniel: Signature Sound never singled the song, and didn’t regularly stage it for long after the next album was out. This is a good example of a recycled song—unlike a song like “Glory to God in the Highest,” where a group’s rendition will be compared up against a current mega-group’s rendition, most of the concert attendees and many of the fans purchasing the CD will not be familiar with Signature Sound’s rendition, so the song may as well be new, as far as they are concerned.

6. Mercy River

Daniel: Actually, Bobby Nitz has the first verse. Hosterman sings the second. Their voices are probably the strongest two in the group, so it’s a nice pairing.

Adam: Strong vocals on this slow track. The Skyline Boys have a really smooth sound.

7. Glory To God In The Highest

Daniel: Cover songs fall into three categories:

1. Classics. These are songs that have been around for years. Practically every group has sung them, and practically every fan knows them.
2. Recycled songs. These are songs that a group (often a major group) cut but never singled. Typically, after a year or two, groups phase these songs out of their programs, and other groups sometimes pick them up.
3. Covers of another groups’ hit song.

Even though a couple of groups—Inspirations, Brian Free & Assurance, Old Friends Quartet, and Signature Sound—have recorded the song, the song is too recent to fall into category 1. So I’d place it in Category 3. What makes this slightly odd is that it’s typically only the local and regional groups that cover other groups’ recent hits.

A good rule of thumb is to avoid covering another group’s recent hit, unless you can either top their version or do one in the same league, perhaps with your own distinctive twist. Thus, a note-for-note remake is a little surprising to find on a national label release.

Adam: Another track with little originality to it. It’s enjoyable, but predictable. If you like the song, you’ll like this track.

8. Don’t Drink The Water

Adam: This was my favorite track from the project (Track #1 is my second pick). I think this would also make a great single for radio.

9. Joy For The Journey

Adam: Another solid cut.

10. The Blood On My Hands

Adam: WOW…what a powerful song! Of the slower paced songs on the album, this one outshines them all by far.

Daniel: I’d agree. There’s a number of songs on here they could single, but this is one they should single.

11. Bonus Cut: Oh What A Change (Reprise)

Adam: A different take on at least the verse would have been cool. I would really like to hear this track in person.

SUMMARIES

Daniel: Crossroads has made several good moves lately, bringing on several groups that deserve to be on a national label. It’s not that the CD doesn’t show room for growth, for example, as other reviewers have said, Dennis Powers isn’t the next Tim Duncan, and the group could probably have found a song that better fit his voice (perhaps a modern harmony song with more a melodic than an oomph bass part). Yet the group is strong, individually and as an ensemble, and the CD is enjoyable.

Adam: The Skyline Boys keep getting better with each new release. This CD is a very strong effort under their new Crossroads label. Jodi Hosterman really shines with this group and it a great complimentary tenor to the smooth vocals of Rob Nycamp, Bobby Nitz & Dennis Powers. Crossroads made a wise choice with this quartet and this new project is the groups’ strongest to date. Free & Forgiven was a pleasure to review.

Producers: Ernie Haase & Wayne Haun

Song List: “Intro,” “My Heart Is A Chapel,” “If You Know The Lord,” “Climbing Higher & Higher,” “I Know The Lord,” “Swinging On The Golden Gate,” “The Old-Fashioned Meeting,” “There’s A God Somewhere,” “Lead Me,Guide Me,” “Poetry Corner,” “Walk With Me,” “Oh, The Glory Did Roll” and “Outro”

Website: Ernie Haase & Signature Sound

Contributers:

• Aaron Swain (Swain’s Musings)
• Adam Edwards (Southern Gospel Critique)
• Brandon Coomer (Coomer Cove)
• Daniel Mount (Southern Gospel Blog)
• David Bruce Murray (Musicscribe Blog)
• Wes Burke (Burke’s Brainwork)

Click “Read the rest of this entry” for the full review.

1. Intro

DBM: This theme song/intro recaptures the mood of a 1940s era radio broadcast.

Aaron: I know that the concept of the album was to capture the setting of one of those old radio shows, but I find myself hitting the “skip” button on my iPod whenever I listen to this track. Just comes off as cheesy to me.

Adam: Cool intro…

2. My Heart Is A Chapel

DBM: Ernie Haase is featured on this lighthearted tune. Some fans seem to be under the impression that Influenced is a four-guys-plus-piano recording, but there’s organ, drums, bass, etc. on this cut and the songs that follow. The tracks are sparse and don’t come to the forefront to interfere with the vocals, but there is a full complement of instruments.

Daniel: Signature Sound turns in a creditable rendition of this Rangers / Statesmen classic.

Brandon: Right off the bat, I’ll be upfront and admit I’m not the biggest Signature Sound fan, but this is a very good, fun opening track.

Aaron: Very fun opening to the “program.”

Wes: Nice rendition of this classic tune. I really like the trio harmony with the bottom three voices on the second verse. While this is a “gimmicky” concept, these guys show right off the bat that they take their singing very seriously. Nice harmony on the tag.

Adam: I thought this was a fun song. I really like the harmonic aftercounts.

3. If You Know The Lord

Aaron: The album slows down a bit with this track. Tim Duncan hits some low notes on the chorus. My only complaint on this track is the tempo drags a bit too much for my taste.

Wes: I really, really like this song. I’m admittedly a sucker for nice modern harmony, and there’s plenty of it to be found on this one. Gorgeous!!!!

4. Climbing Higher And Higher

DBM: I like the way music in this arrangement takes a step or two away from the Cathedrals version. I think it would have been even better if the vocal arrangement had a similar independence from the Cathedrals version.

Brandon: I’ve never really seen the attraction to this song, but this is a pretty good cut.

Aaron: Like DBM said, this track steps away from the Cathedrals version. It does, however, pay tribute to the Statesmen version of the song. The only real similarity to the Cathedrals version is the lone trumpet on the chorus.

Wes: Nice rendition of this song. OK, OK, I get the whole radio show concept, but the intro at the end just reeks of cheese. The cheesy, Broadway-show enjoying side of me loves it, the more serious side of me hates it. What a dichotomy.

Adam: Never liked this song….still don’t.

5. I Know The Lord

DBM: This cut slows down the pace. There are some nice harmonies on this cut, but I don’t think it’s one of the most memorable cuts on the album.

Daniel: I particularly enjoyed this, in part because it’s a song that hasn’t been sung to death in recent years. The song selection at this point in the album is a little interesting, with “If You Know the Lord” two tracks earlier being a probably unintentional pairing.

Brandon: Nothing flashy, but this is one of my favorites on the project.

Aaron: This track didn’t catch on with me because it sounded too similar to “If You Know The Lord,” which came only two tracks earlier.

Wes: Another slower cut with some nice counterpoint and good bass vocals from Tim Duncan. I like the counterpoint pairing of Haase and Duncan opposite Seaton and Anderson. Nice solid cut.

Adam: The last three tracks have about bored me to tears. Thankfully they are not indicative of the rest of the project.

6. Swinging On The Golden Gate

DBM: This fun track should go over well in a concert setting.

Aaron: I’m with DBM; this would be very fun to watch, with EHSSQ’s high energy performance and two mikes, it’d be like watching The Statesmen in their prime.

Wes: I like this cut as well, one of the highlights of the recording. Nice energetic cut, with some nice harmony on the tag.

Adam: I’ll agree with everyone else; this should be an excellent concert number. Great energy!

7. The Old Fashion Way

Daniel: This is one of the most familiar songs on the project, one that several groups have been doing in recent years. But as much as I might, as someone who listens to a wide spectrum of Southern Gospel, prefer a project of entirely shelved songs, I keep reminding myself that numerous people who purchase this project will have never heard some of these classics before.

Brandon: Although this song has been brought back by other groups, this is probably my “pick” from the project.

Aaron: One of the highlights of the album. Very nicely done.

Wes: Again, a very serviceable rendition of this classic tune. Once the tempo kicks up, I’d have preferred it to be a bit faster, but it’s a nice sounding cut.

Adam: I’m agreeing with Brandon on this track. I could listen to this song over and over again. It reminds me of the Happy Goodman classic song, “The Sweetest Song I Know”.

8. There’s A God Somewhere

DBM: Tim Duncan is featured on this cut with the organ panned full left to contrast a guitar in the right channel. This is the sort of mix groups sometimes employed back when stereo recordings were new. I’ve even heard some old recordings where a solo voice would be completely panned to one side or the other, but fortunately, EH&SS didn’t go quite that far.

Daniel: This arrangement is based off a George Younce’s rendition from his Blue Ridge or Weatherfords days. Somewhat off topic, the impact of the George Younce-era Blue Ridge Quartet on Signature Sound’s song selection and arrangements is widely underestimated; several of their most popular songs (including “Stand By Me”) come from that era in the group’s history.

Aaron: Tim Duncan gets the feature on this song. His booming voice on this track resembles that of George Younce.

Wes: Nice vocal work from Tim Duncan. I also noticed the panning of the instruments. I have several old LPs where this was the case as well. When you brush aside all the fluff and hype, EHSS really can sing very well. Duncan is a top notch bass singer.

Adam: It’s nice to hear a bass singer that knows how to sing, instead of constantly growling. Duncan shows why he is one of the better singing basses on this track.

9. Lead Me, Guide Me

Daniel: Signature Sound recorded this on their eponymous DVD several years ago. It’s finally found its way onto a project.

Aaron: I had always thought they would record this song on one of their mainstream projects, but given the style of this album, it is right at home here.

Wes: Nice rendition of a song that, as mentioned previously, the group has included in their live shows for a while.

10. Poetry Corner

DBM: I prefer “Poetry Corner” to the “Intermission” found on Triumphant’s Intermission project. Bill Gaither drops by to chat with Ernie and share a few lines of poetry by Edna St. Vincent Millay. This track has a novelty factor that may eventually grow old over time, but at least it’s worth more than one or two listens.

Brandon: I could have done without this, but it is an interesting idea.

Aaron: Nice, but another part I skip.

Wes: Good for a listen the first time or two that you listen to the CD, but not much more. It does fit the radio show theme, though.

Adam: Great concept for the project, but as is the case with most spoken tracks, it tends to get old really quick.

11. Walk With Me

Brandon: Ernie Haase is not my favorite singer, but I enjoyed his version of this song.

Aaron: Ernie turns in a nice rendition of this slow song.

Wes: Nice version of this song. The tempo is a little faster than most renditions of this song, and the arrangement overall is a bit more flowing, not as choppy as most. Ernie does a good job on this song.

Adam: These guys can sing, no doubt about that. This track lets them prove it.

12. Oh The Glory Did Roll

DBM: This familiar song is sung directly off the page for the first two verses and choruses. They kick up the energy and began re-arranging the harmonies a bit on the repeat chorus. Their voices don’t blend as well on this cut, but they sound like they’re having fun.

Brandon: Most groups bore me to death with this song, but as DBM points out, they pick it up towards the end and make the song much more enjoyable.

Aaron: I must say, this is one of the best renditions of this song I’ve ever heard. I like the version the Florida Boys recorded on their Something To Remember album, but this rendition gets the slight edge just because they kicked it up a notch at the end.

Wes: Underneath the short ties, spiky hair, dance moves, and hype, EHSS is a very traditional quartet musically, and as such this song really plays to their strengths. The repeat chorus with the more free flowing vocals really make this song stand out.

Adam: Not the best version of the song I’ve ever heard (to me, The Perrys own that), but it’s still a strong quartet song to showcase their talent.

13. Outro

DBM: Ernie bids the listeners farewell while the Signature Sound theme song is sung.

Aaron: I share the same thoughts on this track as I did on the intro.

Summary

DBM: This is a winning concept. They could have used a few more elements of an old radio broadcast to help the listener buy into the concept more…stopping to mention a few fictional concert dates or advertise a fictional product would have been a nice touch. Having an announcer introduce them rather than Ernie himself would have given the project another element of authenticity. They don’t mention any station call letters. As the product stands, it’s not entirely in the past and not entirely in the present.

The mood of the music is nostalgic. A couple of lesser known songs are mixed in with well known standards, which is good. Influenced isn’t going to break any new ground for people who are already into traditional styles. There are other groups that know how to do this style better. On the plus side, fans of EH&SS who were initially attracted to big Lari Goss orchestrations and visual choreography may discover a new world in truly traditional Southern Gospel after hearing Influenced.

Daniel: This is a strong effort. A few of the little details DBM mentioned a separate announcer, the fictional dates or product pitches and perhaps a little radio static at the beginning or ending would have given it a slightly more authentic feel. But the project flows nicely and is nicely spaced. While it’s a little short of being a five-star release, it’s a solidly enjoyable four-star release. Fans of traditional Southern Gospel music who enjoy Signature Sound’s periodic convention numbers will find this to be the group’s most enjoyable release in recent years.

Brandon: As the others mentioned, they could have done a couple more things to completely pull it off, but this is a really cool concept. Not only is it a good concept, but for years people have said Signature Sound relies too heavily on vocal stacks. This project is kind of a “here you go” to those people and shows the group can sing, and sing well, without the stacks. Several songs are very enjoyable; others are not bad, but simply forgettable, which I think is often the case with projects featuring exclusively older songs. Still, with bonus points for the concept, this is a strong four star project.

Aaron: This album is a nice concept that will especially sell with their older fans that would remember the radio shows that the album pays tribute to. I agree with Brandon’s statement that this album proves that the guys can do it without stacks just as well as with them. EHSSQ has been compared to the Statesmen before; the parallel is evident on several songs on this project.

The bottom line: older fans will want it for the nostalgic appeal, younger fans will want it to maybe hear how EHSSQ’s influences did it back in the 1940s and 50s.

Wes: This is a unique concept, and EHSS pulls it off very well. There are some fairly familiar tunes here, and some fairly obscure ones as well. Like I’ve said in my comments on the tracks, underneath all the hype, EHSS is a very good quartet that does traditional sounds very well. Sometimes I think people tend to get too caught up in the hype and fluff that accompanies this group. When it comes down to the nitty gritty, these guys can sing, and they’ve proven it with this album. There is some really nice harmony interspersed throughout the album that isn’t exactly easy to pull off, but these guys do a masterful job of doing so. The cheesiness of the concept aside, this is a very enjoyable album, that I think will show a different side of this group to the EHSS “bandwagoners”. Great job guys!

Adam: Do not buy this album if you expect to hear the same music you typically hear from EH&SS. Buy it if you want to hear them get back to the basics and prove that they really can sing. Like them or not, they are one of the hottest tickets in Southern Gospel music and Influenced helps show that they belong there. Underneath all of the staged theatrics and choreography, there is a quartet that still sings good quartet music. Bravo to Ernie and the gang for putting this album in their discography!

Label: Independent
Producers: Glen A. Tabor III and Brothers Forever
Song List: “I Feel A Blessing Coming On,” “That’s Good Enough (Gospel Singer Wannabe),” “I Can’t Forget The Day,” “Be Alright,” “Whenever I Speak His Name,” “More Than I Know,” “Showers Of Blessings,” “It’s Better,” “I Am Him,” “More Than That,” and “The Blood Will Never Lose Its Power”

Website: http://www.brothersforever.net

Contributers:

• Brandon Coomer (Coomer Cove)
• Daniel Mount (Southern Gospel Blog)
• Aaron Swain (Swain’s Musings)

Click “Read the Rest of This Entry” for the full review.

1. I Feel A Blessing Coming On

Aaron Swain: The project opens up with a catchy song that reminds me of something Three Bridges or Valor would do. I do believe I keep hearing a bass vocalist in the song, but since these guys are a trio, I must be hearing things! The first featured singer has a very Jason Morales-esque voice. This song had me singing along from the get-go and it’s been stuck in my head for a while now

Daniel Mount: Aaron’s ears aren’t playing tricks on him. Buford Light was the group’s bass singer until February 2008, when he retired due to health problems. This is a strong track that brings Valor or even the Gaither Vocal Band to mind.

Brandon Coomer: I agree with both you. The song catches your attention and is very enjoyable. As for the sound reminding me of another group, I’d lean towards Aaron’s comparison to the original lineup of Three Bridges. It makes a great start to the project.

2. That’s Good Enough (Gospel Singer Wannabe)

Aaron: I must admit, seeing the title of this track had me thinking it was going to be a fun little parody song. I was surprised by the song; it has a very interesting message that says God is pleased with whoever sings to Him, no matter if they’re “wannabe’s” or not, and thank God it’s not our talent that saves us. Sounds like something straight off of an Austin’s Bridge songlist.

Brandon: I can’t decide if this song is more an anthem for all the weekend warriors that visit local churches or a song that talks about one of the biggest ills of southern gospel music (groups of limited ability not working to get better, thinking “that’s good enough”).

3. I Can’t Forget The Day

Aaron: I believe this song is the group’s current radio single, and while it is a nice song, it never really grabbed my attention.

Daniel: Perhaps it was chosen as a radio single since its sound depends less on the bass’s vocals than a song like track 1, which might be a better song but be ruled out for that question.

4. Be Alright

Aaron: This song sounds like it would belong on a Gaither Vocal Band project as a Guy Penrod feature. Cool song, and the GVB style definitely shows on the chorus. I’m hearing that bass singer again!

5. Whenever I Speak His Name

Aaron: My mind travels to a 70s-80s Imperials project with this song. Definitely some progressive melody going on here, to good effect.

Wes: Good call Aaron. This song is found on 1979’s //Heed The Call// album, with Russ Taff singing the lead. Great song. These guys do it justice, too.

Brandon: Thanks for the information, Wes. Although the chorus is a little repetitive, I enjoy this song a lot. It may not be the best song, but it is one of my favorites on the project.

6. More Than I Know

Aaron: A nice little country ballad for a change of pace, and also sounds like a GVB-style song. I keep going back to this song; it didn’t really catch on the first time I heard it, but it’s growing on me.

Daniel: This relaxed, mellow track is an enjoyable interlude, not to mention being one of the best songs on the project.

Brandon: I completely agree with Daniel. This really might be the best song found here. This is the first track that really slows down enough to let you listen to the message and the understated instrumentation is a great change of pace from the majority of the project.

7. Showers Of Blessings

Aaron: I thought this would be a rendition of the hymn, but I was surprised once again. I have a feeling I’ve heard this song somewhere before, but I can’t place it…

Daniel: Perhaps part of what rings a bell is its lyric similarity to Palmetto State Quartet’s “Living in the Sunlight” from their 2005 //When it Pours God Reigns// project. That song’s chorus begins with the lines: “Well, I’m living in the sunlight of His Love / Feasting on the Manna from above.” Whether despite or because of the lyrical resemblance to the Palmetto State track, this is a nice song.

Brandon: When I first listened to this track, I really didn’t want to like this song. After listening to it several times, it grew on me. It is fun, very catchy track.

8. It’s Better

Aaron: Wasn’t impressed by this song at all. Perhaps it was the tempo, or just the style it was in, but whatever the reason, it just wasn’t my cup of tea.

Brandon: Several groups have started having a very noticeable country influence in their instrumentation the last few years. A little of that can be a very welcomed development. Sometimes though, that influence can be taken too far. I believe this track is an example of this.

9. I Am Him

Aaron: A George Strait-ish ballad. Very slow, but it’s not so bad after a couple times of listening to it.

Daniel: The instrumentation is nicely done, particularly the mandolin.

Brandon: Although the acoustic instrumentation reminds me of track 6, this isn’t nearly as strong as the earlier song.

10. More Than That

Aaron: The latter part of this album seems to be all ballads. Probably would have liked this song better if it had been placed somewhere other than right after a similarly slow song.

11. The Blood Will Never Lose Its Power

Aaron: This was listed as a bonus track, and I almost jumped out of my seat when I heard the deep bass voice featured. A bit heavy on the vibrato, so that kind of ruined it for me.

Daniel: This was probably Buford Light, their bass at the time of the project’s release. It’s a nice enough track that they probably decided it was worth keeping on the project, even with the group now a trio.

Brandon: Honestly, I question the inclusion of this track. Both the group and Buford Light are better than this track illustrates. I also prefer arrangements of this song that feature the tenor.

Summary

Aaron: All in all, it’s a nice project, but nothing that blew me away. I’m sure these guys will get better with time, as they are already decent vocally. Not a big fan of some of the song selection, but this project is a listenable one. Not a must-have, but definitely has some good songs.

Daniel: Certainly, from time to time, this project has moments that show what the group could be. But I don’t mean that to take anything away from what the group is now; this is an enjoyable, well-done project.

Brandon: I agree with the others that this project has its moments, both good and bad. There is definitely something to build on here. If the group can pick out the strong points of this project and develop that sound in the future, I’ll be excited to hear the results.

Label: Song Garden Music Group
Song List: “At Calvary,” “Living For Jesus,” “The Love Of God,” “Redeemed,” “Unclouded Day,” “What A Friend We Have In Jesus,” “Higher Ground,” “Old Rugged Cross,” “Are You Washed In The Blood,” and “Blessed Assurance”

Website: http://www.paidinfull.net

Contributers:

• Wes Burke (Burke’s Brainwork)
• Brandon Coomer (Coomer Cove)
• Daniel Mount (Southern Gospel Blog)
• Aaron Swain (Swain’s Musings)

Click “Read the Rest of This Entry” for the full review.

1. At Calvary
Aaron Swain: The album opens up with an acoustic guitar-driven rendition of the old hymn. It actually sounds like a bluegrass group, which I don’t mind at all! It brought to mind the image of three friends on a back porch somewhere “a-swingin’ and a-singin’”, much in the style of an Andy Griffith Show episode. Good way to open up the album.

Wes Burke: Nice up-tempo acoustic arrangement of this track. Nothing flashy, but some smooth vocals here.

Daniel Mount: A bluegrass-tinged soundtrack and a tight blend make this one of the project’s most enjoyable tracks.

2. Living For Jesus
Aaron: The album’s second cut is another guitar driven song, but with more a country tinge to it. The tempo is far too slow for my taste; I find myself wanting to hit the “up-tempo” arrow that you find on some keyboards.

Wes: I’ll disagree with Aaron here. I kinda like this song, they have created a new arrangement, and changed the melody of the hymn somewhat to fit the arrangement. The tempo is actually probably a little faster than how we traditionally do this hymn. Pretty solid cut.

Daniel: I’m with Wes; I didn’t find the tempo too slow. It is just right.

3. The Love Of God
Aaron: Another bluegrassy song, which looks to be the theme off this album thus far. One of the better renditions I’ve heard of this hymn.

Wes: Continues the mountain gospel theme so far on the recording. Not bad at all.

Daniel: This is one of my favorite tracks from the project. For some reason, though, it seems like adding in the song’s bass part – which happens to be one of the nicest bass parts I’ve heard – would have pushed it up another notch. Even though I’m not a bass and typically sing along with the baritone or tenor, I found myself humming and then singing that missing part.

Brandon Coomer: This is the first song to feature the group’s new tenor, Brock White.

4. Redeemed
Aaron: A slowed down version of the hymn that sounds sort of like an arrangement the Gaither Vocal Band would do. It’s an OK rendition, but nothing that particularly makes me want to go back and listen again.

Wes: I don’t hear the GVB influence that Aaron does, but this is a decent cut. I do like the use of unison on the last verse. The tempo to me is ok, it may be slowed down a little bit, but not very much.

5. Unclouded Day
Aaron: The album picks up with a barn-burner on this track. I love the fast songs, and the guitars and fiddles are to good effect.

Wes: This is a good version of this song. I like this better than the version Ricky Atkinson and Compassion did on their latest CD. The best cut on the album.

6. What A Friend We Have In Jesus
Aaron: Another far too slow arrangement. I mean, how much can you hold out each phrase? Didn’t like this one at all.

Wes: I’m not so sure that the tempo is the problem here. The tempo actually seems to be fine, but they’ve really broadened out the vocal phrasing. Some really nice harmony and vocals are brought down by an arrangement that is too broad throughout the entire song and hence makes the song sound like it is dragging.

Daniel: While it wouldn’t have hurt the track if the tempo had been picked up a little, I didn’t mind this pace. I haven’t heard a group do the song quite this way before, so I have to give them credit for experimenting here.

7. Higher Ground
Aaron: A decent rockabilly arrangement. Kind of got too twangy on the chorus, though.

Wes: This is fairly similar to the arrangement Ponder, Sykes, and Wright did a while back. Decent cut, but just a little too twangy for me, as well. I agree with Aaron here.

Brandon: Woody Wright is a big influence on the group, so it isn’t surprising for them to record something similar sounding to Ponder, Sykes, and Wright. I’m not usually a big fan of the “twang,” but I think this is kind of catchy.

8. Old Rugged Cross
Aaron: A slow rendition, but on this song, it makes it a bit more powerful to have it slow. This is an OK track.

Wes: This is an decent version of the song, but the arrangement is rather bland.

9. Are You Washed In The Blood
Aaron: A nice bluegass version of this song. Just the right tempo, and a decent cut.

Wes: Decent uptempo cut on this song. Not really fond of the ending, but it’s a decent enough cut.

Daniel: The bluegrass influences that are somewhat subdued on some of the other tracks come out in full force here for an enjoyable banjo and fiddle-led arrangement.

Brandon: I guess it is because I’m not a bluegrass fan, but I would not call the bluegrass influence on this project “subdued”. To me, it is pretty much right out front. I thought this was a very good track until the ending, which kind of killed it for me.

10. Blessed Assurance
Aaron: The album closes out with yet another slow song. It’s a very quiet tune, and it’s a nice way to finish.

Wes: Now this song works with the acoustic sound. It really gives them a chance to showcase their blend. One of the better cuts on the album.

Brandon: I love this song and this arrangement is a great way to end the project.

Summary

Aaron: The latest table project from 2007’s Horizon Group Of The Year is by no means a bad project, but it’s not good either. For example, many of the arrangements of these old songs seemed to drag on and on. I am not familiar with Paid In Full’s major releases, but from what I remember from their NQC mainstage performance, this album is not a good representation of how good the group is.

Wes: This is a solid 3 star recording. The acoustic, mountain gospel style is maintained throughout, and places the emphasis more on Paid In Full’s smooth blend and harmonies. This is a very safe project, in that there is nothing out of the ordinary in the arrangements. It’s just solid singing all the way through on an enjoyable project. The only downside to this, however, is that all the songs start sounding alike long about track 4 or so. Paid In Full definitely has the vocal ability to do more. This is pretty standard fare for a table project, but I’m looking more forward to reviewing a new mainline release from them, and hearing them challenge themselves a bit more musically. Daniel makes a good point in his summary about this disc definitely fulfilling its purpose as a table project. There’s nothing here that knocks your socks off, but nothing that has you reaching for the skip button, either. It’s just a good, solid project.

Daniel: Too often, mainline releases are driven by churning out radio-friendly tunes or following standard formulas for a big ballad or patriotic number. Free from those pressures, Paid in Full turned out an album that is just simply enjoyable—the kind you put in the CD player when you want to kick back in the recliner on a Sunday afternoon reading a good book or watching the clouds go by. This album is exactly what a table project should be.

Brandon: I’ve kept my individual track comments to a minimum, because most of what I have to say is about the project has a whole. From the other contributors’ comments, I gather that they were not expecting the bluegrass/mountain/acoustic feel found on this project. This project is the third in Paid In Full’s “Down Home” series of table projects (Sounds Of The Season and Sounds Of Home are the other releases). The “Down Home” series features more of the bluegrass acoustic feel than the group’s mainline recordings. While I am a huge fan of Paid In Full, I am not a big fan of this style of music. However, this project excites me because, from what the other contributors have written, the group pulls off what I believe they hoped to accomplish. The “Down Home” series isn’t supposed to be big budget recordings with fancy arrangements and hit singles. The project is arranged to let the lyrics and vocals take center stage. I love what Aaron said about the first track, “It brought to mind the image of three friends on a back porch somewhere “a-swingin’ and a-singin.” I think that is part of the charm of the project. Does this project showcase Paid In Full at their best? No, I don’t feel that it does, but even if you don’t enjoy the mountain/acoustic style of music presented here, the project is an enjoyable one.

Label: Homeplace Records
Producers: The Eddie Crook Company
Song List: “I Can’t Help Smiling,” “Upon The Cross,” “Jesus Loves Me,” “I’ll Have A Mansion,” “I Want To See Jesus,” “Oh Lord, I Love You,” “Give Him My Heart,” “The Man I Need To Be,” “Feed My Sheep,” and “His Love”

Website: http://www.lakesidegospel.com

Contributers:

• Adam Edwards (Southern Gospel Critique)
• Daniel Mount (Southern Gospel Blog)
• David Bruce Murray (Musicscribe Blog)

Click “Read the Rest of This Entry” for the full review.

1. I Can’t Help Smiling

David Bruce Murray: This quick paced bluegrass song is a combination of good picking (especially Greg Blankenship’s mandolin), so-so vocal harmony, and average songwriting. This is a trend for the entire CD. The tempos do vary from one track to the next, but otherwise, when you’ve heard one of these songs, you’ve essentially heard them all.

Adam Edwards: This group can play. Good instrumentation is what bluegrass gospel is all about.

Daniel Mount: Nice lyric and vocal, excellent instrumentation. The group does a good job of planning the solo instrumentals so as to not get in one another’s way.

2. Upon The Cross

Adam: Musically, I like this song better than the previous track, but the verses seem to be missing something. I think some background vocals would have greatly enhanced this track.

Daniel: This song features the tenor. He seems to vocally emulate a Doyle Lawson & Quicksilver / Primitive Quartet tenor style. It’s a good song, one I could envision working just as well in a non-bluegrass arrangement as it does here.

3. Jesus Loves Me

Adam: I like the feel of this song, but it’s another that feels weak lyrically. The verses were good, but the chorus seemed too short. The message of the song was good.

4. I’ll Have A Mansion

Adam: This is one of my favorite tracks from the project. This song makes you tap your foot.

Daniel: This driving, energetic bluegrass number features the banjo and fiddle prominently. I might be revealing my ignorance of Quicksilver’s discography by saying this, since there is a chance they’ve already done the song, but if this song is original to this group it’s good enough that I could easily see an established bluegrass group picking it up.

5. I Want To See Jesus

DBM: This song stands out from the rest of the CD due to the fact that it’s a cappella. The pitches are more precise on this cut. Is it due to artificial pitch correction? Perhaps. It’s just puzzling why the same level of attention wasn’t given to the harmonies on other cuts. If instruments had been added to this vocal arrangement to cover up some of the pitch range issues, it would have been a stand out track for this CD.

Adam: One of the more enjoyable tracks from the project. A cappella numbers seem to be a bluegrass standard and Lakeside doesn’t disappoint with this cut. Good song.

6. Oh Lord, I Love You

Adam: I really like the slap bass on the intro to this song. That grabbed my attention first thing. Musically, this song is great but weak vocals and lyrics really detract from this song.

7. Give Him My Heart

DBM: “Give Him My Heart” slows down the pace and adds a shaker sound for a percussion element. Unfortunately, the lyrics are awkward…too many syllables for some phrases, and predictable rhymes.

Adam: OK song. Not a stand-out track on this project, but the vocalist has a pleasing tone to his voice.

Daniel: I’m guessing this might be the baritone. Unlike the tenor and lead, he evidently spends his practice sessions working more on developing a pleasant tone then to seeing how high he can sing…and it shows.

8. The Man I Need To Be

Adam: Everyone except for the bass singer takes the lead on this song. The upbeat flow to this song is catchy.

Daniel: An enjoyable track.

9. Feed My Sheep

DBM: Again, an otherwise good track suffers from mediocre and sometimes confusing lyrics. The opening verse is:
“Christ is speaking. ‘Who have ears let them hear. Go into this world and feed my sheep.’ Precious is his flock whom he loves so dear, that he laid down His life through His blood, sweat and tears.” The second verse ends with, “When you meet them will you feed them? My loving word with them please share, so they’ll know me when they see me when they meet me in the air.”

There’s more to writing a song than simply finding phrases that rhyme.

Adam: When I first saw the title of the song, I was hoping that this group was redoing the song of the same title that the Primitive quartet recorded 25+ years ago. To say this song was a disappointment was an understatement. It’s an OK song but it was my least favorite from the project.

10. His Love

DBM: The minor key on this cut is a nice touch, the instrumental breaks are effective, and the songwriting quality is higher than what we’ve heard up to this point. All in all, “His Love” is a good closing number for From Our Heart.

Adam: I hope that Lakeside singles this song. It sounds like they saved the best track for last. I love the raspy tone on the lead vocals and the musicianship stands out on this track. Great finish to the album!

Daniel: I agree with David and Adam – this song is one of the project’s highlights.

Summary

DBM: Like many bluegrass groups, Lakeside’s greatest strength is their musicianship. If you appreciate good picking, you’ll want to give this CD a few spins. On some spots, I did notice that they weren’t entirely in sync, but overall, these guys are good players…both on individual breakout solos and as an ensemble. The group’s weaknesses lie in the areas of singing quality (harmonizing in particular) and songwriting. Both of these facets are decent, but could stand improvement. Musically, there’s some interesting things going on, but the lyrics of these songs aren’t particularly memorable. The raw talent is there, but a more involved producer helping the group find their own voice with more original songs would have been a major plus. My rating for From Our Heart is 3 Stars.

Adam: This was my first exposure to Lakeside. These guys are good musicians and I imagine that in a live setting, they are quite enjoyable. From Our Heart is a fairly strong effort from the group. I would like to see them in concert sometime. My rating for this project is 3.5 stars.

Daniel: While this project might not fall on a short list of this year’s “must buys,” many fans of bluegrass Gospel will enjoy it.

Producers: Johnny Minick, Michael Sykes, Aaron Minick

Song list: I Can Call Jesus Anytime; I Just Call it Home; One Thing the Father Forgets; Because They Gave; How I Want You To Know; I’ll Follow; Jesus Wept; Golden Streets; Love Like the Sun; Mercy.

Contributors:

• Wes Burke (Burke’s Brainwork)
• David Bruce Murray (Musicscribe)
• Brandon Coomer (Coomer Cove)
• Daniel J. Mount (SouthernGospelBlog.com)
• Aaron Swain (Swain’s Musings)

Click “Read the rest of this entry” for the full review.

1. I Can Call On Jesus Anytime

Aaron: A nice, mid-tempo tune that whets the appetite for the rest of the project. Has a great quartet sound to it, with nice lead vocals by Paul Jackson and a bit of the old hymn “What A Friend We Have In Jesus” near the end.

David Bruce Murray: This first cut plays to the strengths of Bill Baize, Paul Jackson, Ed Hill and Mike Allen. Johnny Minick, Michael Sykes, and Aaron Minick produced this CD, and the style of this track is characteristic of some of the production we’ve heard by Sykes with other artists. Right away, the Prophets establish that they’re going to succeed with more of a “power group” sound than vocal blend. The top three voices are showing some age. Don’t expect smooth-as-silk vocals like the Booth Brothers. That being said, they’re still old pros who can deliver an upbeat song in a manner that will delight an audience.

Wes: Enjoyable rendition of the quartet classic. I agree with David that this song plays to the strengths of the vocalists. While David is right that there isn’t the silky smooth blend of the Booths, they do a nice job of some unexpected chords in this song, especially after the key change and second verse. Very solid opener to the CD.

2. I Just Call It Home

Daniel: The project’s liner notes say that Paul Jackson and I co-wrote the song. This is a graphic designer’s error; “One Thing the Father Forgets” is my only contribution to the album.

Aaron: As Daniel said, Paul Jackson did write this song, and he is featured on the solo. Good orchestration moves this ballad about Heaven along, and it all builds up to a Mercy’s Mark-esque ending.

DBM: Jackson weeps his way through this slower paced song about going home to Heaven. His delivery style doesn’t really suit the topic. The vibrato alone is astonishing, and tends to detract from the lyrics.

Wes: This is a ballad sung by Jackson. I actually like this song pretty well. It’s not the greatest ballad I’ve heard recently, but it’s still a pretty good song. Jackson’s interpretation to me sounds similar to what you would hear from Clayton Inman on a song like this. There was one spot in the last chorus where Baize drops below Jackson in the harmony stack that sounds a bit strange to me, but the ending is nice. Baize still has some surprising upper register left in him.

Brandon: I have to say I agree with everything DBM said. Describing Jackson’s vocal as weeping is right on target.

3. One Thing The Father Forgets

Aaron: A song with a country flair that was penned by our own Daniel Mount, and co-written by Jackson. This song is Mike Allen’s only solo on the project, and he does a great job showcasing his range. Tenor singer Bill Baize proves that his voice only gets better with age as he pops some high notes on the chorus!

DBM: This song is one of the highlights of I’ll Follow, and no, I’m not saying that due to Daniel Mount’s involvement with the lyric. This version of the Prophets is better at mid- to up-tempo songs, first of all. The other reason this song stands out is because Mike Allen is featured. He’s the group’s most versatile singer, and I’m completely baffled as to why he’d only be featured on one cut.

Imagine a farmer riding a nice John Deere tractor out to his field, and then getting off and plowing with a team of mules. Sure, they can still get the job done and they have unique personalities that may bring back glimpses of nostalgia for the farmer, but it’s difficult to get past the fact that the farmer prefers this method to a big green John Deere. You get the idea.

The song begins in the key of A-flat, with Allen singing in his baritone range. By the third verse, the key has stepped up twice, and he hits middle C on a solo line near the end of the third verse with ease. Near the end of the song, Allen reminds us that he’s also a very capable bass singer, dropping to a low B-flat with a strong rich tone.

As far as the lyric is concerned, Daniel and Paul Jackson did a good job collaborating on this cut. The verses list events the Lord remembers, hitting the highlights of the Old and New Testaments. The chorus focuses on our sin, which “the Father forgets.” There’s a few obvious rhymes, but it’s a solid lyric for this style of song.

Wes: I agree with David that this is a highlight of I’ll Follow and that Allen’s vocal makes it so. I, too, wonder why Allen, Hill, and Baize weren’t featured more. This is a really good song, and is performed very well by the group. I’d send this one to radio after “Love Like The Sun”.

Brandon: I really enjoy Mike Allen’s singing, and as everyone said, I am very disappointed by his lack of features on the project. As for his one feature, it is nice, but only leaves me wanting more.

4. Because They Gave

Aaron: A patriotic song that pays tribute to both the fallen and currently serving soldiers of our military forces. A nice song, but nothing I would feel led to listen to other than on special occasions where it would be appropriate. It features the song’s writer, Paul Jackson, once again.

DBM: This track, written and sung by Jackson, is better suited to his singing style than “I Just Call It Home.”

Wes: I’m generally not a big fan of patriotic numbers, so this doesn’t rank as one of my favorites on the CD, but I definitely appreciate the sentiment expressed in the lyric. As patriotic songs go, this one is pretty good. The performance by Jackson and the group is fine, again, I’m just not much of a fan of patriotic songs.

Brandon: Like Wes, I’m not a huge fan of patriotic songs, so this one leaves me a bit cold.

5. How I Want You To Know

Aaron: Bill Baize’s shines on his only solo feature on the project. I enjoy reading his SoGospelNews.com column on how to properly sing, and throughout the project, he displays those lessons to perfection. Baize’s tenor is the type that I personally could listen to non-stop. Truly a Southern Gospel legend.

DBM: “How I Want You To Know” should be a show stopper for Bill Baize. He saves a few high Cs for the tag lines at the end, which is impressive for a man his age. The group chimes in lightly on the choruses, giving Baize the full benefit of his only moment in the spotlight.

Wes: Bill Baize was one of the first to embrace the power tenor ballad style. This song shows that even 30 years or so removed from his time with the Stamps, Baize can still sing a power tenor ballad with excellence. There’s some nice harmony from the group behind him on the choruses. This song should do very well for the Prophets, and Baize still has the ability to sing these power ballads. An excellent job and one of the best songs on the CD.

6. I’ll Follow

Aaron: A re-recording of an old Prophets tune that also serves as the title track. I’ve never heard the original version of this song, but I like this one!

DBM: The title track of the album is a stylistic departure. The chord structures and instrumentation appear to be patterned after a 1980s pop song. For this reason, I wonder if Aaron’s info is accurate. Is this really a tune from the earlier Prophets of the 1960s? The liner notes indicate that current lead singer Paul Jackson and producer Johnny Minick wrote it. The Prophets did record a song titled “I’ll Follow Jesus” in 1959 on The Gospel Songs (Coral Records/CRL57330), but I don’t think it’s likely that this is the same song unless Jackson and Minick have been collaborating on songwriting a lot longer than I think they have. Maybe one of the other reviewers can verify this information for us.

Aaron: I had the wrong song. The remakes are “Love Like The Sun” and “Jesus Wept.” Still a good song, though!

Wes: David is right, this does sound like a pop song from the 80s. It’s definitely a different style, but I’ll agree with Aaron, I like it, and the group does it very well. It’s not a great song, but solid and enjoyable, at least to my ears. Maybe it’s just because I’m a child of the 80s.

7. Jesus Wept

Aaron: Baritone Ed Hill, one of the veterans of the industry, gets his only feature on this slow song. I like hearing Hill sing, but this song didn’t really grab me. Too slow for my taste, I guess.

DBM: I agree with Aaron. It’s great to hear Ed Hill singing again under the banner of the Prophets Quartet, but this isn’t a particularly strong lyric. The arrangement is about as simplistic as you can get in the three chord/three-four time vein. I think this cut probably is a Prophets remake, though, which would explain the presence of the song on this CD. A song by the same title appears on their Gospel Rhythm (Sing Records/MFLP3005) LP.

Aaron: I think I read the info wrong on another site, and this is the song that was a remake, rather than I’ll Follow.

Wes: It is good to hear Ed Hill again with a quartet, but I also agree that a better song could have been chosen. “Neither Do I Condemn Thee” would have been a better choice for a Prophets remake that would have played to this group’s strengths a bit better.

8. Golden Streets

Aaron: Another slow song, but the lyrics and overall sound of the song reminded me of a boy band, for some strange reason. Wasn’t exactly my cup of tea.

DBM: This song might be effective in the hands of a blue eyed soul singer like Charles Billingsley, who wrote the lyric. It doesn’t really suit Jackson’s vocal style, the Prophets, or male quartets in general. This would have been a great point on the CD to feature Allen, Baize or Hill again.

Wes: I agree with Aaron and David that this song just doesn’t work very well. It’s not terrible, but just doesn’t seem to fit the group very well. There is some nice harmony on the line “Oh don’t you worry, don’t you weep for me” in the chorus. I’ll give the group some credit for taking a chance and trying some different styles. Sometimes those chances work, sometimes they don’t. At least they have the gusto to try it.

Brandon: I don’t know if it fits the quartet, but I have to admit that I find this track one of the more enjoyable songs on the project.

9. Love Like The Sun

Aaron: Awesome rendition of another old Prophets song. Has been stuck in my head since the first listen, and I can easily see this going to radio.

DBM: In the mid-1960s, this Lari Goss song was featured on a Prophets album by the same title with a calypso style. I haven’t heard the original, unfortunately, but I really like what I’m hearing on I’ll Follow. This arrangement isn’t calypso. The style actually reminds me of “Every Breath You Take,” a 1983 pop song by The Police. (Make the comparison HERE.) Jackson sounds a little bit like Joe Bonsall on this one, and the harmony is similar to the power chords the Oak Ridge Boys are known for on mid-tempo songs. Perhaps you can tell that this is my favorite cut on the CD.

Wes: I have the advantage of actually owning the Prophets album by this title. This song was also recorded back in the late 60s by the Imperials. Both early versions had almost a Brazilian feel to it. That beat is replaced with a bit more straight forward rhythm here, which is an interesting departure. I agree with David that this is the single best cut on the disc. It really fits the group well, and the arrangement is great. The group really sounds good on this cut. This needs to be singled.

Brandon: Now we’re talking. I have always loved this Lari Goss-penned song. My primary exposure to the song is the Imperials’ cut, but this group does an admirable job.

10. Mercy

Daniel: Prophets lead singer Paul Jackson wrote and is featured on this song. His background as a choir director is reflected in the arrangement, which features the choir so prominently by the end that the quartet’s vocals (except for the lead vocal) are lost in the mix.

Aaron: The project finishes strong with a ballad. I agree with Daniel’s statement that the choir drowns out all but the lead at the end. A nice song otherwise.

Wes: Power ballad featuring Paul Jackson. Good lyrics, but as mentioned by Aaron and Daniel, the choir does come into the mix a bit heavily toward the end. The mix on the first chorus would have been fine through the entire song. Again they switch Jackson and Baize in the harmony stack for a line or so and it doesn’t quite sound right. That said, it’s still a good song.

Summary

Aaron: This long-awaited project is the revival of The Prophets, a group that baritone Ed Hill started back in 1959, and helped bring back in 2007. This project will please fans of the original Prophets, and win the new group new fans. They won me over, for sure. Every position is absolutely stellar (tenor Bill Baize, lead Paul Jackson, baritone Ed Hill, bass Mike Allen, and pianist Eddie Crook). Though everything isn’t perfect (Jackson has a slight “bark” when he sings, but it’s not too glaring), it’s still sounds great! The guys are sure to get better with time. I would suggest, however, to give more equal solo time for each member on the next project. As DBM said throughout the review, Mike Allen is definitely the most versatile member, and I stand by my statement that Bill Baize is one of the best tenors in SG Music right now. Ed Hill’s baritone is as solid as ever as well, so all these men deserve more solo time than once per project.

DBM: As a fan, I’m disappointed with this CD. That disappointment boils down to decisions that were made about what to include. Actually, it’s probably more educational to review what WASN’T included. Consider…this lineup of the Prophets includes the group’s original founder and a true Gospel music legend in Ed Hill. He is featured on just one song. Bill Baize hasn’t been involved in the forefront of Southern Gospel nearly as much as Hill, but he’s still considered a legend for his work with the Stamps in the 1970s. Baize is featured on just one song. Mike Allen is known to fans of the Gaither Homecoming Series in addition to his work with Poet Voices and filling in for George Younce with Old Friends Quartet. Futhermore, Allen is this group’s most versatile and talented singer. Just about any quartet in the business would put Allen to work. He’s featured on just one song.

When you add a mixed bag of songs to this equation…two are very good, three are decent enough, and the other five are somewhere lower on the scale…you have a CD that lands firmly in the territory of 3 stars. I didn’t start this review wanting to say the long anticipated return of the Prophets is dead average, but it is what it is.

Wes: This is a solid CD for the Prophets’ return to gospel music, but I, too, am a bit disappointed in that I think it could have been better. There are a couple of songs that really don’t fit the group’s strength, but as I mentioned above, kudos to them for having the guts to try some different things. It is a case of sometimes it works, sometimes not so much. There is defintitely real potential for this group. They have a good sound, especially on the uptempo and power songs. I’d like to hear more from Allen and Baize especially. Paul Jackson is a good lead singer, and his voice fits with the others very well, but with voices like Baize and Allen in the group, they could definitely be featured on more than one song apiece. I think if this group continues more in the vein of “Love Like The Sun”, “How I Want You To Know”, or “One Thing The Father Forgets”, their subsequent recordings will be that much stronger. It’s a good CD, enjoyable and well worth purchasing, but it left me more with a hopefulness and optimism for future recordings rather than blowing me away on its own.

Daniel: I’ve held back from saying much on this project since I had a songwriting cut here. But like the others, I would have enjoyed seeing more features by Hill, Baize, and Allen, particularly Mike Allen. Thanks to his exposure on millions of units sold of Homecoming series projects, he is probably the most recognizable face in the group to today’s audiences.

Brandon: I have to admit, I’m not even close to being blown away by this project. Maybe it was the long build up (something I’m afraid the Canaan Records relaunch is going to have to deal with), but I was expecting something more. Don’t get me wrong, this is a decent project, not a bad one. I enjoyed more than a couple of the tracks a great deal, but several of the tracks just were not to my taste. Hopefully, the group will pick out what works here, add more features for the stronger vocalists, and build upon this re-debut.

* * *

Composite Rating: 5 stars

Label: Riversong Records
Producer: Garry Jones
Song List: “Tis So Sweet To Trust In Jesus,” “If God Be For Us,” “One More Time,” “Beneath This Armour,” “Where Is God,” “There Rose A Lamb,” “He Sent Me Running,” “He Brought Me Thru,” “One More Chance,” and “One More Time Will Do It”

Website: http://www.goldcityqt.com

Contributers:

• Wes Burke (Burke’s Brainwork)
• Brandon Coomer (Coomer Cove)
• Adam Edwards (Southern Gospel Critique)

Click “Read the Rest of This Entry” for the full review.

1. Tis So Sweet To Trust In Jesus

Wes: An incredible acappella opening to what would be an incredible album. This was far more advanced than anything Gold City had recorded previously. Garry Jones’ arrangement was and is the best I’ve ever heard of this old hymn. The performance is flawless, and you can immediately tell the difference that Steve Lacey is going to make in Gold City’s sound. This is a much more sophisticated Gold City than what you heard on Answer The Call.

Brandon: Sophisticated is a great word to use here, Wes. Even though Answer The Call was produced by Garry Jones, I think it contained some of the late Eldridge Fox’s influence. Nothing against Foxy, but this project showed from the very start that as a producer, Jones had grown beyond Fox’s influence.

Another thing that makes this track so important is that it paved the way for Gold City’s next project, Acapella Gold.

Adam: Maybe this track was the inspiration for the Acapella Gold project? This Gold City lineup was spectacular on Acapella numbers and this old hymn was a great introduction for this classic album.

2. If God Be For Us

Wes: Sheer perfection in an uptempo song, penned by Squire Parsons. The instrumental track is perfect, I’ve always loved the strings behind the piano, bass, guitar, drums, and banjo. Another incredible arrangement from Jones, flawless lead vocals by Ivan Parker, and strong power harmonies by the group make this a timeless cut. If you heard this on radio today, it would not sound dated, which is a testament to how far ahead of its time this album sounded.

Brandon: By far, this is the best uptempo song on the project. I wouldn’t go as far as Wes and call it perfect, however. Honestly, I prefer the re-cut version that was released a couple of years later on Classics. Wes is right on by describing this song as timeless. As he said, it would sound right at home on the radio to this day. Gold City has actually opened with this song the last two times I’ve seen them.

Adam: This is one of my favorite songs from Gold City. Tim Riley’s bass vocals are so powerful, yet so pleasant on this number. Unlike Brandon, I prefer this cut with Ivan Parker instead of the one with David Hill.

Brandon: My reason for liking the Classics version has more to do with preferring Jay Parrack’s final chorus than Brian Free’s. Ivan’s vocal is spot on here.

3. One More Time

Wes: Very sophisticated, progressive sounding mid tempo number. This song is very indicative of the general style of this album. Ivan Parker and Brian Free do a really nice job on the verses. I find this to be a very underrated cut, and have often thought about featuring this as a hidden gem on my blog. I still may sometime soon. I’ve always loved this song.

Brandon: I consider this the weakest song on the project, but would still give it four stars. I don’t know if the tempo is just a bit too slow for my liking or what, but it just doesn’t hold my attention as much as the other nine tracks.

Adam: This is a good song, but after hearing it a couple of time, the rythym tends to get boring. My ears perk up when Brian Free takes over the second verse but they quickly fall again when the verse is over.

4. Beneath This Armour

Wes: Tenor ballad featuring Brian Free. Though not a chart topper, this song seemed to develop a grass roots following. Brian included it on Assurance’s “At Your Request” and seemed to be a popular song for church singers to perform. Even my associate pastor at the time sang this song as a low baritone solo. The tempo is just a little too slow for me, as it makes the song seem to drag. It is, however, a very pretty song with a great message.

Brandon: Although I kind of criticized the last track for being too slow, I like the slow tempo on this number. It gives the listener time to soak in each line of the song’s wonderful message. It also allows time to appreciate the beautiful strings in the track.

By the way, this is Steve Ladd’s favorite Pillars of Faith song.

Adam: Honestly, I skip this song whenever it starts playing. Good lyrics, but it I am not a huge ballad fan. Few singers can hold my attention on these types of songs and Brian Free isn’t one of them. I do like the lyrics, but step it up a little.

5. Where Is God?

Wes: This song kicks the tempo back up a bit, which is perfect following the almost dirge-like tempo of “Beneath This Armour”. This is a Kyla Rowland song, and while not one of her best (the next song on the CD dwarfs it just a bit), there’s still a lot to like in this song. It’s a very reassuring lyric and serves to show Gold City can still do the style they had been pursuing previously, and do it even better. The two key changes in quick succession on the last chorus are especially notable here.

Brandon: Wes, I’ve never really listened for it before, but this track does sound like the most typical Gold City song on Pillars of Faith. This track isn’t one of my favorites on the project, but is still a very good track.

Adam: I enjoy Gold City’s version of this song, but Ivan Parker can’t hold a candle to Ron Martin’s (The Rowlands) original vocals on this song. I don’t say that lightly because Ivan is one of the best singers to ever come along in gospel music. Kyla Rowland wrote a fabulous song with “Where Is God?” and it was great when Mercy’s Mark redid it a couple of years ago. It should be done again and singled to radio. I think that the Mark Trammell Trio should give it a whirl.

6. There Rose A Lamb

Wes: If you ask me what was the greatest Gold City song ever recorded, about 60% of the time I’ll say “Midnight Cry”. The other 40% I’ll say “There Rose A Lamb”. Ivan Parker sings this song perfectly. The melody, arrangement, lyrics, everything about this song is perfect. It holds an interesting distinction in that it was Song of the Year, yet was never #1. It peaked at #2 on the Singing News charts, behind the McKameys. One of the greatest songs ever put on LP, Cassette, 8-Track, or CD. Gold City has continued to stage the song through the years, but has never topped the original recording, in my opinion. Can I give this 6 stars on a 5 star scale?

Brandon: While “Midnight Cry” may have been the bigger commercial success, I’ll take “There Rose A Lamb”. It is one of Kyla Rowland’s greatest songs. The second verse is one of my favorite lyrics and the first of two moments in the song that I think deserve a standing ovation every time I hear it. The second moment is at the end of the second chorus and the repeats of “He arose” begin.

Technically, Ivan Parker may have given us the perfect studio cut of the song, but I prefer the emotion and conviction that Jonathan Wilburn gave the song live.

Adam: What an amazing song!!! Really, what can you say about this, other than it was a perfect song that was a perfect fit for Gold City. It may have been a little too slow for great radio play, but in a concert setting, this is one of the most powerful songs in Southern Gospel music.

7. He Sent Me Running

Wes: Once again, a nice followup song to a big time ballad. This is another uptempo cut that has the more traditional sound to it. The thing that stands out is the smooth blend, and the great little bass lines from Tim Riley. Gold City has recently brought this song back to their set list, fueling speculation that it will be included on the upcoming Classics 2 project. Solid cut.

Brandon: This is a great song to follow “There Rose A Lamb”. In a concert setting, if “There Rose A Lamb” had the audience on their feet, I wonder if this song would have been enough to sending them running the aisles (if they weren’t already). I consider this the most underrated song on the project. It’s a fun little song that gives the three vocal fixtures (Free, Parker, and Riley) a chance to shine. Lyrically, this may almost be an album filler, but it is just so bouncy that I can’t help but love it.

Adam: This great quartet song is a foot-tapping, crowd-pleaser. Steve Ladd recorded this song with the Anchormen on their Quartet Favorites project, so it seems only fitting that he sing it now that he’s with Gold City. I hope they record on their upcoming project.

Brandon: I’m not 100% sure, but I believe I talked to Steve Ladd about this song. I don’t think that it will be on Classics 2.

8. He Brought Me Thru

Wes: Steve Lacey’s first feature with Gold City. Mid tempo 3/4 song. The song and arrangement fit Lacey’s voice very well. I always really liked this song. I don’t think it was ever officially released and promoted as a single, but it did get some radio play in this area. Lacey shows that he has the vocal quality and range to sing lead and sing it well. Just a really enjoyable song.

Brandon: This song gets overshadowed by two other slower tracks that were monster hits (tracks 6 & 10). This is my favorite song that featured Steve during his time with Gold City. For years, I’ve thought that Danny Riley should bring this song back.

Since this is Steve’s song on the project, I’ll ask this question now. Could Pillars of Faith been pulled off to this degree of excellence with Mike Lefevre on baritone?

Adam: Brandon, in one word I’ll answer your question: NO!. Steve Lacey had a much more powerful voice than LeFevre. This track is an excellent example of his power. I only wonder why he never spent more than a couple of years with a major group……and where is he now?

Brandon: Last I heard, Steve was writing songs and traveling with his wife and someone else as the Steve Lacey Trio. That was more than a couple of years ago, though.

9. One More Chance

Wes: Another mid tempo tune that has a progressive edge to it. Another strong lyric, and a strong vocal performance from the group as well. It’s a very catchy song that Daniel Riley has brought back on occasion. The chord progression on the tag of the song is especially nice. Another solid song.

Brandon: I love the kickoff to this song and Ivan does a great job on the lead vocal. As Wes mentioned, Daniel has staged this song on occasion through the years, including on Gold City’s video recorded in Ireland.

Adam: This is a great track. Catchy tune with a good lyric.

10. One More Time Will Do It

Brandon: My first exposure to Pillars of Faith was in my uncle’s van. For years, every time I sat down in his van, Pillars of Faith was already in the tape player. I could talk to him and my cousins while listening to nine of the songs on the project, but when the piano intro started with the strings behind it, I dropped out of the conversation. This song, more than even “There Rose A Lamb”, completely captivated me. Now, I consider this the third best song on the project, but it will always be very important to me due to those memories. It is still my favorite ballad that Brian Free has done.

Wes: Ronny Hinson can evermore write songs, and this ranks with one of his best. A brilliant arrangement and track, brilliant vocal by Brian Free, and some really high harmony make for an incredibly powerful ballad. Brandon is right in calling this song a “monster” hit. I will say that this version is FAR superior to the stripped down version on Assurance’s At Your Request. Another great, great song on this disc, which is chock full of them.

Adam: WOW! This is one of the few ballads that holds my attention. The lyrics just paint a picture of Christ’s return that gives hope to the Christian of a brighter day ahead. Thank God that “with one more visit planned, we WILL join His caravan”!!!!! Simply amazing!

Summary

Wes: What an album. This album took Gold City to an entirely new level. The quality of material, arrangements, tracks and vocal performance is much elevated here over previous albums. While Gold City was already a supergroup by this time, musically this album shot them to a whole new level. Brandon posed the question above if this album would have been as good with Mike Lefevre singing baritone. My answer is a resounding NO. While I’ve always liked Mike Lefevre, and still do, his voice does not have the refined sound that Steve Lacey’s does. With the maturing of Parker’s and Free’s voices and the sophistication of the arrangements, both vocal and instrumental, Lefevre would have sounded out of place on this album. A good reference for this is to listen to BFA’s At Your Request project, which featured Free, Kevin McCaw, Lefevre, and Bob Caldwell. The two tracks from Pillars on that project pale in comparison to the GC versions, and it isn’t just the stripped down backing tracks that are the reason. This was the right combination of voices, the right songs, the right arrangements, and the right time. Pillars of Faith is as close to a perfect album as you will find.

Brandon: As Wes said, everything came together for this project. The group members, the songs, the vocals, the music… everything fit like a glove. What makes the quality of this project even more amazing is that it is the first mainline project recorded by the group with Steve Lacey. How often do you hear a group’s first project with a new singer and afterwards think, “They’re still getting used to each other. They’ll work on their blend and be better the next time”? I doubt many people had that thought when this project was released. Steve Lacey was just the right man to step in and record the baritone for this project. To answer the question I asked earlier, I don’t think this project would be close to the quality they achieved if Mike Lefevre had been the baritone. Mike’s a good singer, but his voice just doesn’t have the tone or style to fit this project.

This project has been brought up a lot in the online community over the last month in discussions of our genre’s Pet Sounds or “watershed” projects. Honestly, I don’t know if this project has had that level of influence. I do think this project was ahead of its time and still sounds like a current day recording, even though it is 15 years old.

Pillars Of Faith isn’t my favorite Gold City recording. In fact, it may not even be in my top five, but technically, this may be the best project Gold City has ever recorded. Based simply on technical execution, this is arguably the best southern gospel project of the last twenty years or more.

Adam: This is far from my favorite Gold City recording, but my respect for it has greatly increased due to this review. Taking the time to listen to each track several times really made me appreciate what Gold City accomplished on this project, even with a couple of tracks that weren’t up my alley.

Pillars Of Faith may have very well been a project before it’s time, but thankfully we were blessed with it in our time. I can’t imagine a Southern Gospel music collection without this project and with so many projects that have been released in the past 15 years, that is a mouthful. I’d wager that Gold City never imagined this album would still be the topic of discussion 15 years after it was originally released. There are very few projects that stick around in an artists repertoire that stand out as THE perfect project for that group. Gold City pulled it off and did it very well with Pillars Of Faith.

Producer: Jeff Stice.

Song List: It’s a Wonderful Day; Way Up in Gloryland; When I Receive My Robe and Crown; For God So Loved; Turn Your Back; Intermission; Gonna Build a Mountain; That Still Small Voice; Pearly Gates; I Remember the Day; The Cloud He’s Coming Back On; Welcome to Heaven.

Website: http://www.triumphantquartet.com/

Contributors:

• Wes Burke (Burke’s Brainwork)
• Daniel J. Mount (SouthernGospelBlog.com)
• Adam Edwards (Southern Gospel Critique)
• David Bruce Murray (Musicscribe)
• Brandon Coomer (Coomer Cove)
• Aaron Swain (Swain’s Musings)

Click “Read the Rest of This Entry” for the full review.

1. It’s A Wonderful Day

Adam: This is an excellent remake of the classic Anchormen song. I’ve always loved this song and Triumphant’s version doesn’t disappoint. A great start to a wonderful project!

Wes: I liked this song when the Anchormen did it, I LOVE Triumphant’s version. I agree with Adam, perfect way to start the CD. Their version I actually find superior to the original by the Anchormen.

Aaron: I have never heard the Anchormen version of this song, but Triumphant’s version blew me away! The choice of opening the album with this song was a very good one; it has me eager to hear the rest of the album.

Brandon: You may have heard this before, but I love this song! I agree with the comments above that as good as the Anchormen’s original version was on the Heart Of The Matter project, this cut is much better. I really like Eric Bennett’s solo lines towards the end of the song. I could see Eric’s lines helping to energize audiences and leading to an encore.

2. Way Up In Gloryland

Wes: This is the first of two old Nelons songs. The verses sound a bit strange to be sung so low. The choruses are fine, and it is a solid rendition of the song. Eric Bennett’s bass singing and Jeff Stice’s playing are the highlights of this song.

Aaron: This track opens up with a bang as Jeff Stice displays his lightning-fast piano playing abilities. Bass singer Eric Bennett is one of the smoothest and most versatile basses out there, and his singing really shines on this song.

David Bruce Murray: “Way Up In Gloryland” goes about ninety miles an hour! Bennett shows off his up-tempo bass singing skills on this one.

Brandon: I’ve never heard this song before, but it puts me in the mind of the Hayes Family. I can close my eyes and hear them singing this song.

3. When I Receive My Robe And Crown

Adam: This was always one of my favorite songs to sing when I was a kid. I don’t know that I’ve heard a better version than what Triumphant has recorded here. I especially love the turnaround when the tempo increases. My favorite track from the project! I’m still blown away with this track.

Wes: This is the other Nelons song. This one works a bit better from start to finish than the previous song. Like Adam, I really like the turnaround and tempo change. These guys are just good.

Aaron: I had heard the title of this song, but never the actual song. It’s a very catchy tune; it reminds me of something The Kingsmen would do. One of my favorites from this project for sure, and the like Adam and Wes said, the turnaround is pretty cool, too!

DBM: I can only echo what Adam said. This has always been one of my favorite Nelons songs, but it works even better as a male quartet cut. Some people get this song confused with “We Shall Wear A Robe And Crown,” which was a bigger song for the Nelons. This song is the highlight of the CD. I can’t believe it took twenty-five years for a top male quartet to remake “When I Receive My Robe And Crown.”

Brandon: I’m not very familiar with the Nelons’ music, so this is another song that I’ve never heard before. I agree that this is one of the strongest songs on the project.

Daniel: I was going to rate this track at a strong 4 stars until the tempo change. The strong finish moved the song up to a 5-star rating for me.

4. For God So Loved

Wes: Brilliant interpretation by David Sutton. He does well with tender ballads like this one. The harmony on the chorus is very smooth and powerful. The tag ratchets up the power considerably, and is expertly done. One of the highlights of the entire CD.

Adam: Not my favorite track from the project, but well done. David Sutton is my favorite tenor singer and displays his brilliance here.

Aaron: The Florida Boys recorded this song on their Sing Your Blues Away project, giving Josh Garner the feature. I think the Florida Boys version is the better one, but this track is a nice David Sutton feature.

Daniel: An able rendition. I’m still waiting for some top-notch tenor to put their stamp on Brian Free’s signature song by the same name, but this song is also enjoyable. The power tag will undoubtedly be excellent live.

5. Turn Your Back

Wes: This rendition is pretty close to the original by the Cathedrals. I miss the higher ending that the Cathedrals put on the song, but it’s still a pretty good cut. It does make me interested to hear the spin that Gold City is putting on their cut of the song.

Aaron: I realized when this track was playing that Eric Bennett is featured in some capacity on most of this songs on this project. I’m not complaining though; as I stated earlier, he’s one of the best basses out there. He can sing low and smooth at the same time, and he does George Younce justice on this track.

Brandon: This is a very good cut of a great song. I’ve been listening to the Cathedrals’ original recording of this song the last few weeks and have to say that I like that one better.

Adam: This is a great song, but I don’t think that anyone will ever top the Cats version of the song, so I consider this track more of a tribute than an effort make the song their own.

6. Intermission

Wes: OK, I can see the flame wars coming on this song. My personal opinion, I could do without the voice over commercial, and could just listen to the jazz instrumental for hours. The concept of an “intermission” in the middle is something similar to what Take 6 has done on several of their projects.

Adam: I thought this track was unique for a Southern Gospel project. I’m sure it will be skipped more than it’s listened to, but not a bad track. Jeff Stice is an amazing instrumentalist. A longer instrumental would have been nice, but isn’t this what you typically expect from the intermission? Some background music and a product pitch…

Aaron: Hmm… a very interesting inclusion to this project, to say the least. I was surprised with the little voiceover, though. Guess it doesn’t hurt to plug once in a while! Jeff Stice’s playing on here is very good; he’s a strong contender for Instrumentalist Of The Year.

DBM: The novelty of the unexpected commercial was interesting the first time I heard it, but it gets old immediately. Customers listen to product pitches at concerts without complaining (for the most part). They’re informed about group websites on every piece of product they purchase. At the very least, a customer should be able to listen to the product they BOUGHT without having to endure an advertisement for the group’s website midway through. Stice’s track is a nice touch, but it’s impossible to tune out the commercial. I wouldn’t be surprised if more than a few fans who buy this CD create their own eleven track version leaving this track off.

Brandon: I agree with David that this only holds my attention the first time through. After that, it becomes annoying. I would have preferred if they had only had the piano solo at track six, then ended the cd with another piece of the piano solo with the voice over.

7. Gonna Build A Mountain

Wes: I’m not familiar with this song, but Triumphant gives it a Statesmen treatment. Traditional quartet stylings which play to their strengths. Each member gets a feature and does a great job. Good cut.

Aaron: Pretty cool little song. I agree with Wes in that it does sound like The Statesmen.

Daniel: I have the song on a 1966 Blue Ridge Quartet LP, The Love of God. I think J.D. Sumner and the Stamps also recorded it within about a year of that rendition. The Prophets also recorded it on their (undated?) Gospel Rhythm project.

8. That Still Small Voice

Wes: Bluegrass flavored ballad featuring David Sutton. Sutton can just sing ballads, he’s one of the best. Very smooth sound from the group on the chorus. Not the best song on the CD, but a decent song.

Aaron: David Sutton is featured on this song, and I’ve always thought his singing resembled that of the late Johnny Cook. A good song, and the group does great on the chorus.

Adam: I’m not big on ballads, but David Sutton owns them. I’ll reiterate what Wes said, he’s one of the best when it comes to singing a song like this.

9. Pearly Gates

Wes: Wow, talk about an obscure track. This song kicked off Clayton Inman’s first album with the Singing Americans. This version is arranged very close to the original, and succeeds just as well as the original did. I’ve always liked this tune, and Triumphant does it right!

Aaron: Never heard the original version, but I’m loving this one! All of the guys get featured on this track, and it probably makes for a great reception at concerts.

Brandon: This is a fun little song that I enjoyed. Wes, what Singing Americans’ project did this song appear on? The first time I listened to this track, I thought it was going to be “In My Robe Of White”. This kickoff sound a lot like the one used by Gold City on their 1982 Live LP for the song. The chorus of this song is very similar to another song found on the same Gold City project, “Angels Move Over”.

Adam: This was a new song for me so I got to hear it with fresh ears. I love it!

Wes: Brandon, this was the opening track to 1983’s Everybody Ought To Praise His Name. The album famously features Danny Funderburk singing “The Galilean”. It’s a great album if you can find it somewhere.

10. I Remember The Day

Adam: This is a song that was way overdue to be re-recorded. The Perrys did this on their God’s Little People – Live project and is what I consider to be one of their signature songs. This is a great quartet song and Triumphant doesn’t disappoint on their version of it.

Wes: I agree with Adam, this is a great quartet song, and Triumphant does it well.

Aaron: Can’t really say too much more than Adam and Wes have said. Very good track.

DBM: Triumphant excels with this type of arrangement. Little details like the rhythm dropping out so the vocals can put a little extra stress on “so-oh-oul” are a nice touch.

11. The Cloud He’s Coming Back On

Wes: This is a decent version of this song. I do prefer the Kingsmen’s cut to this one, but it isn’t bad.

Aaron: I think The Kingsmen’s version on their newest project has the upper hand on this one. Not a bad version, just seems to lack the “punch” that The Kingsmen gave it.

DBM: I like this version, but I would also give the edge to the recent Kingsmen treatment of this classic. In addition to the comment Aaron made regarding the “punch” in the Kingsmen version, Triumphant’s version is quicker and feels a little rushed. Anyone who already likes this song should enjoy either version, though.

Brandon: Adam and I have discussed this before, but count me in with those that prefers the Kingsmen’s cut more. Triumphant’s laid back cut lacks the energy and drive that the Kingsmen gave it.

Adam: I guess I’m in the minority, but I preferred this version to the K-men’s. It was Triumphant’s enunciation of “I do what He says do” that really won me over. The way the K-men said “I do what He say do” drove me nuts.

12. Welcome To Heaven

Wes: I was hoping this was the Singing Americans’ classic. While Clayton Inman’s verses don’t have the vocal acrobatics that Mike English’s original does, Clayton delivers a classically powerful performance and puts his own style on the song. The choruses and tag are incredible. Simply put, they nailed it. The best song on the project, hands down.

Aaron: Clayton Inman is one of the best lead singers on the road today, and this song helps reassure that. Awesome, awesome track.

DBM: I still prefer Michael English’s rendition, but Clayton Inman does do an outstanding version here on the vocal. I’d love to hear a group of Triumphant’s caliber re-make the entire Black And White album as a tribute to the Singing Americans.

Brandon: The Singing Americans’ //Black And White// project is one of my all time favorite southern gospel recordings and their cut of “Welcome To Heaven” was my favorite song for a long, long time. Clayton does a good job on this song, but just like the re-cut version he did when he re-joined the Singing Americans, his vocal sounds a little stiff and it keeps me from really getting into the song.

Summary

Aaron: By far, one of the best projects Triumphant has ever released. Even though it’s not a “mainline” release, it’s every bit as good as, say, their self-titled project, if not better. The guys took obscure/old songs and re-recorded them. Much like The Imperials’ Back To The Roots project, it doesn’t sound like a bunch of cover songs; they made them their own. I’d say this is another great project of 2008.

DBM: While I wouldn’t agree with Aaron that this is one of Triumphant’s best CDs ever (Home Free, their self-titled CD, and You Gotta Love It surpass Intermission), it IS a solid 4-Star recording. The vast majority of table projects featuring cover songs lack the attention to detail you get here. If you enjoyed Gold City’s Heaven CD, you should have an idea of what I’m talking about. Triumphant didn’t go to a soundtrack library, select eleven tracks at random, and cut their vocals in a day. They intentionally chose great songs from the past that most groups haven’t covered previously. Then they arranged and created tracks for those songs to suit their own strengths. While Intermission isn’t particularly original in style, the quality of the tracks is very good and even more importantly, there’s a stylistic consistency given to a somewhat diverse selection of songs. The only glaring flaw on Intermission is the spoken commercial, but that shouldn’t be enough to stop anyone from buying the CD.

Brandon: This is my favorite kind of table project. Triumphant has picked out several old songs, some very familiar and some not so much, and made the songs work for them. As David said, it is apparent that they put more work into this project than a typical table project. The songs that you recognize still sound like those songs, but they don’t sound just like the original versions. This is one of the best southern gospel budget releases since Triumphant’s own Past To Present CD. My average rating came out to be 3.8, but that low average is due in part to the “Intermission”/commercial track. Overall, I’d give this a strong 4.5 star rating. DBM and Wes have compared this project to Gold City’s Heaven. I’m (one of) the biggest Gold City fan you’ll find, but IMO, this project blows Heaven away. It is that good.

Daniel: I agree with the other summaries; the song selection is one of this projects’ biggest strengths. Many table projects select from a short list of the 25 or 50 most popular Southern Gospel songs; on this project, Triumphant cast its net a little wider and came up with several gems.

Wes: I’ll echo the comments of several others that the song selection is very strong here. We’re not getting the 8 millionth rendition of “Beulah Land” or “Oh What A Savior” on this project. This is another way in which this CD is similar to Gold City’s Heaven. This is a solid 4.5 star project overall that, at the risk of being cheesy by mentioning my personal blog, is full of “hidden gems.” Triumphant has really equaled the bar set by Gold City’s aforementioned Heaven for table projects. This is a very enjoyable recording.

Daniel: Triumphant has certainly been prolific in the table projects department. But may I be so bold as to say that this is their best table project yet.

Adam: This is hands down my favorite project released by any group this far into 2008…and it’s a table project. Triumphant seemingly put a lot of thought into the song selection and their efforts on Intermission appear to have paid off with their best table project to date. This project shows why Triumphant is at the top of the Southern Gospel Quartet world.