Beasley, former Florida Boys lead singer and manager, was in Louisville for an NQC Board meeting, probably the meeting at which they approved extending the contract with Freedom Hall till 2014.

NQC Executive Vice President Clarke Beasley said that “a strong consensus” of attendees preferred Louisville, and that played a role in their decision to stay.

(Thanks to MS for the tip!)

Liberty Quartet just announced via their newsletter that they will be on the main stage on Tuesday and Wednesday evening, September 14 & 15, this year.

Congratulations to a well-deserving group that has paid their dues and earned this honor.

Much

Twelve songs from leading Southern Gospel artists are featured on the CD/DVD combo; two bonus tracks also appear on the DVD. Not counting the extras, six Crossroads artists, four Daywind artists, one New Haven artist, and one presently independent artist (Hoppers) appear. Throw in the bonus features and there are three independent artists (Hoppers, Greenes, Danny Funderburk) and six Daywind artists.

Enough ink has been spilled (or is that pixels wasted?) over the obvious picks that didn’t make it. I’ve made up my mind to just accept the fact (as Chris White explained here) that labels are prone to veto the inclusion of hits as big as “If You Knew Him” (Perrys) and “He Locked the Gates” (Kingdom Heirs). But several obvious highlights did make it, most notably the Kingsmen’s “God Saw a Cross” and Gold City’s “Cast Your Bread Upon the Water,” and, from the bonus features, “Champion of Love” (former Cathedral Quartet members).

The cinematography is excellent; the lighting, choice of angles, camera angles, and editing are well done. Unfortunately, it’s still standard definition, but, after all, we’re dealing with footage captured from an event with ten or so cameras for six hours a night (not even counting showcases!)

With several fewer artists than in past years, several favorite artists who have appeared in the past didn’t make the cut this time. Since my personal favorite was one of them, I can sympathize with those who have expressed some disappointment. But what is there is enough to make a top-notch live concert video. It’s just that Southern Gospel has more talent than can fit on one video.

Rating: 4 stars. ♦ Average song rating: 3.6 stars. ♦ Produced by: Chris White. ♦ Available from: Event, Label. Review copy provided. ♦ Song list: O It Thrills Me (Hoppers); I Want to Know That You Know (Greater Vision); Cast Your Bread Upon the Water (Gold City); Mountain Mover (Talley Trio); God Saw a Cross (Kingsmen); Favorite Song of All (Ivan Parker); Hold On (Dove Brothers); Ephesians Chapter One (Karen Peck & New River); Trading a Cross For a Crown (Booth Brothers); Jesus Made a Believer Out of Me (Kingdom Heirs); God Will Make a Cross (Janet Paschal); Jesus Will Pick You Up (Brian Free & Assurance). ♦ DVD-only bonus songs: Hold On (Greenes), Champion of Love (Greater Vision / Legacy Five / Mark Trammell Trio / Danny Funderburk).

Crossroads has partnered with NQC for the past seven years to produce NQC Live.  My responsibility is to provide all of the audio for television and retail products for the event.  We do this at our cost, then receive the rights to produce this product in order to help re-coup our cost and hopefully, make a profit.  NQC is only partially involved in these selections with most of the determination being mine.  Once I satisfy their requirements, the rest is pretty much up to me.  Daniel, in light of the comments I read, I would like to address a few of them so your readers better understand the elements that go into producing NQC Live.  It might also help them understand that many things that happen in the business that seem strange to them, very often have a valid reason that makes sense with awareness.  Not always, but most of the time.  I will address some of these questions in the order they were written.  First I would like to give an overview of the process.

First off, my only selection options are from Thursday through Saturday.  That’s when the video production is upgraded from Monday through Wednesday.  So, my choices have to be taken from the last three nights of convention.  I have about one week after convention to decide what this product will turn out to be.  I am required, by NQC, to have this product to them by the first of December and on the retail shelves by December 15th.  That is simply part of the contract.  This is to capture some Christmas sales and get them the product to sell to their direct buyers.  So, I have about a week to review all the footage, listen to the best of the best audio and make the selections.  Audio is critical because there is no time to fix anything other than some tuning.  Therefore, sometimes selections will make it or not, based on the audio performances.  Some will or will not make it because a group you want…does a cut you want…and they’re on at 11:00.  Many times there are hundreds, if not thousands of empty seats in the arena.  We trim lighting as best we can to cover that but many times we just can’t cover all the emptiness.  Camera’s can’t put people in seats and I’m not going to show a half empty building.  I wish I had a month to do all this review but it has to be to our engineers no later than a week or so after convention is over.  That takes another 6-7 days of mixing and fixing what we can, then it goes to video editing…then manufacturing…retail set up and shipping to other distributors and stores.  At Crossroads, we normally have 4-6 months to start and complete a project before it hits the shelves.  With NQC Live, I have about 4-6 weeks to prepare it for market.  As you can see, there is little wiggle room on the timeline.

There are a lot of reasons and constraints that help determine these selections and I’ll mention some of those in my response to your readers.  One of those is royalties.  Last year we moved the retail down to $19.99, including the free CD.  With every move I make, I am doing my best to be aware of total cost including event investment, manufacturing, packaging, royalties..both audio master licensing as well as video sync royalties and….any other cost associated with the project.  So, every element that appears on the project, has a cost associated with it.  Therefore to be profitable, there is a thin line on what all can make the project based on every element having two cost associated with each cut.  Those are master licenses and sync.  Considering our discounts to other distributors and retailers, making a profit on a $19.99 retail piece of product, containing all these elements, can be challenging.  If I could load up the project with everything people would like to see, including me, we would have to retail it for at least $29.99 and trust me when I say….that won’t fly!!

Now just let me address some of the individual statements made by you and your readers.  Daniel you say there are only 12 songs on the project when in years past, there have been 15.  Actually in some years there were more than that.  However, as economies change, I have to change with them.  For example, master license fees can increase….which they have…. as well as negotiated sync royalties.  There were in fact 14 songs on the project, including the bonus footage and the comedy segments by Tim Lovelace, Aaron Wilburn and Ken Davis.

Let me explain why Save Me A Seat didn’t make it, which is one of the songs you mentioned.  Jeremy is my nephew through marriage.  I would have loved to have included that cut because he is a family member and he and my niece Nikkei, have been through a tuff couple of months of losses.  First my mom died and then right behind that, Jeremy looses his father.  So trust me when I say that it would have been much more important to ME to include that, than to anyone else.  It would have meant a lot to our family.  However, I couldn’t include it because that was the cut I used from Brian in 2007.  I made the mistake a few years ago of repeating a song the following year.  One out of 15 was a repeat and “some good Christian people” got so angry over the mistake, they returned the product for a refund!!!  So as much as I would have wanted that cut on the project, it couldn’t happen.

Statue Of Liberty.  I considered the cut for obvious reasons.  However, as moving as it was in the hall, the audio would have taken a lot of work and that was time I didn’t logistically have.  He Locked The Gates by The Kingdom Heirs.  That would have been a good choice but I had already decided that I wanted to save it for possible inclusion next year, plus it is still a strong selling component on their current project.   So, I used their top ten nominated cut from this past year, Jesus Made A Believer Out Of Me.

Let me take a moment and explain why certain cuts are, or are not, included.  Someone accused me of not wanting to promote Daywind singles that are flying up the charts.  Now let’s think that through.  Out of the 14 cuts on the project, 50% are Daywind or independent artist.   If this was all about Crossroads, I would fill up the project with our artists.  However, I try my best to make it industry inclusive.  I would love to use the “hot” Daywind songs but one must remember, I have to license all cuts from whomever owns the master rights.  They are seldom, if ever, going to license me a song that is still a strong sales component on that artists current record.  I even enforce that rule on myself from time to time…i.e. He Locked The Gates.  I submit the artists and the selected songs to whoever is the master owner.  In the case of Daywind, I have asked for certain cuts in the past, only to be turned down.  I don’t blame them for saying no but hey….I tried.  Another reason for that is that a lot of artists perform their “sugar sticks” year after year.  In a lot a cases, they don’t have a choice because that’s what people want to hear.  Do you think McCray Dove wants to do Rain or Get Away every year?  No.  But if he didn’t…people would hang him from the first balcony rail they could find.  He does it because he knows the audience wants him to.  So, when it’s all said and done, my choices become very limited because I have either used the cut before, or it’s a current hit that I cannot get licensed.  Not in every case…but in many.  So yes, if I could use the biggest..hottest..best songs available, I would.  Therefore, I choose based on my knowledge of what I believe I can get licensed and that is what I go with.  I submit those choices to Daywind, or whoever the master owner might be, for their approval.  If they approve the license, I put it on and if not…I have to go to plan B.

Now on to some of your readers comments.

Kyle comments that he is not surprised that Gaither and Ernie are not on the project.  Kyle has somewhat of a handle on it by saying we couldn’t afford it.  The fact of the matter is that I would have a better chance of getting Elvis back from the dead to appear on this product, than I would of getting Gaither or Ernie (record company) to license the footage.  Why would anyone conclude that I would not want Gaither or Ernie on the project?  That’s money!  Gaither won’t even let us record the showcase they do, much less license anything.  If any of you can pull that off for me….I’ll take it.  The entire Gaither thing is something I just don’t need to get into.

Bev say’s that she may not buy the project because of some missing people and that soloist were included.  The artists were Perry’s, Triumphant, Inspirations, (SS and Gaither have been addressed).  She was also bothered by the fact that Ivan and Janet were included saying it is a quartet and trio business.  Let me take these in order.  Bev you may be shocked, as you put it, that the Perry’s didn’t make it.  I do normally include them.  However this year, about the only thing they did that I felt was usable, or hadn’t already been used, was a song I knew would not get licensed…If You Knew Him.  So, I was left with no good choice on the Perry’s.  I love them and have known them for many, many years.  As I said, I normally include them.  This year just didn’t work out.  As far as the other artists you mention, I have to stop somewhere.  I can’t give you…well maybe I could but I’m not going to….specific reasons for all artists inclusions or omissions.  I say that respectfully so please take it that way.  You ask why Ivan and Janet were on the project.  I respectfully disagree with you that this should be all quartets and trio’s.  If that were true, soloists would not be on NQC main stage.  I made the product reflect what the NQC board booked…quartets…trio’s…soloist.  Besides, let me assure you since we represent both artists, the fans love Ivan and Janet.  They are both still strong in the market and since I am looking for name value with a proven record, they qualify.  I have already addressed your suggestion that all songs should be their #1 hits.  More often than not, that’s never going to happen because of licensing issues.

Tyler says that it’s really not a highlights video anymore.  Actually, the model of the project has never changed.  It’s always been performances from the main stage, showcase highlights, comedy and at other times, something we can get a camera crew loose to shoot….such as the softball game.  Though Tyler says that this project doesn’t nearly do justice to what NQC has to offer, I’m not sure what more I could do to include all the aspects of NQC.  Buyers want the “music” and that is a proven fact.  That’s what the project is built around.  I am open to any suggestions and would take them all seriously.  Anything that would enhance NQC Live would certainly be a plus.  I have struggled with “freshness” on this product for years but after all, it is what it is.  Just keep in mind that the constraints of contractual issues and other logistical problems, might prove prohibitive in certain situations.

Jbb says that he agrees with Bev and will not buy the product.  I’m sorry for that.  Jbb brings up a group that has not been mentioned and that is Legacy 5.  The reason for that is that I was aware that Frank was leaving and that would automatically date the product from the get go.  I included them in the bonus footage so they were at least on the project, just not listed as Leg 5.  Whether that makes sense to you or not, I don’t know.  To me, it gave them the face time they deserve, without dating the project with the coming change.  I would also say to jbb that the artists included are also what southern gospel is all about and to suggest anything other, is puzzling at best.

Andrew made a couple of comments that I will address.  As for the Collingsworth, they did do a great job.  We represent them as well so it would behoove our cause to have included them.  Why wouldn’t I want them included over another company’s artists or an independent?  However, if I had done that, someone else would have complained because someone else was left off.  Hopefully I have made the point clear that for a number of reasons, I have to stop somewhere.  In my opinion, they have another year or so to keep building name value for the sake of the retail shelves.  I do believe with the same performance level next year, which I’m sure they will deliver, they could possibly be included.  Andrew, when you say that you would pay a “lot” of $$ to see the Perry’s performance of I Wish I Could Have Been There,  so my question would be….how much money are we talking about?  That’s an exciting quote!  I can certainly get you a copy of that performance…..or you could simply buy Volume 4 which includes the cut.

In conclusion all I can say is this…..and I say it respectfully to all.  I haven’t responded because I felt fearful by all the comments.  I simply wanted to give insight to the process.  If we felt that we needed to address all the opinions, by all who have their take on our business , that’s all we would get done.  We as industry leaders often read, or are told of conversations such as this one, where some facts could maybe enlighten people who love the music and the industry.  I’m thrilled that all of you are engaged.  Whether my reasons are accepted or not is not really my concern because I can only change the opinions…or clarify the facts….to those who “really” want to understand the facts.  That’s all I hope to do with this response.  I know all of you won’t appreciate what I have tried to do here but, I think many of you will.  It’s not your fault that you don’t understand all the details concerning many subject matters in our business, because you are not always aware of the entirety of some situations.  I’m sure there are things about your jobs where I may not understand the thinking, simply because I don’t understand your entire process.  Again, all I have hoped to do here is to explain some of your concerns based on all the timelines, constraints, contractual obligations, as well as a basket full of other issues, that I am faced with in putting this project together.  I do my best every year to produce a great product, as best I can, under the aforementioned conditions.  I’m sorry that some of you are so disappointed in the final product.  It took a mountain of work, by a lot of people, to make it happen at all.  To those of you who will enjoy the product….good listening.  Thank you.

Chris White
Crossroads Entertainment & Marketing

• O It Thrills Me     (Hoppers)
• I Want To Know That You Know    (Greater Vision)
• Cast Your Bread Upon The Water    (Gold City)
• Mountain Mover    (Talley Trio)
• God Saw A Cross     (Kingsmen)
• Favorite Song Of All    (Ivan Parker)
• Hold On        (Dove Brothers)
• Ephesians 1        (Karen Peck & New River)
• Trading This Old Cross For A Crown    (Booth Brothers)
• Jesus Made A Believer Out of Me    (Kingdom Heirs)
• God Will Make A Way    (Janet Paschal)
• Jesus Will Pick You Up    (Brian Free and Assurance)
• Bonus: Hold On (Greenes) from Phil Cross’ Song of a Lifetime
• Bonus: Champion of Love by former Cathedrals members

While previous years’ releases included fifteen or more songs (plus bonus tracks), that list is now down to twelve songs. The most surprising omission was the Perrys’ “If You Knew Him.” Not as surprising (but just as disappointing) is the absence of the Gaither Vocal Band and Signature Sound. Their appearance would particularly help bookstore sales. Legacy Five also isn’t on the list, but that’s a little easier to explain, since Frank Seamans’ departure had been announced, and Gus Gaches will have started by the time the project comes out. Finally, the new Inspirations lineup doesn’t appear. It would have been nice to have the new lineup captured on film. (EDIT: I knew I was forgetting at least one I meant to list. A reader reminds me that the Male Quartet of the Year, Triumphant, isn’t featured, either.)

There seems to be an emphasis on including current radio singles in the song list. That’s not inherently a bad thing, but neither is it the best. It would almost certainly help sales if the most moving and memorable moments were selected—even if they were only selected from the same groups that would otherwise appear on that year’s project. A few examples: Heading that list would be “Save Me a Seat” from Brian Free & Assurance’s final set of the week; BFA bass Jeremy Lyle turned in an unforgettable performance as a tribute to his father, who had just been buried that morning. Also high on that list would be the original Couriers’ rendition of “Statue of Liberty” from Song of a Lifetime; when they were introduced, there seemed to be some audience apprehension as to whether they still had “it,” but that question was answered by the first chorus, when the audience was on its feet. One other worth mentioning would be the Kingdom Heirs’ performance of “He Locked the Gates” at their final set of the week; though it got a surprisingly lackadaisical response earlier in the week, it got the strong response it deserved later in the week.

Make no mistake, the right choices were certainly made on several songs, “God Saw a Cross” (Kingsmen) and “Cast Your Bread Upon the Water” (Gold City) being two of the best picks. But less focus on current radio singles and more focus on the most memorable moments would better capture the essence of the event.

A full film crew is only on hand for the second half of the week, so Thursday, Friday, and Saturday are the days from which the highlights are selected. Suppose NQC gave each person who purchased a ticket for those days a ballot for their favorite moment on mainstage, which could be turned in at the end of the week. These ballots could then be used to select the highlights.

One final idea, that may be a few years ahead of its time. Footage from at least the last decade is presently collecting dust in someone’s archive. Since there is already a live edit available for the video and audio footage, it should be a fairly simple cut-and-paste job to split each song into separate tracks.

Suppose the power to decide which highlights are worth purchasing was given to the fans. Suppose Crossroads and NQC made individual videos of each song available for $1/song, $5/set, and $25-$35/night. Most of the contractual framework with the different labels is already in place. (It might just not be possible for the Gaither footage to appear, but even having everything else available would be incredible.) Bandwidth may be an issue if the idea takes off, but should be in place within the next few years.

What would make this even more incredible is if footage from past years is also released. Who wouldn’t jump at the chance to purchase the complete final mainstage appearances of individuals like Vestal Goodman, George Younce, or Jake Hess, or of groups like the Cathedrals, Florida Boys, Happy Goodmans, or Poet Voices? Or to revisit the Kingsmen in their Jerry Martin days, Gold City in its Trammell days, or the Kingdom Heirs in their Sutton/Bennett days?

In the words of Bill Gaither . . . why not?

Would such a move affect your plans to attend?

Apparently (as I hear) at the urging of Blackwood Brothers bass singer Randy Byrd, my fellow blogger Aaron Swain put together an impromptu Southern Gospel Bloggers Quartet. He sings bass; the other three of us (David Bruce Murray, Nate Stainbrook, and yours truly) sing baritone or lead. We had no tenor.

Well, I believe my comfortable range is the highest, but it just as certainly is not a natural tenor. But I foolishly agreed to sing tenor anyhow.

So we stumbled through a rendition of Boundless Love. I did especially poorly; remember …that I was singing tenor and I’m not one. Anyhow, it was bad enough that the person in the booth next to our home base (the SouthernGospelForums booth) peeked through the curtain to see what the racket was.

Brian Free.

Though this might matter less to people there all week, like me, or people who are there Thursday-Saturday, he pointed out that this keeps the Saturday night attendees (well over 1/6 of the total), many of whom can only come for Saturday night, from being able to purchase projects by many of their favorite artists.

Fact is, it can cost artists sales from people who are there all week. Gold City inadvertently lost a sale to me (and not just a $10 one) by leaving early; I was hoping all week to purchase their Heritage Collection Vol. 2 DVD set, but had to wait till the week was over to see if I had enough money. By the time I made it to their booth early Saturday evening, they had torn down and headed out for the week. Maybe I can get it next year, but I have no idea if I’ll be able to get Tim Riley’s autograph then.

Understandably, many groups want to schedule weekend dates to recoup the costs of an NQC booth. And it would be hard to force them to stay–short of posting armed security guards, an idea Jones suggests and rejects as implausible.

If it’s worth encouraging artists to stay, there is a simpler way. NQC could charge artists $200 extra for a booth (roughly 50% more than the current rates, I hear), and announce and put it in the contract that the directors will walk around immediately after the finale ends and refund the deposit to groups that stayed it out.

Even then, it physically won’t be possible for many groups to stay. But perhaps a $200 refund would be an added incentive.

Agree? Disagree?

The Cathedrals Remembered showcase in the afternoon was spectacular. Since I got there early enough to get a front row seat, I decided not to take notes, as that would look odd on film. I plan to discuss the concert in more detail, adding observations from seeing it in person, once the DVD comes out later this year.

A complete list of Fan Awards winners is here. Overall, there was little surprising enough to be noteworthy in most categories; in many of the categories, the person who won the award last year won it again this year. There were a few notable exceptions:

• Triumphant Quartet picked up their first Male Quartet of the Year win.
• Their bass singer, Eric Bennett, won Bass Singer of the year for the first time.
• Perrys lead singer Joseph Habedank won his first fan award, Young Artist.
• Libbi Perry Stuffle won Favorite Alto for the first time in three or four years. The Habedank and Stuffle wins show that the Perrys’ current lineup (well, particularly the Habedank/Stuffle combination) has now been together long enough to build the kind of connection with their fans that they had in the Stuffle/Loren Harris days.
• The Crist Family won Horizon Group of the Year. This was particularly thrilling for me since I had spent the week updating their website (among several others, none of whom were also up for the award).

Quite honestly, after Fan Awards ended, I took Saturday night off and (during those times I was able to be in Freedom Hall) just sat back and enjoyed the songs. Two highlights that stick out in my memory are the Kingdom Heirs’ “He Locked the Gates” (a much stronger response than earlier in the week) and the Perrys’ “If You Knew Him.” There was applause when the soundtrack kicked off, more when Joseph started singing the first verse, more at the end of the first and second verses, and a standing ovation by the bridge. This song seems on the verge of defining this iteration of the Perrys—the song people will remember this lineup by.

NQC 2009 was an incredibly long but also incredibly enjoyable and memorable experience. In addition to all the posts I did on this site and on other sites, I also did a fair number of feature interviews, which you will get the chance to read in the coming months. Thanks for tuning in!