Sounds of Jericho is a new male quartet founded by bass singer Stacy Bragg and tenor Stephen Sigmon. Both were founding members of the Mike LeFevre Quartet; Sigmon stayed from 2005-2007, while Bragg stayed from 2005-2009. They are joined by lead singer Matt Tyler, baritone singer Ken Thomas, and, evidently since the recording’s photo shoot was completed, by arranger/pianist/guitarist Matt Dowdy.

The Story of His Grace is a surprisingly solid debut recording. As one might expect, with multiple members’ histories in professional groups, the tracks and vocal performances alike are professional quality. The arrangements are middle-of-the-road, leaning slightly progressive—reminiscent of current Kingsmen or Kingdom Heirs tracks. 

There are a number of strong tracks. “Ten Thousand Angels” is the anchor anthem, sure to be a concert show-stopper. It’s not the familiar song by the same name (Happy Goodmans, Blackwood Brothers, et cetera); it’s a song that suggests comparisons to Brian Free & Assurance.

Other strong tracks include “Deeper Journey,” the mid-tempo opening track; ”Jesus Never Changes,” a lyric-driven slower song, and “Resting Place,” a hymnlike song in a stunningly beautiful acapella setting. (The latter is not the same song as the Wilburns’ hit song by the same name).

There are twelve tracks; most are new, but four are classics (“Wayfaring Stranger,” “If the Lord Wasn’t Walking By My Side,” “I’d Rather Have Jesus,” and “Operator”). The new songs are strong enough that they don’t need the classics to raise the average song quality; in fact, the album would probably have been stronger overall as a ten-song collection, dropping two of the classics and putting the focus more squarely on the new material.

if The Story of His Grace is any indicator, expect to be hearing from Sounds of Jericho for years to come.

Last August, Soul’d Out bass singer Matt Fouch left to join Legacy Five; in October, Soul’d Out announced that his replacement would be Ian Owens, who had recently left Ernie Haase & Signature Sound. The group introduces Owens to their fans with a reissue their most recent mainline release with Owens’ vocals added, and with this table project.

Losing a bass singer of Fouch’s caliber would be a blow to any group, but Soulace 2 shows that they’re as strong as ever. Signature Sound fans who were hoping that Ian Owens would be the next Tim Duncan were disappointed, but Owens is no disappointment here. He fits Soul’d Out’s sound and style.

The project is filled with highlight performances. Among the fast songs, “I Can Tell You Now the Time” gives Owens a chance to shine, while “I’ve Never Been This Homesick Before” spotlights lead singer Bryan Hutson. Hutson, lead/baritone Matt Rankin, and tenor Dusty Barrett shine on “I Stand Amazed (My Savior’s Love).” Bryan Hutson’s years on the Kingsmen bus help towards a solid rendition of the forgotten Kingsmen gem “Say a Prayer.” But perhaps the strongest track of all is the tender closer, “Untitled Hymn (Come to Jesus).”

Soulace 2 avoids over-done songs; it strikes a solid balance between classics familiar to casual fans and forgotten gems that deserve another turn in the spotlight. It’s one of the strongest Southern Gospel table projects of 2013.

3:1 Reviews offer three highlights of an album and one area that could have been improved.

1: Before the Rain: This Tim Dill feature is the strongest song the Dills have ever recorded, both lyrically and musically. It captures the pathos of Job, Lamentations, or some of the sorrowful Psalms: Even in the hard times, we still praise God for His blessings. The song was co-written by Lee Black, Gina Boe, and Lisa Qualsett; Black and Boe have already written any number of hits, but even so, this would have to be one of their finest moments.

2: A King and a Pauper: Musically and lyrically, this is the album’s most unusual song. Originally written and recorded by singer/songwriter Brian Arnold, this is the song’s first appearance in Southern Gospel. But despite (or perhaps because of) its unusual traits, the song is immediately memorable. It’s a project highlight from the first spin, and gets better on repeated plays. 

3 or :1? Clear Thematic Vision: The meat and potatoes of the Southern Gospel diet is songs with a clear focus on the Cross and on Heaven. References to the Cross and Heaven aren’t gone from Before the Rain, but they’re rare. With one exception—the Marcie Kelsey-penned convention song “Oh, What a Beautiful City,” a clear high moment for the project—the songs clearly were selected with a focus on the here and now. This focus will be common to fans of Contemporary Christian Music, but it’s not like this is a CCM project. It’s a CCM lyrical focus in relatively middle of road Southern Gospel musical setting. 

To its credit, the project is not a collection of ten random, unrelated songs. But that does mean that it doesn’t exactly have something for everyone. If you like a lyrical focus on the here and now, this will probably be your single favorite Southern Gospel release of the year. If that’s not your cup of tea, this project might not be your cup of tea. But even then, in this era of single-song digital downloads, the title track is a definite must, and you may well want to throw in “A King and a Pauper” or “Oh, What a Beautiful City” while you’re at it.

Also worth reading: If you’d like a more in-depth look than this by-nature-brief review, Wes Burke’s in-depth review is well worth a read.

3:1 Reviews offer three highlights of an album and one area that could have been improved.

1: Forgive Myself: This John Lemonis / Amy Sue Keffer lyric is finely crafted and delivers a powerful message: “If Jesus can forgive me / then it’s time to forgive myself.” The bridge brings the message home: “His forgiveness is tomorrow’s hope / and where my healing starts / My failure isn’t final / although there will be scars.” Add in the conviction of Three Bridges’ passionate vocals, and this is easily the project’s strongest track. 

2: The Day Nobody Praised Him: This isn’t the same song as the one by the same title that The Jody Brown Indian Family and The Anchormen recorded. It does, however, bear a strong musical and lyrical resemblance. The Anchormen/JBIF chorus ends with ”But the day nobody praised Him / is why I praise Him today.” The Three Bridges song ends with “But the day nobody praised Him / is why I praise Him now.” However, set the similarities aside, and this anthem is one of the album’s high points.

3: Novelty songs (?): If you love novelty songs with a hearty scoop of soul mixed in, you will love “House of Good News,” “Shadrach,” and “Salvation Station.” And if you don’t . . . remind me again why you were purchasing a Three Bridges project?

:1: He Touched Me / My Tribute (To God Be the Glory): Both arrangements of these covers are professionally executed but don’t cover much ground that dozens of previous renditions have already covered. The album would have been stronger as a ten-song collection, leaving off these two covers.

3:1 Reviews offer three highlights of an album and one area that could have been improved.

1: Production Quality: The Bilderbacks have been touring for at least fifteen years. Through the years, they’ve had a number of charting hits and started the transition from upper regional group territory into national recognition. This album will certainly help that transition; it was produced by Paul and Tré Corley for their new label, Activate Records. From arrangements to instrumental and vocal performances to post-production, every aspect of this album was done at a national group’s caliber.

2: “I Can See the Lights” / “Faith Looks Up”: The album’s two opening tracks are its strongest.

3: Lyrics: It’s refreshing and all too rare to see lyrics included in a project’s layout. Including them here was a big plus.

:1: Song selection: The album doesn’t really have any major flaws. So that leaves the only thing that would have made it stronger would have been more strong songs.

The only noticeable flaws aren’t in the disc itself, but the liner notes:  Group members aren’t credited, and the website is listed incorrectly (pointing to a defunct .com version when the correct version is www.thebilderbacks.net).

3:1 Reviews offer three highlights of an album and one area that could have been improved.

1: Vocals: With the possible exception of the Keith Waggoner/Dan Gilbert/Doran Ritchey/Royce Mitchell lineup, this current version of Liberty Quartet offers the strongest vocal performances of the group’s history. The group has had several recent lineup changes; tenor Phillip Batton replaced Waggoner shortly before their 2011 mainline God’s Been Faithful (reviewed here) came out, while lead singer Doug Wiley replaced Gilbert shortly after the album’s release.

Most of the album’s tracks come from God’s Been Faithful; in a sense, especially since the original soundtracks from the album are the only musical accompaniment, this album revisits God’s Been Faithful with vocals from the new lineup, plus applause and a little talking between the tracks.

2: For All My Sins, featuring tenor Phillip Batton and 3: Welcome to Heaven, featuring lead singer Doug Wiley: That the album’s two strongest moments come from its two rookies says more than a little about the vocal strength Liberty Quartet will be carrying forward into their next mainline.

:1: Live piano: Previous Liberty Quartet baritone Doran Ritchey also played piano on a number of songs in each Liberty Quartet program. Since his departure, the group’s live programs have been soundtrack-only. This live album is solely pre-recorded soundtracks with live vocals; as a live album, it would have definitely been stronger if the group had brought in a guest live pianist, at least for a couple of tracks.

Also, it would have been nice to see songwriter credits included with the packaging.

3:1 Reviews offer three highlights of an album and one area that could have been improved.

1: If You Want to Go To Heaven: You’ve probably heard a number of songs like Nicodemus, but you’ve certainly never heard one like this. The melody would lend itself to the bluesy quartet style the Kingdom Heirs are known for, and other male quartets will do on occasion (e.g. Legacy Five’s “Goin’ Home Day” or Gold City’s “Keep Me on the Wheel.”) But that’s not where Karen and her production team takes the song. Instead, this fun, bouncy track is infused with a south-of-the-border calypso or mariachi flair.

2: Stand By The River: Karen’s cover of this Dottie Rambo classic brings an appropriate mixture of almost playful delight and soulful passion. The Oak Ridge Boys’ background vocals are a pleasant contrast that works far better than one might guess at first glance. In a minor complaint, it seems that the sound engineers ran their de-essing software (a program that removes “s” sounds) a little too enthusiastically on some of the background vocals. That aside, this is a fun take on a fun song.

3: Holy Spirit, Speak To Me: On this song, which Karen co-wrote with Kenna Turner West and Don Poythress, her long-standing love for the music of the mountains comes through. This Bluegrass-infused tune might be soft and mellow, but it’s a showstopper. If you loved Janet Paschal’s “I See a Crimson Stream” or the Collingsworth Family’s “Oh, the Thought that Jesus Loves Me,” the album is worth purchasing for this track alone. Jeff Taylor, who has toured with Vince Gill and currently tours with Keith & Kristyn Getty’s live band, adds an accordion track that is a perfect complement to its meditative feel.

:1: Put a Little Love in Your Heart: This is more a positive song than a Gospel song. It’s not that it’s a bad moment; it’s just the album’s weakest. If you like Karen’s voice and style, this track is no reason to skip picking up the whole project. In fact, this project is packed with so many solid songs that, if you were to compare this with her last two or three Karen Peck and New River projects, this one’s the strongest of the set.

3:1 Reviews offer three highlights of an album and one area that could have been improved.

1: Concept: Steve Hurst is one of Southern Gospel’s most-respected voice teachers. This CD/DVD set contains a live recording of one of his voice workshops. For those who are unable, whether logistically or financially, to attend one of his schools or workshops in person, this recording’s availability is a welcome resource.

2: CD/DVD availability: The case includes three DVDs, and three CDs that contain the same audio. Having an identical audio version also available is incredibly helpful for rehearsal.

3: Scope: There are extensive discussions on voice placement, vocal registers, proper breathing, power, and vocal warm-ups. But the presentation is wide-ranging; Hurst also covers posture, facial expressions, hand gestures, nerves, and the Biblical ministry objectives for speakers and singers. 

:1: Ads: Interspersed with the segments are ads for the Steve Hurst School of Music. Though mildly distracting, these aren’t a huge minus—certainly not enough to avoid purchasing this incredibly valuable resource.

3:1 Reviews offer three highlights of an album and one area that could have been improved.

1: Every Scar: This song is becoming increasingly familiar to Southern Gospel audiences. Darin & Brooke Aldridge and The Talleys have both recorded versions within the last two years; though the Aldridges are primarily known in Bluegrass, their rendition was sent to Southern Gospel radio and appeared on the Singing News charts.

Even if this is the third rendition that attentive listeners hear, the song is far from having worn out its welcome. The Aldridges’ original rendition was mellow, acoustic bluegrass; The Talleys’ rendition straight-ahead Southern Gospel. Christian Davis’ rendition is county, bearing resemblances to several Southern Gospel bass singers’ renditions of “Long Black Train.”

2: Raise Him Up: Much like “Every Scar,” this story-song starts in a place that you wouldn’t exactly expect would lend itself to a Gospel message—the challenges of raising step-children! The pivot to the Gospel comes at an unexpected juncture and packs a powerful impact.

3: Hittin’ the Road: This ode to the road is an introspective, autobiographical look at why a Christian singer makes the sacrifices necessary to tour the world and spread the Gospel through the song.

:1: Lyrical focus: Practically every song has at least a passing reference to the Christian faith. Viewing the project from a Southern Gospel perspective, it would have been nice to see faith-based lyrics more consistently. However, since Davis currently tours with Bluegrass mega-group Dailey & Vincent, the album is probably more accessible to their secular audience.

3:1 Reviews offer three highlights of an album and one area that could have been improved.

1: Engineering Quality: Naming engineering quality as the lead-off highlight of Feels Like Christmas might seem odd and certainly need explanation.

The arranging team is largely familiar: Wayne Haun led most orchestral arrangements, while David Clydesdale, Roy Agee, and Cliff Duren all played a role on specific tracks.

The team of musicians is also largely familiar: Jason Webb and Kim Collingsworth on piano, John Hammond on drums and percussion, Craig Nelson on bass, Kelly Back on acoustic and electric guitars, and the Nashville String Machine on orchestrations.

With these familiar ingredients, you might expect a result similar to other projects with a similar production team. You would be mistaken. Feels Like Christmas, in one respect, is like no other Southern Gospel Christmas project (and, for that matter, no previous Collingsworth Family project). That area would be audio engineering.

Melissa Mattey was the lead engineer for the orchestral recording session. Mattey, who has studied orchestral conducting, brings classical sensibilities to the sound quality. There were over forty players in the session; she miked each individually and also had room microphones to capture the ambient sound. (This gives the orchestrations a live feel.) Since she also mixed the album, the final product has a vivid depth and richness that you typically only hear on a recording featuring one classical music’s leading conductors and orchestras.

Feels Like Christmas raises the bar for orchestral recording quality in our genre.

2: Overture (Silent Night / What Child is This): Philip Collingsworth Jr., already a strong vocalist, continues to improve with every album the family releases. His solo on “Silent Night” is exquisite.

This has freed up his father to spend more of his time in the lower portions of his baritone range. The rich tone in Phil Sr.’s solo on on “What Child is This” shows how much this has added to the family’s ensemble sound.

3: Who is He in Yonder Stall: Through the years, several Southern Gospel artists have turned in show-stopping renditions of this hymn. This rendition stands head-and-shoulders above the rest as the song’s definitive version.

Words can’t really do this rendition justice. The dynamic vocal performance brings the intensity down to almost a whisper at the crucifixion, but  soars to glorious heights when the resurrection comes. Meanwhile, from tight unison lines to dramatic power harmonies, the vocal arrangement brings a rich nuance. Finally, as discussed above, the matchless orchestral recording quality shines on this song more than any other. There has probably never been another single Southern Gospel track with better orchestral engineering.

:1: Song Selection: SouthernGospelBlog.com has a policy of only reviewing all-Gospel albums, Christmas or otherwise. Had the album contained ten or twelve Gospel songs recorded to this level of excellence, it would have been the best Southern Gospel Christmas album ever recorded. So, naturally, its technical superiority called for an exception to the rule.