Slightly over four years ago, in December 2006, we ran a longer-than-feature-length interview with Ernie Haase. He recently graciously set aside the time to do another—and even went to the extra trouble of taping audio answers to each question!

Special thanks to NewSoGoFan, Josh, Ethan, DavidMac, and sourceofpower, and everyone else who submitted questions, (mostly) as part of our Ask Ernie post.

Ernie’s Intro:

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1. Recent press information about the record company you are launching with Wayne Haun, Stow Town Records, mentions that this is a fulfillment of a dream George Younce had. Could you tell us more about that dream? When did he start thinking and talking about it, and what was his vision for the label? (Daniel)

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Well, the back story goes like this….

When George and I were doing the Old Friends Quartet thing with Jake Hess and Wesley Pritchard we had to improvise. George was so sick he could not record in Nashville so we made a little makeshift studio in the back of his garage. After that, every time we would pass this old office building in our hometown of Stow, Ohio, George would mention, “That would be a good place for a studio, Ernie.”

So, a label was not in the vision as much as a “place” that would make great music. He told me that if we had a place to make great music that people would come from all over to record with us. He went on to say that you and I could put all our awards and plaques in there so people could see the history.

So, out of those talks and out of two years of dreaming with Wayne Haun, we finally found the right way to bring the dream alive and make great music. So, the name StowTown Records came from those experiences and was a way to pay tribute to George and to the town that was the home to the great Cathedrals for their entire career.

2. I understand that one of the label’s first releases will be a Doug Anderson solo project. Is he leaving EHSS to launch a solo career, and if not, will he be staging these songs at EHSS concerts? (Daniel)

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Doug Anderson has been a vital part of EHSS since day one. I met Doug while I was still with the Cathedrals. I heard him sing in a group called “Lighthouse” and we struck up a friendship. He went with me on many solo dates just to hang and help. (By the way, so did David Griffith, who was in Lighthouse singing bass.)

I told Doug (and David) way back then that if I ever started a quartet I would call them first to be a part of it. Both guys quit good jobs to be apart of EHSS. So, to be able to give back to Doug in other ways than just setting him up each night as a member of EHSS is very fitting. He has earned it! Plus, he is that good. His solo record will blow folks away with the heart and voice that is so Doug Anderson. It will release in May 2011.

Doug is working a few solo dates just like I did the last five years with The Cathedrals. So, the answer is “NO,” Doug is not going anywhere!

But I will add this, if Doug skyrockets (a solo career like Carman or a young Michael English) and has no choice but to follow the doors that are opening him I know what will happen. He will sacrifice himself to stay with me and “if” that day happens I will be the first to tell him HE OWES ME NOTHING! I will cheer him on more than anyone else. He is a loyal bird And I don’t forget anything. Bottom line … I love Doug Anderson!

3. One of StowTown’s first releases will be a George Younce project with EHSS singing background vocals. Could you tell us the vision for this project, how you selected material, and how you worked (with Wayne Haun, I assume) on the vocal arrangements? (Daniel)

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Wayne and I just signed a exclusive distribution agreement with Sony/Provident-Integrity. We shared with the distribution team our vision and the projects we want to release in the next 12 months. At first I thought they would shy away from the George Younce solo project altogether. But when the contract came back to us, they asked us to release George’s first! WOW, George would have loved that. His project “launched” the label. (StowTown Records)

The project consist of old masters we have held on to for many years. George recorded 4 solo records in the mid-90s. We transfered them from 2 inch tape to a hard drive so they would not lose quality and have been storing them in my basement for the last 5 years. Wayne and I decided on 10 songs (one of which was never released) and extracted George’s voice from the original track. Only his voice remained. We then took Nashville’s finest musicians and recorded 10 new tracks. The new tracks are out of this world! We then placed George’s voice back over the new tracks. Then, EHSS went in and sang background vocal with George … HOW COOL! It’s much like the Jordanaires did with Elvis on his early Gospel records. We didn’t just ooh and ahh. You can tell it is a quartet—which is exactly what George would have wanted! He was a quartet man to the bone. Wayne produced the vocals and the tracks … it is very special and there is nothing else like it in the Gospel music world.

4. Will all of EHSS’s future releases be released through StowTown, or will you still be working with Gaither Music Group on your mainline releases? (Daniel)

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EHSS is a separate organization from StowTown Records. We (EHSS) will be a big part of the marketing side of StowTown. However, when it comes to recording and distributing EHSS we have a great relationship with the Gaither Organization. We will always be available to Bill. So, having said that, we really have not made any plans for the next EHSS project; we are just in the dream stages now. EHSS & the Gaithers will always do business as long as I have anything to say about it.

5. Are there any other upcoming StowTown releases that you’re ready to talk about yet? (Daniel)

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We are negotiating with other SG artist and will make a Press Release when each one is signed. Right now George and Doug are the first releases. Stay tuned ….. More news to follow.

6. How do you balance being prepared and on your game with avoiding the trap of artificiality—in other words, how do you keep it professional but natural and unforced? (from NewSoGoFan)

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That is something that can only happen in your private time. If I don’t have time alone to read, pray, meditate, fellowship, and just be still then the stage can trick you into thinking that is your time with God. THAT IS A TRAP! My time with God has never been on stage. I have felt God’s Spirit and have seen Him do many wonderful things from our time on stage but He and I are tight because of what we do together off the stage.

So, with that in mind, when I do go on stage I feel like I’m making my Father smile and say, “Angels, check out my boy Ernie … he is doing his thing again … that kid makes me smile.” I hope it is something like that

7. A few years ago, you said in an interview that you tell your guys not to listen to the praise or the criticism, because they’re both poison—straight ahead, no left or right. That’s great advice for maintaining focus in what you do, but how do you balance that with listening to what people have to say and potentially profiting from their criticism? (from NewSoGoFan)

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Well, there is some profit from both. I guess what I do is consider the source. There are those who want to just get close and be a name dropper so they praise you. They praise EVERYTHING. Trust me, I know when I’m bad and when the group is not up to par. So, I don’t listen. In the same way, there are also seem to be a few dissenters out there who find it hard to be happy for anyone. So, I don’t listen to them either.

What I “do” listen to is the praise and criticism of those who care and want God to use us. I can tell pretty quick who cares and who is just digging or dropping names. I don’t judge these people. I do hope that in time they all can see that our hearts are good and we are trying our best to add to this industry and not take away.

8. You guys started out with a real sharp, classic look and feel, then moved to something more hip in later years. Now you seem to be “coming full circle.” To what extent can we expect to watch this trend continue in future years? (You can touch on everything from wardrobe to haircuts to “choreography” here.) (from NewSoGoFan)

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Thanks for noticing

I hope we always stay sharp and relevant. But as I grow old I’m not quite as bold as I once was. That’s O.K. I’ve seen some pictures of things I’ve worn and of my hair and said to myself, “What was I thinking?” But, like I said, that’s ok. At least I was trying to make people smile and forget about their problems. I have the rest of my life to be mature!

However, I love my suits!!!! I will never look like someone else … I just love fashion and have fun putting clothes together. I know that may not have any eternal value to some but to me it is what I like and I’m don’t think we are hurting anyone either. I love God and I don’t think you prove your love for God by shopping at Goodwill. As in anything, it’s all about moderation. As for future fashion, I have no idea … I guess those who are curious will have to come to a concert and see.

9. The group’s “signature sound” has not changed much through the years, but the stage presence and choreography has. How do you keep your audiences focused on the signature sound and the message without letting the choreography and stage presence become a distraction? (from Josh)

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Good question, Josh. Well, it starts with feeling natural. There are tons of things we have tried at sound check and even in a show that just does not feel natural. So, in time, the things that people see us do are what we feel natural doing.

There have been nights that we have looked at each other and modified a move on the fly because of space or spirit. When all is said and done, we want to bring home the lyric and we want people to remember great performances too. For EHSS they both seem to work. However, my knees hurt real bad some days, and the older I get the less I may be able to do. I’m holding on as long as I can though.

10. You guys have done some great ballads, and people who go to your concerts will definitely see and hear that. But someone could take a big-picture view of your repertoire and see that on the whole, you’ve generally relied on light, upbeat material. Last year there was a push from several artists towards “meatier” spiritual content in their songs, most notably the Booth Brothers with Declaration. As a fellow artist, what’s your reaction to that? (from NewSoGoFan)

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About four years ago, I had an artist tell me—and they weren’t being mean—they just said, “I think if you’re going to be able to make it”—and I think they meant by that, was have longevity—we had to get serious. I guess we’re just not on the same page on that. I thought “Then Came the Morning”and “I Then Shall Live” and “Reason Enough” were some pretty good, serious theology. I don’t listen to our stuff, and I don’t really listen to other Southern Gospel artists’ material.

I just don’t see it as competition, or as competitors. I see us all as co-laborers. So, what we do is that I just try to pick the songs that I feel that our fans want to hear. That’s what I have done with help of our producers and with Gaither. Pick the songs that Signature Sound fans want to hear Signature Sound sing. And then we arrange them in a style that they want to hear. I think one pitfall in this business—’cause it is a small business—everybody knows everybody—we try to please those who are not buying our CDs. If you do that, that’s gonna alienate you from your fan base pretty quick. So I hope that answers your question.

11. You’ve taken a break from main-line projects of new material for the last three albums. I’d like to know, and I think everybody would like to know, what do you have in mind for the group’s next chapter in terms of sound and song selection? (from NewSoGoFan)

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We have been writing and listening a bunch over the last 2 years. So, I think you will hear some really good original songs from EHSS on the next project. But, there has been a paradigm shift since the Homecoming videos hit in the mid 90′s. And that is, people want to hear what they know. So, we will always grab from the vast catalog of hits from our wonderful SG industry and try our best to recreate the familiar into a new EHSS song. Much like Get Away Jordan. That makes the older fans happy and enlightens the younger fans to the history of SG Music.

12. Fans tend to either count Dream On as your strongest release to date or your weakest. What were you trying to accomplish with the project—and might we see these factors make a reappearance on future projects? (Daniel)

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I can see that … and they are both right. It did not sell as much as Get Away Jordan did (but it was close), but it did have more penetration. The songs like “Reason Enough,” “A Good Heart,” “We Need Each Other,” “Dream On,” and “Out Of Bondage” have all been used outside of EHSS. From baby dedications and bedside prayers to choral arrangements to prison ministries to motion pictures, Dream On has given EHSS more traction than a normal release would give. We are even talking now to a movie company who wants to use some of the material for a motion picture. We have even had the mayor of Chicago give us praise from highlighting the kids in both Chicago and in Evansville, Indiana, bringing awareness to their plight. Much money has been raised not only for the Dream Center in Evansville but for the American Kidney Foundation in the name of George Younce. We put our Dream On banner on eBay, and raised money that way.

So, the hard core SG fans may not have liked some of Dream On project, BUT the Dream On project is one of my favorites, and I’m so proud of what has been accomplished outside of the sound-scan numbers. These kind of projects have a long shelf life. They open our group and our industry to the secular media and this is good for all of us. Therefore, Dream On!

13. Stand By Me Live is still one of the best recordings EHSS has released. Are there any plans to release a live cd in the future? (from Ethan)

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No real concrete plan but since we do have a live 4 piece band I really want to do a live record one day soon.

14. Has there been an consideration of putting together either a hymns project or an a capella project? Or maybe combine both into one? (from Josh)

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Yes, and Yes. It is on the list of things to do.

15. Do you consider, on balance, the quartet pianist as a) the fifth member of the group , or b) part of the backing band? (David Mac)

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Most groups since Hovie Lister have included their piano player as the fifth member. I made the choice when Wayne came to the group to make it all about the four guys for all marketing, since that is what a quartet really is by definition. Having said this, I consider anyone on my bus a part of the quartet. I really mean that! And if you ask anyone of the 12 guys traveling on my bus they will tell you I treat them the same as the singers.

16. Ernie, would you tell us how you found out about the Cathedrals job, the audition, and the events leading to your joining as their last tenor? I’ll bet you were nervous at the beginning and on cloud nine when you got the job. (quartet-man)

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George gave me his number a couple of years before I got the job. =He heard me sing while I was with Squire Parson on a Singing At Sea Cruise. That would have been around 1986. He told me to keep working and to never lose my desire. He said he could look in my eyes and see desire oozing out of me.

When Danny Funderburk left the group in January 1990, I called George and told him that I wish I’d known the job was available. (They had hired another tenor at that time) I told him all I wanted was a chance the next time. He said he would keep my number in his shaving kit.

Well, about six weeks later I opened up for the Cats. I sang Oh What A Savior. I did not have a track; Roger Bennett played piano, and Mark Trammell played the bass.

The next week, I got a call from George at my mom and dad’s house. (This was before the days of cell phones.) I thought someone was playing a trick on me when my dad said George Younce was on the phone. To my surprise it was really him.

He asked if by chance I was coming tonight to their show that night. (They were about 20 minutes away)

I said “Yeah, I’m already dressed to go.”

He said, “Come straight to the bus when you get here.”

When I pulled in the parking lot, George was waiting in the well of the bus in his suit and cowboy boots. He smelled great! Looked like a million, but man, was he on a mission. No joking around! He said, “Do you still want this job?”

I said “YES, SIR!”

He said, “GOOD. Go see the old man” (which meant, “go see Glen.”)

When I came in the building Glen took me to another room and said that they had to make a change, and it was breaking their heart but it had to be done. He wanted to know if I could start next week.

I said, “YES, SIR.”

He said, “Pray about it.

I said, “I don’t have to. I have prayed about this for 10 years, and God said YES!”

That was on a Sunday … three days later, on a Wednesday night, I was on the Cathedral bus leaving for Nashville to sing with the Gaithers … wow, what a ride!

17. Ernie could you tell us how you met Jesus Christ as your personal Lord and Savior? I would love to hear your testimony, of where, and who led you to the Lord! (sourceofpower)

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I was in church around, age 5. Don’t remember much, but I do remember that after that day I have always wanted to sing for Jesus. So, I’m still doing what God laid on my young heart to do. I may be 41 yrs older, but I have the same young heart and calling. My Grandpa, called me a good heart.

18a. Have you ever had a night where you absolutely flubbed “Oh What a Savior?” (from NewSoGoFan)

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“Flubbed”—I don’t think I’ve ever flubbed it, as far as forgetting words, or just blowing it. But I’ve had nights when I was sick, and my voice would crack here and there. But no, that song I’ve been able to sing when I just couldn’t sing other songs. That song is just a part of me; I always want to sing that song. Thank God for that song—it’s a career-making song.

18b. To follow that up, you’ve said that you’d like to continue singing that song as much as possible, but how do you deal with the various road-blocks that could hinder you in really nailing it or even getting through it, e.g. sickness, fatigue? Do you see yourself continuing to sing it 10 years from now? (from NewSoGoFan)

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I really do. I could see myself doing another 10, 20 years . . . like I said, even when I’m sick, too sick to do other songs, that song’s just a part of me. As far as singing when I’m older and nailing it every night … it’s always in the back of my mind, but it’s in the back of my mind. I trust that if I take care of my body and my voice (which I try to do both), then God will preserve me until He is done with me in the quartet business.

19. Everyone knows your favorite song is “Oh What a Savior,” but do you have a favorite non-SG song that’s really had an impact on you? (from NewSoGoFan)

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Janet Paschal’s song “I Am Not Ashamed Of The Gospel” has been a favorite of mine. When it first came out that was considered MOR (Middle Of The Road), but it could now be done by any SG group including EHSS. Come to think of it, we should.

20. If you could pick four young up-and-comers and put together a “quartet of tomorrow,” who would you pick? (from NewSoGoFan)

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Jeremie Hudson -Tenor
Joseph Habedank- Lead / Baritone
Andrew Goldman – Lead / Baritone
Ian Owens – Bass

21. A lot of people have claimed that gospel music is going the way of the dodo because artists are not willing to “progress.” They’re “stuck” in the past, and the music will only “grow” if they come into the present and the future. As somebody who’s managed to fuse some fresh stylings with a simultaneously “rooted” approach in your own group, what is your reaction to this perspective? (from NewSoGoFan)

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It will never die! This music has its faults just like other art forms, but this music is great and has been around longer than rock and roll and hip hop. It will always be around, and EHSS is trying our best to help the cause. Not just for the genre, but for the glory of the Lord!

It has been slightly over four years since the first time I interviewed Ernie Haase. While we have had briefer Question-of-the-Week style interviews since then, we haven’t done another feature interview until now.

He has graciously agreed to do another interview, with an interesting twist: About five of the questions (and perhaps a few more) will come from you.

Submit one question per comment, and not as replies to other comments—that way replies to each comment can be used to express support for a particular question—that you think a given question is one of the best submitted so far. While I will make the final decision, taking into account other factors such overlap with the questions I’ve already prepared, I will place as much weight as I can on the submitted questions you feel are the strongest.

Naturally, I will not select any comment that I view as too personal, too combative, or similarly not fitting the mold of a SouthernGospelBlog.com interview question. If any question goes too far in that direction, it may be deleted. But with that necessary disclaimer out of the way, I am looking forward to seeing what you come up with!

Jim Stover, co-author of the #1 Kingsmen hit and Song of the Year “Wish You Were Here,” is one of my co-workers at Crossroads. We recently took the time to sit down for a few minutes to discuss the song. Listen in:

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Daniel: Well, I’m here this morning with a songwriter whom many of you may never have heard of— but you’ve heard of at least one of his songs: Jim Stover, co-author of the song “Wish You Were Here,” which was a big hit for the Kingsmen back in the early ’90s. Jim, could you tell us a little bit about the writing of that song?

Jim: Yeah, I’d be glad to, Daniel. I have a friend that I’ve known since high school, Michael C. Williams. One day, back in 1990, he came by the store that I managed. He’d always drop by to visit me, in and out of my life, every so often. So while he was there, I asked him, “Are you writing anything?” ‘Cause he wrote, and I wrote.

He said, “Nah, I can’t seem to come up with anything.”

And I said, “Well, do you want to come over?” So I invited him to come to my little apartment I lived at, and we got out our guitars, and I said, “Well, what do you got?” He played what he had of what was to be “Wish You Were Here.”

A little backstory there: Michael had lost both of his parents within a short span, a couple years of each other, ’87, ’88, along through there. So he sang the verse, “I can just see them walking on the shores of Heaven.” And he sang up to the point that he had gotten to, and he couldn’t go any farther with it; he’d had it it for quite some time, a year or better. I don’t know the exact time.

So, you know, I played along with him, “I like that,” you know, and while that was happening, a songwriter’s wheels are turning, so I thought, “Where would I take that song?”

So actually, he had up to half of the chorus, and it stopped, and that was the end of it: “Wish you were here, it’s such a beautiful place / Wish you were here, nothing but warm sunny days.”

So after about three passes, I said, “Well, this is what I would do with it,” and I sang the part, “Well, it never rains, no one complains, we haven’t seen a tear / We’re havin’ a great time”—’cause I said, “It sounds like a postcard to me.”

So he liked that, and we sang that a time or two, and then there was no second verse. So I got him started there. Actually, this is the part—I remember composing some words, “I can see them walking with Peter and Paul / They’re talking with Jesus, He is Lord of all.” So we quit after that, you know.

So it was some months later Michael came by that same place where I worked, and he was all excited. He said, “The Kingsmen recorded the song!” He’d finished the rest of it. And that was it—I mean, the Kingsmen cut the thing, it was the title of their project, and it went on to great things. We both feel extremely blessed that the song has been used by so many.

Daniel: Didn’t it become a #1 hit?

Jim: It did. Actually, it was the Song of the Year in 1992. So it was a couple of guys from West Asheville, NC, sitting in my little apartment, and God took that little work and did some great things with it. I had somebody contact me just a couple of weeks ago; he said that it was gonna be on their project, and they needed a mechanical license. So I told them how to get it. So that’s the story behind “Wish You Were Here.” That song continues to this day, almost 20 years later, to be played on the radio continually, and to be recorded by other people. And that’s a total gift and blessing from God, one that I know I can say I don’t feel I deserve, and I think Michael would say the same thing. We’re just a couple of guys that do believe, do trust God, and love Jesus. We stumble and fall and all of those things, but He took that thing and He used it.

Daniel: Very neat! Now I’ve noticed on your YouTube channel that you’ve written a number of other songs. Any highlights from your other songwriting?

Jim: You know, there are several things that stand out.

Back in the early ’70s, I had a contract with a very wonderful publishing house called “House of Gold”; it was Bobby Goldsboro’s publishing company. One of the first things I wrote was under that contract, Davy Jones recorded—Davy Jones of Monkeys fame. So that’s a milestone in my career, I guess you’d say. And it was an A-side single for him back in 1972; the song was called “I’ll Believe in You.” And you’re right, it’s up there on YouTube.

Another thing that is a blessing to me to have occurred was that the lyrics to one of my sings, called “Heroes in Blue,” a song that I wrote at the request of my sister, a police chaplain; she said, “I’ve been asked to sing at the awards banquet; do you think you could write me something special?”

I said, “Well, I’ll sure try!”

So that’s the song that came out of that. I wrote “Heroes in Blue.” That was about 1992. About six years later, there was a shooting at the Capitol Building in Washington. A couple of police officers, Capitol Policemen, were killed. Sue got her project up there, into the hands of our congressman, Charles Taylor, with a letter of consolation to the families of those officers. Unbeknownst to us, he read the lyrics to that song into the Congressional Record on July, I think it was 28th, 1998. We didn’t find that out ’til some years later, six, seven, eight, nine, ten years later. I forgot even how, but that was kinda neat, having your lyrics read into the Congressional record.

Daniel: All right! And then one last question. I actually am honored now to work you; can you explain what your day job is?

Jim: I’m honored to work with you, too, Daniel.

Daniel: Thanks!

Jim: You’re a fine young man, and you can print that!

Well, for the last fifteen years, I’ve had the blessing to be employed by Crossroads Music. For the last eleven of those fifteen years, I’ve been the radio guy, you could say. They gave me a title when I took the job, but I’m not big on titles—”Director of Radio Promotions.” And I get to promote the singles for all the many wonderful artists we have.

So for a guy that loves music—I wrote my first song when I was about 14 or 15, and all along the way made my living doing secular type work, business type settings—to be immersed in music like this, and get to work with all these talented people, and artists, and songwriters, it’s been a great blessing. And I’ve been able to use any gift God gave me to translate into helping the Gospel get out by way of radio.

I’ll just take this moment, real quick, to compliment and commend all the people here, the production staff, the company leaders, every department, your department, the studio, the sales department, every one of them—and outside, of course, our artists, and the songwriters, and my many, many radio friends. A lot of our success is because of them, and I do appreciate every one of them, and I tell them that month after month. It’s a regular feature for me is to say, “Thank you, thank you very much!”

So that’s what I do. What do you do here? (both laugh)

Daniel: Work on websites and other things . . . well, thank you very much!

Jim: You’re welcome!

Daniel: Thank you!

Eleven months ago, I had the opportunity to interview Lee Black, discussing his background in general and the strongest Southern Gospel song of 2009, “Faithful to the Cross,” in particular.

Lee is also co-writer of the recent Nelons song “Settled at the Cross,” co-written with Lyn Rowell and Phil Mehrens. In a recent email conversation, Lee mentioned some interesting facts, and I asked if he would be willing to elaborate on the inspiration for the song, and what it meant for him.

He replied:

Ann Ballard

Up until a few weeks ago, Ann Ballard was just a name on songwriter credits to me. I knew she’d written four Cathedrals songs (“It’s Almost Over,” “Land of Living,” “Roll Away Troubled River,” and “Scars and Stripes”) and a number of other easily recognizable songs, such as “Treasures Unseen,” “Gentle Shepherd,” and “It’ll Be Joy.” But that was all I knew.

In a recent conversation with Dianne Wilkinson, she mentioned having known Ann for decades, since well before either were discovered. She was gracious enough to put me in touch with Ann and arrange this interview. So sit back and watch the writer of some of your favorite songs become more than just a name!

Daniel: Many of my readers faithfully read album credits, but for those who don’t, you were a staff writer for Canaan in the ’70s and ’80s. What were some of the highlights of those years for you – some of the song cuts readers might recognize, and any honors those songs received?

Ann: The first thing that stands out is the fact that suddenly I was being called a professional song writer and was so lovingly accepted by the wonderful crew at the Canaan office!! I have no long drawn out story of struggling for my songs to be heard.

I took “It’ll Be Joy” to a friend and asked him to listen to it and tell me if it stood a chance in the “BIG BALL PARK”….he listened, picked up the phone and called Aaron Brown, head of the Canaanland office, played it for him and put me on the phone at which time I was looking for a hole in the floor!!

Aaron introduced himself and told me he wanted to publish it….I didn’t believe him!!

I began writing and going to Nashville with my tunes and in just a very short time I was getting cuts all over the place….

Some of my most recognized songs would be “Treasures Unseen”….”Land Of Living”….”It’s Almost Over”….”Gentle Shepherd”……”Oh What A Sunrise.”

Daniel: What sparked your interest in songwriting?

Ann: I never thought much about writing…only playing piano and singing..Writing didn’t begin until I was in my thirties….I made up songs in my childhood but all kids do that.

Daniel: I understand, via Dianne Wilkinson, that you toured and sang with a group in the 1970s, as she also did. What was the name of the group, and what part did you sing? Did you debut some of the songs we know now with this group?

Yes, we did have a group called The Monarchs ..we sang on the week-ends and then we were singing Thursday through Sunday evenings…ha.  We became pretty busy and loved it.

Daniel: How did you become a staff writer with Canaan? Did you have some independent cuts previously that came to their attention?

Ann: The “It’ll Be Joy” story just about covers it….They had never heard of Ann Ballard and I didn’t come close to having a contact before this…

Daniel: Which song was your first cut?

Ann: It’ll Be Joy was my first cut, followed by “Oh What A Sunrise.” I had more than one group do both.  Oh What A Sunrise was written in Memory of my Papa Jo….My Mother’s Dad.  It is sung many places now for funerals, as well as one called “Meet Me There.”

Daniel: You had four Cathedrals cuts that I’m aware of (please let me know if I’m missing any) – “Roll Away Troubled River” in 1980, “It’s Almost Over” in 1984, and “Land of Living” and “Scars and Stripes” in 1987. Even if it was only a handful of cuts, most Southern Gospel fans remember these four songs today–the original renditions and the numerous remakes. Do you remember what inspired any of those songs?

Ann: Many times my inspiration came from simply sitting down at my piano and just letting my heart began to feel and speak…the words and melody always comes at the same time.

Daniel: There is one other song I can’t pass up bringing up. The Florida Boys cut “Treasures Unseen” in 1977, and Greater Vision recently brought it back. What inspired that song?

Ann: Actually my Pastor, at the time…His message was that very subject…Treasures Unseen…I went home after Church and wrote it…I didn’t know it would do what it has…I was surprised!

Daniel: Which of your songs has been cut the most times? Which do you think it most likely people will still be singing a generation from now?

Ann: Again, Treasures Unseen would rank right up there…I suspose Oh What A Sunrise, Land Of Living among others….

Daniel: If this is a different song, which of your songs has meant the most to you personally? Which would you most like people to remember a generation from now? And why?

Ann: This is a tough one for any writer to answer, but I guess you know that..ha.  Land Of Living is special….Oh What A Sunrise….right now I’m loving the Perry’s cut on Gentle Shepherd and Mark Trammel’s cut on It’s Almost Over….both groups did a wonderful job on the songs and I love Mark and Libbi. The Perrys come to my hometown and I always enjoy them so much.

Daniel: What have you been doing in the years since the ’80s? Do you still write?

Ann: In the 80s my Mom and Dad needed me much of the time…I helped care for them and when Dad passed away I lived with Mom so much…then along came our precious Sammi Jo, our Son’s little girl and Jim and I helped with her and still do…she is now 7 years old and in school!!   I have written some but not full time…I hope to get back to it one of these days.

Daniel: I understand that songwriter Cyndi Ballard is your daughter. Did you teach her to write? What are some of her songs that readers might recognize?

Ann: About our daughter Cindi….No, I didn’t have to help her…ha….she is a great writer all on her own. She has written with Phil Cross, Jeff Steel, Wayne Haune, Joel Lindsey as well as many others. Some of her tunes you might know: “There Will Come A Day” (Brian Free), “I Will Find You Again” (Perrys), “Storms I Never See” (Legacy Five)…I could go on but I won’t. She did win a Dove for Song of the Year a few years back….

Daniel: Is there anything else you’d like to add?

Ann: We could sit down together and talk for hours about all this, as you know, but I have hit the highlights as well as I could.

Cindi and I went to hear Signature Sound last Saturday evening here in Jonesboro….they are so great. Wayne Haune and Cindi worked at DayWind together for a few years and formed a sweet friendship so Wayne called her and told her to come so they could see each other. We both went and they are doing a Tribute Tour on the Cathedrals and it is amazing.  George and Glen were my friends and I really appreciate the way they are presenting them.

You don’t need to use this in your article but I will list a few of the groups who have recorded my tunes just so you will know a little more into on me and so-called career…ha!

• Cathedrals
• Dixie Echoes
• Wendy Bagwell
• Florida Boys
• Inspirations
• Greater Vision
• Hoppers
• Speers
• Naomi
• Poet Voices
• Lewis Family
• Walt Mills
• Jimmy Davis
• Lesters
• Regeneration
• Cumberland Boys
• Ernie Haase
• Chuck Wagon Gang
• Perrys
• Mark Trammell

There are more but I won’t bore you any further.

Daniel: This sort of thing doesn’t bore me! Thank you so much for agreeing to the interview, and for all the fascinating information!

Yesterday, I made the case for bringing back the hymn “All the Way My Savior Leads Me.” Legendary songwriter Dianne Wilkinson posted to comment that the song is her all-time favorite hymn. This intrigued me to no small extent, since it’s a hymn that even many churches that sing hymns have forgotten. So I emailed to ask if she’d be willing to discuss her high regard for the song for a follow-up post. She replied:

Dianne: Daniel, Daniel…I’m delighted to talk with you about this masterpiece!  I love everything written by Miss Fanny!  My favorite co-writer with her is Mr. W.H. Doane, but Mr. Lowery has written what I believe is the most beautiful melody to ANY of her songs.  I think most people would say “Blessed Assurance” is their favorite Fanny Crosby song, and it, too, is a masterpiece…but this one here is my favorite.

Daniel: What elements of the lyric and melody make “All the Way my Savior Leads Me” your favorite hymn?

Dianne: I LOVE what “All the Way My Savior Leads Me” says, lyrically.  Miss Fanny, even in her blindness, always expresses her total trust in God to protect her and provide for her.  It’s SO prominent in her songs, as well as her firm belief in Eternal Security.  I was saved when I was in my early 30s, but it was much later when I learned the secret of how to have the abundant life we are promised…it’s turning loose of that last shred of control in your own life and completely ceding your will over to God’s, minute by minute, present and future.  MEANING it, and LIVING by it…not just saying it.  I don’t know when in Miss Fanny’s life she learned this, but I KNOW she did.  She couldn’t write about it so eloquently if she had not.  She is such a MASTER (“mistress” just won’t work here!) lyricist and poet that ALL her songs are wonderfully crafted throughout.  I can imagine her sending the completed lyric to this song to Mr. Lowery, and as soon as he started reading, the beautiful melody just start coming to him.  I like to think they didn’t have to change a single syllable to make it “fit”!  And OH, the melody!!  When I just sit at my piano and play this song…no singing…the beauty of the melody moves me to tears.  It’s just perfection to me.  I not only love the grand old hymns of the 19th century, I grieve to think that so many of them are being dropped from hymnals and that someday there not be young people who know “All the Way My Savior Leads Me”.  Roger Darlin’ Bennett and I talked about this wonderful hymn often.  Like so many things we had in common…it was his favorite, too.

Daniel: As discussed in yesterday’s post, there have been very, very few recorded versions in Southern Gospel—so whether SG or otherwise, do you have any favorite recorded versions?

Dianne: I don’t believe I have a recorded version of “All the Way My Savior Leads Me.”  I know who sings it the best to my ear…my brother (my very dear brother, James Branscum, pastor of Mercer Baptist Church in Powderly, Kentucky).  I love to hear him sing it, and I love to accompany him on the piano.  I believe if Miss Fanny could hear him, he’d be her favorite, too.  Maybe a LITTLE bias there!

Daniel: Is there anyone you would love to see offer a new rendition of the song?

Dianne: With Tim Parton to arrange an a capella version right there in the group, I think Legacy Five could do this beautifully.  I don’t think only the majestic hymns like “Wonderful Grace of Jesus” lend themselves well to a capella…”All the Way My Savior Leads me” would be lovely done this way.  Wayne Haun could also do a great arrangement for Ernie and Signature Sound.  I’ll jump track here and say the Isaacs would be amazing on this song, with the acoustic instruments and soft fiddle.  My MY!!!! Honestly, any group with a tight blend and wonderful harmony could do this beautiful song with a great arrangement – not overdone…but simply done, to showcase the song itself and not the production.

Thanks for letting me talk about this beautiful collaboration of Miss Fanny Crosby and Mr. Robert Lowery.  Those folks paved the way for people like me, and I will be eternally (literally!) grateful.

Daniel: Thank you! And thank you especially for taking the time to do this while it was fresh on the readers’ minds!

I had the chance to catch up with solo piano artist Roy Webb in September at the National Quartet Convention; he had just left Gold City at the time. Here is our conversation:

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One of the moments that generated the most buzz at this year’s National Quartet Convention was the Wednesday evening appearance by bluegrass superstars Dailey & Vincent (review). Their new bass singer, Christian Davis, was probably the most familiar face in the group to the NQC audience, since Davis has sung with the Christian Brothers, the Old Time Gospel Hour Quartet, and Mercy’s Mark. After the set, their table was swamped for the remainder of the night, but I did find a couple of minutes to catch up with Christian and get his thoughts on the night and on the experience of being a bass in the bluegrass world.

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While we typically only do one “question of the week” each week—and we’re still having some great discussion on the first one (join in!)—I couldn’t pass up this opportunity for a second with Roy Webb, whose departure from Gold City was announced yesterday.

Daniel: Yesterday’s news that you were leaving Gold City caught many fans by surprise. What’s up, and what are your plans?

Roy: I have felt for the past couple of months God steering me into a new direction.

Honestly, Gold City is an institution. They have a tremendous reputation and will have NO problem finding someone to play piano for them!!

This was just the right time to go. There are NO hard feelings! I am focusing on my solo dates and I am more excited now than ever before about my opportunities that God is giving me!! I look forward to seeing everyone at a solo concert soon!

About two months ago, I featured the Belinda Smith / Tony Wood song “Not That You Died” in the encore series. One of the co-authors, Belinda Smith, commented on the post, and in a subsequent email exchange, I asked to do a mini-interview with her for the site. While it took a little while to pull off the logistics, here you go!

Daniel: What is your background? How did you get involved in songwriting?

Belinda: I grew up in West Virginia and my grandpa was the pastor of our church.  He put me on stage very early, long before I could play the piano for myself, and let me sing in front of people.  I bet everybody in the congregation hated that, now that I think about it.  Anyway, I was invited to join a local gospel group probably around the 8th grade and I started writing songs by accident.  It just started happening.  Maybe we were getting tired of covering all the Nelons’ and Hoppers’ songs.

I was probably 13 when I took a cassette of two songs to a Cathedrals concert in Huntington, WV, and gave my first pitch to Roger Bennett.  God bless that man for not laughing in my face.  Instead, he wrote me a hand written letter of encouragement on group letterhead which I still have today.  You can imagine how cool it was when Roger and Scott Fowler chose our song, “I Stand Redeemed,” for their first Legacy V single.

Anyway, when I really got serious about songwriting back in college, a friend from my area, John Darin Rowsey, took some of my songs to his publisher in Nashville.  Niles Borop opened the door for me at Centergy Music, I moved to Nashville six months later, and here we are.

Daniel: Do any of your recent songs cut by Southern Gospel groups (say in the last 5 years or so) have an interesting story behind the song?

Belinda: I probably shouldn’t mention it till it’s actually out, but here we go.  A brand new song that I think people will be hearing before too long (if things go according to today’s plan), will be on the new Legacy V record.  The weird thing about this song is that I co-wrote it with Daywind writer Ben Storie and I don’t recall having ever met Ben.  We’ve written this whole song by email, text, and phone calls, and I wouldn’t know Ben if I passed him on the street.  Isn’t that crazy?  Oh, and I’m not going to tell you the name of the new song.  You’ll have to buy the CD to find out.

Daniel: How can people who’ve enjoyed one of your songs get in touch with you?

Belinda: The best way to get in touch with me is email.  Melmak443@yahoo.com.  I will say, just so we can avoid any awkwardness, that I cannot listen to any songs that songwriters might send.  It’s purely legal stuff, but this way we’re all protected.  For all the songwriters who’d like to further their careers, I suggest www.writeaboutjesus.com.  It’s the best workshop of its kind for songwriters.

Daniel: Thank you!