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

1. Audio Quality: The project sounds excellent. Particularly on “Don’t Let the Sandals Fool Ya,” tenor David Sutton and bass Eric Bennett played it safe at points, but it paid off when they nailed the notes they did sing.

2. Great Piano Shots: The cameramen caught Jeff Stice at his best moments, choosing ideal angles. There were even some boom camera close-up shots of the keyboard—which is, evidently, a hard shot, given how rarely it is attempted.

3. “Goodbye World Goodbye” skit: Jeff Stice and David Sutton have done their harmonica/piano duet on this song for years. This is probably the best video version captured yet—the cameramen’s shots captured the energy of the skit well.

4 (bonus). Still Small Voice: This piano-and-vocals ballad, featuring David Sutton, proved that Triumphant doesn’t need tracks to command the stage.

:1. One thing I would change: Dialog. There wasn’t any dialog. Perhaps these ten songs were filmed for individual airing on TBN. But the lack of any dialog—introductions, jokes, testimonies etc.—prevents the project from fully capturing the essence of a Triumphant Quartet concert.

:2 (bonus). Another thing I would change: Song Selection. It would have been nice to see songs from their latest project.

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

1. “Satan and Grandma”: Since bringing on two former Imperials members, Elliot McCoy has had the vocal talent to bring the group name back to the forefront. He needed the song. This is that song. Tenor Jeremy Hudson turns in such a strong performance that even theological nitpickers will be willing to look past the line about Grandma getting her wings. With this song, Three Bridges is back.

2. Staging: On “Cooling Water,” Three Bridges sang around a classic quartet-style microphone. It’s not something you expect from a progressive group, yet it worked brilliantly.

3. Live Band: A four-piece live band added welcome energy to an already energetic vocal presentation. The drummer, bass guitarist, and electric guitarist appear to be the same as on Palmetto State Quartet’s companion video.

:1. One thing I would change: Choir outfits. The final four songs were filmed with a choir. Many of the ladies’ necklines were low enough to concern conservative viewers.

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

1. Four-piece band: Palmetto State Quartet has a full-time pianist, Casey Martin. For this taping, they were joined by a drummer, bass guitarist, and electric guitarist. The full live band sets the video apart from videos recorded by tracks-only or tracks-dominant groups.

2. Stage presence: While one group member just stood and sang, the others provided welcome on-stage energy.

3. “There’s Something Going On at the Well”: This is a welcome reprise from a far earlier edition of the group, the Brion Carter / Jeff Pearles era. It is a perfect fit for their four-piece live band sound.

:1. One thing I would change: “Walk This Way.” A casual listener could be forgiven for assuming this song promotes a works-based salvation. The baritone singer and emcee introduced the song by saying, “If you want to get to where Jesus is, then you’ve got to walk the way he walked, amen.” The song does mention grace—”Just let God’s Spirit lead you by His amazing grace”—but the message could have been more clear. To his credit, emcee and former pastor David Darst did articulate the Gospel when introducing “No Place Too far from Grace.”

Traditional or Progressive

Middle-of-the-road with a distinct country influence.

A DVD rating factoring in “Walk This Way” wouldn’t be fair to the quality of the remainder of the DVD.

Credits

Producer: None credited on packaging. • Group members: Not credited on packaging (but introduced on the video as tenor Robert Fulton, lead Paul Lancaster, baritone David Darst, bass Larry Strickland, and pianist Casey Martin. Fulton has been replaced by Wesley Smith since the taping.) • Review copy provided.  • Song list: All Hail the Power; Walk This Way; Don’t That Sound like Heaven; There’ll Be No Dying Anymore; Good Morning; Rainbow Avenue; The Debt Has Been Paid; Something’s Going on at the Well; No Place Too Far from Grace; Moment of Grace; Holy Ghost Revival.

You’ve seen reviews of Gaither Homecoming DVDs. You’ve even seen occasional reports from news websites allowed into Gaither Homecoming tapings. But you probably have not seen coverage that starts with reporting from the live concert (found in its original form here) and focuses on the transition from the live event through the final product.

• Daddy Sang Bass (#15 on Tent Revival Homecoming): The requisite fixes to the live performance were made. The humor in the live skit translated well to DVD.
• On the Other Side of the Cross (#7 on The Old Rugged Cross): The intro was replaced by a post-production voice-over.
• Yes, I Know (#1 on Tent Revival Homecoming): Unlike the other opening track, this one did feel like the start of a concert on the DVD. (Dailey & Vincent’s songs were taped ten or fifteen minutes before the main program began, to allow time for instrument set-up and tear -down,
• When the Saints Go Marching In (#2 on Tent Revival Homecoming).

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

1. Gold City set: When Brian Free, Ivan Parker, Mike LeFevre, and Tim Riley stepped on stage together for the first time in nineteen years, the atmosphere was electric. And they did not disappoint: They reminded everyone why that lineup of Gold City has been called all-star.

2. The Live Band: This is the way Southern Gospel is supposed to sound. Not only was there a live band, but the live band was in-the-pocket, knew the material, and delivered an all-around solid performance.

3. Groups Appearing: While it would be impossible to assemble an all-star program featuring every classic group with living members, Daywind accomplished more than anyone thought was possible. If you were stranded on a tropical island and could only take one DVD with you, this is the one.

:1. One thing I would change: Interlacing: The video was recorded with a professional camera and lighting crew, and looks excellent. But it would look even better if it wasn’t interlaced. (There were also a few audience shots where the aspect ratio was incorrect, but they went by fast enough that it’s a minor quibble.)

DVD Rating: 5 stars.

Cinematography: 4 stars. Average song rating: 4.5 stars.

Credits

Producer: Norman Holland. •  Review copy provided.  • Song list: This Great Caravan (New Gospel Singing Caravan); I Found a Hiding Place (New Gospel Singing Caravan); The King of Who I Am (Lulu Roman); Medley: Things Are Gonna Get Better / When I Lift Up My Head / New Shoes / Mama’s Teaching Angels How to Sing / Holy Hills of Heaven / Sheltered in the Arms of God / Remind Me Dear Lord / Too Much to Gain to Lose / He Looked Beyond My Fault (Rambos), Medley: Tears Will Never Stain / Things Are Gonna Get Better (Rambos); O For a Thousand Tongues (Nelons), We Shall Wear a Robe and Crown (Nelons); Operator (Downings); Greater is He that is In Me (Downings); I’m So Glad He Found Me (Hinsons); He Can (Hinsons); Lighthouse (Hinsons); When I Get Carried Away (Gold City); I Think I’ll Read it Again (Gold City); Midnight Cry (Gold City); Keep on the Sunny Side (Lewis Family); Something About That Name (Cathedrals Tribute); Champion of Love (Cathedrals Tribute); Home (Singing Americans); I Bowed On My Knees & Cried Holy (Singing Americans).

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

1. Vocal Control: Every member of the Mark Trammell Quartet knows the limits within which his voice sounds ideal, and stays within those limits. Case in point: Pat Barker’s solo on “Calvary Medley”; unlike other bass singers, who can get so focused on impressing audiences with their voice’s low end that they have put little effort unto the upper end, Barker’s verse here is more likely to make you think of a 1970s Squire Parsons than of Glenn Dustin or Tim Riley.

2. Opening three songs: Gerald Wolfe joined the group for the first three songs, playing piano on “Old Convention Song,” “Gentle Shepherd,” and “Wedding Music.” These performances were so strong that the audio from two actually found its way onto the group’s latest live project, Treasures, reviewed here.

3. Image Quality: This video was professionally filmed and looks excellent. Granted, it would look even better if it wasn’t interlaced, but that aside, this is easily the best-looking DVD the group has released. (And no, Pat, I’m not talking about your hair. You look better than I do, but you sing better than you look!)

:1. One thing I would change: More Piano: In a typical Mark Trammell Quartet concert, the group will eschew soundtracks for much of the program, with lead singer Dustin Sweatman and Mark Trammell playing piano and bass guitar, respectively. After some delightful comedy, Gerald Wolfe played piano for the first three songs.  The remainder of the program featured songs with soundtracks. It would have made the video even stronger had they used more live piano and bass. 

Traditional or Progressive

Delightfully traditional.

Video Rating

4 stars.

Credits

Group members: Joel Wood, Joel Wood, Joel Wood, Joel Wood, Joel Wood (happy now, Joel? ), Dustin Sweatman, Mark Trammell, and Pat Barker (who looks better than I do, but sings better than he looks). • Review copy provided.  • Song list: Old Convention Song; Gentle Shepherd; Wedding Music; Leave Your Sorrows and Come Along; I Believe, I Believe, I Believe; One Drop of Blood; How Long Has it Been; It’s Almost Over; Testimony; Calvary Medley; I Want to Know.

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

1. Technique: The video is a one-hour introduction to the basics of proper voice technique, both generally and as specifically applied to bass singers. Gerald Williams explains this technique in an easy-to-understand way, with memorable metaphors and illustrations.

2. Delivery style: Williams strikes the perfect balance of authority and a friendly delivery. He comes across as warm and likable without making it seem unnatural or forced.

3. Pithy quotes: Williams’ memorable metaphors and warm delivery are enhanced by numerous pithy and well-put quotes. Case in point: “If you’re not real low, wait till you are before you try to sing low.” Another: “There’s an old saying: ‘The show has to go on.’ Well, yes it does, but you don’t have to abuse yourself to get it done!”

:1. One thing I would change: The live concert footage of the Melody Boys in concert, demonstrating the techniques Williams explains, is at a significantly lower resolution than the rest of the film. The final result would have been stronger had the Melody Boys recorded new footage, even a simple one-camera shot, in a living room around a piano.

That minor quibble aside, this video is highly recommended for any Southern Gospel vocalist. Beginners on a tight budget could not make a better investment than spending $20 on this DVD (available here).

Review copy provided.

It is a running joke amongst bluegrass groups invited to appear at a Southern Gospel event that they are appearing at “a karaoke show.”

Numerous bluegrass artists, especially those on good enough terms with our genre to get these invitations, enjoy Southern Gospel music and count our artists among their favorites—so this is presumably said in a good-natured way, with a twinkle in their eyes. But there’s more than a little truth behind the joke.

I fully understand that this economy keeps all but the highest tier of acts from being able to afford the salaries of a live band. Given tracks or nothing, tracks is an easy choice . . . for a live concert.

But it doesn’t have to be this way for DVDs. Though they may be few and far between, video projects like the Collingsworth Family’s Fear Not Tomorrow, Greater Vision’s Live at First Baptist Atlanta, and the Bishops’ Chapter X Live show that entirely or mostly live orchestration is possible on a live recording.

From this point on, this caliber of DVDs will be the ones selected for review on SouthernGospelBlog.com. Granted, circumstances such as an incredibly high level of interest in a special-event project (i.e., Gaither Vocal Band Reunion) may require a rare exception. But this site will focus on DVDs without canned orchestration. Unless you are the Dixie Echoes or the Chuck Wagon Gang, this probably means a live orchestra in addition to the standard piano/bass/guitar.

One important caveat: Of course, we won’t review every DVD released with fully live orchestration—it must naturally also be Southern Gospel, well-produced, and have good and theologically solid songs.

Will this result in fewer DVDs reviewed here?

Yes, but the DVDs we do review will be of a higher caliber. So it’s worth it.

UPDATE (1/12/11, 7:23 P.M.): A participant in the discussion prompted me to make the following comment, which I think is pertinent enough to append to the original post:

Live vocals bring a certain energy that studio vocals’ polished, phrased, and tuned perfection cannot.

In the same way, live musicians bring a certain energy that studio tracks’ polished, phrased, and tuned perfection cannot.

Earlier this year, Mansion Entertainment started reissuing archival footage from the Sing Out America television series. Volumes 1-3 were reviewed here, here, and here; this post points out highlights from the remaining volumes in the series.

Volume 4: Florida Boys

Landing an appearance from stars from (and hosts of) the all-time most significant Southern Gospel television show, the Gospel Singing Jubilee, must have been a coup for any other show. The first four songs feature mid-80s tenor Terry Davis, with lineup regulars Les Beasley (lead), Glen Allred (baritone), Buddy Liles (bass), and Darrell Stewart (piano).

Tenor Rick Busby, who was with the group later in the 1980s, appears for the following six songs, the remainder of the project. Much of the footage in the series is lip-synced; either this segment is not lip-synced or more effort was put into making it appear to be fully live. Stewart is here joined by three or four other musicians for a full live band—including musicians who switch to steel, harmonica, and other instruments as necessary. “I’ll Live a Million Years” is a standout performance.

This is one of the stronger entries in the series; the Florida Boys had a certain charisma that must have made live performances from the era a special treat.

Volume 5: Gold City Quartet

Video footage of Gold City’s first supergroup lineup—Brian Free, Ivan Parker, Mike LeFevre, Tim Riley, Garry Jones, and the rest of the live band—is so hard to come by that this video has a value for that alone. Regrettably, it’s lip-synced footage, like much of the rest of the series. That said, it may be worth the purchase just for the video footage of Brian Free’s hairdo!

The audio is largely pulled from Double Take Live and Live. The personnel for the last two appear to be short-tenured lead singer Bill Crittendon, who only sang with the group in 1983, and baritone Jerry Ritchie. Rusty Goodman is credited as a guest on the back cover, but it appears that any songs featuring him may have been cut prior to duplication.

Volume 6: Rusty Goodman Family

Though billed as the “Rusty Goodman Family” on the DVD cover, the group appearing on the DVD is the final group to record as the Happy Goodmans—Tanya Goodman Sykes, Sam Goodman, Rusty Goodman, and Michael English. Tracks 1-4 and 6-8, most of which are drawn from the Chosen project, are clearly live, as they do not perfectly match the LP version. Track five, featuring Tanya, includes strings not replicated live, so it’s less clear whether the vocals were recorded live. The final two are of Rusty singing solo.

This project is a must-have for Happy Goodman aficionados—and, for that matter, Michael English fans, as “I Bowed On My Knees” may be the first surviving video footage of his lifelong signature song—and it may also be the best.

Volume 7: The Hoppers

The first nine songs feature a vocal lineup of Diane Havner (? on spelling) on soprano, Connie Hopper on alto, Dean on lead, and Claude on baritone/bass. The final track is the only song from another taping day; it features Claude, Dean, Connie, Greg Bentley on tenor, and Sharon Watts on soprano.

Volume 8: The Hinsons

The entire taping seems to come from ca. 1981, with Kenny, Ronnie, Yvonne, and (probably) Eric Hinson. There is a notable audio difference between several songs, suggesting lip-syncing to different masters, but without the original recordings at hand, it’s hard to make a definitive statement.

Volume 9: The McKameys

The entire video seems to be from one taping. It’s of particular interest now; founding member Carol Woodard was with the group from 1954-1971. When she left for the first time, Peg and Reuben Bean’s daughter Sheryl Farris joined. This taping was probably within her final two years in that stint with the group; she left in 1983, and Carol rejoined. With Carol’s retirement last year, Sheryl replaced her for a second time. So this video actually offers footage of the current lineup, approximately thirty years ago!

Volume 10: Wendy Bagwell and the Sunliters

Oddly enough, the project starts with a novelty song, “A Little More About Jesus.” The trio is joined by three children, all around six to eight years old. The white girl appeared to be very nervous on camera; Little Jan Buckner (Goff)’s on-screen efforts to loosen up and relax the other two were met with more success. Songs two through four and six were from the same taping; Little Jan doubled on piano/keyboard and vocals. Song five was from a separate taping with a separate pianist to free Little Jan up to focus on vocals. Song seven came from a third taping, also with the separate pianist—though Little Jan reached over his shoulder during the intro to play a keyboard part. (The keyboard sat atop the piano.) Songs eight through ten came from a fourth taping. For songs eight and ten, the three trio vocalists did not play any instruments; it was Wendy’s first time in the project to not be behind a guitar. He did pull the guitar out for the middle song, “Forsyth County, GA.”

Conclusion

Through no fault of the video editors for this reissue, too much of the original footage was lip-synced to the LP for the series to receive an overall high recommendation. That said, the series has a number of high points, detailed here and in the earlier reviews, well worth the time to check out.

Available from: Mansion. ♦ Review copy provided.

In early 2010, Mansion Entertainment started reissuing archival footage from the Sing Out America television series. The first two volumes in the series featured multiple groups; this is the first entry to feature one group throughout.

• He Was Willing. This features baritone Ben Speer, who sometimes also piano; for the first few songs, he was in a solely vocal capacity. Though there is a three-piece piano/bass guitar/rhythm guitar band on screen, there is also at least one other instrumentalist, a drummer, on the audio but not on stage. Adding this to the fact that there’s applause after the track, but the video footage is from a studio taping, suggests that, as with some other entries in the series, this is footage with the singers lip-syncing to themselves.
• The Church Of The Living God. This is the same footage found on volume 2 (featuring the Blackwood Brothers). Brock Speer offers a vigorous solo on this song; it’s astonishing the extent to which this toe-tapper has been forgotten in the post-Speer years.
• I’m Standing On The Solid Rock. Though the footage appears to be from the same taping day, the audio is from a studio taping and has a notably different, warmer equalization.
• The Brush. Ben Speer sits on a stool for a subdued delivery of this story-song. The only other vocals are from fairly high soprano background vocalists, who do not appear on screen. There are also string sounds not replicated on screen.
• Stand By Me. The audio here comes from the same live recording from which the first two tracks were pulled. (The video throughout appears to be from the same day.)
• Before The Rocks Cry Out. The audio here is also from a live recording. For this song, Ben Speer swapped places with the pianist.
• Touring That City. Ben Speer was again on the piano bench for this song; the soprano/pianist, named nowhere in the video, had the solo. A steel guitar and probably also a harmonica appear on the audio track but are nowhere in evidence for the video footage.
• Hold On. Since Ben Speer has the vocal solo, he steps forward, and the soprano returns to the piano bench.
• He’s Ever Interceding. The alto, also unidentified throughout the program, is featured on this Speer classic. Ben returned to the piano for this song and the final song.
• Heaven’s Jubilee. After several studio tracks, the audio for this song was clearly pulled from a live recording.

There are notable video issues at points, horizontal bars that cross the screen from time to time.

This video is clearly lip-synced, and between the analog video artifacts and the somewhat jarring transitions from live to studio audio tracks, it’s hard to give it a high recommendation. Yet with how rare color footage is from this era, it does have some historical value for an era from which rather little high-quality footage survives.

Rating: 2 stars. (This is in no way a reflection on the quality of the Speer Family’s singing, or what they could have produced in a more favorable, non-lip-synced environment.) ♦ Available from: Mansion. ♦ Review copy provided.