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

1: Production Quality: This two-disc, twenty-song set sounds incredible. Perhaps it stands to reason that baritone Michael Sykes, who has produced many of the Gaither Vocal Band’s most-acclaimed releases, would bring top-tier production quality to his own group’s album. He does; track and production quality is every bit as strong as you would find on a Gaither Vocal Band release.

What might be surprising is that the vocal performances are actually stronger. Tenor Matt Hagee and lead singer Aaron Crabb both come from family group backgrounds (the John Hagee Family and the Crabb Family, respectively), but both adapt amazingly well to the male quartet setting. Bass Tim Duncan has an almost unrivaled quartet resumé for someone his age; after spending three years as Poet Voices’ final bass singer (1999-2002), he spent eight years with Ernie Haase & Signature Sound (2002-January 2011). When it comes to ensemble sound, Canton Junction is easily in the top five in Southern Gospel (perhaps top three), and also easily the strongest on the progressive end of the spectrum.

In other words, in every aspect except song selection—an area where Gaither has an indisputable advantage by being the most prestigious Southern Gospel artist on the road today—Canton Junction is on par with or even stronger than the Gaither Vocal Band. That is no small feat for a brand-new group on its debut project.

2: Rusty Goodman remakes: Since Michael Sykes is Rusty Goodmans’ son-in-law (he’s married to Rusty’s daughter Tanya Goodman Sykes), it might not be terribly surprising that the album includes two Rusty Goodman songs, “I Wouldn’t Take Nothing For My Journey Now” and “Who Am I.”

What might be more surprising is what he’s done with them. He has transformed both songs into straight-ahead, in-the-groove, driving quartet harmony songs. They sound like the versions he’s been waiting for a chance to make. He’s honed his skills producing the likes of the Gaither Vocal Band and the Oak Ridge Boys, and he uses those skills to reinterpret these songs for a new generation of fans.

3: Sweeter As The Days Go By: This live version of the song that got it all started for Canton Junction is a sonic delight. Canton Junction’s first (public, released) appearance was with this video—a performance so strong that it earned more than 80,000 views in a matter of months, practically unheard-of numbers in Southern Gospel. It was a pleasant surprise to hear the live version included here.

:1: You can have too much of a good thing: It is entirely understandable why the group recorded twenty tracks. Most groups need that many in their repertoire for live concerts. They probably figured that if they were going to record that many tracks anyhow, they may as well put them all into a two-CD set. Songs like “Dig a Little Deeper,” “Softly and Tenderly,” and “Go, Tell it on the Mountain” will certainly have their place in the live concert setting, but seem out of place here. But had Canton Junction selected the strongest ten or twelve tracks, this would have easily been a five-star recording.

In fact, SouthernGospelBlog.com has only handed out one five-star rating this year so far—to this album of Stamps classics. Had Canton Junction whittled the list down to the ten or twelve strongest songs, this album would have easily been the strongest recording of the year, to date.

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

1: “Good News From Jerusalem”: Once every few years, a song comes along that is so big it simply defies comparison. Think “My Name is Lazarus” (Greater Vision), “Jerusalem” (Hoppers), “He Saw it All” (Booth Brothers), “Midnight Cry” (Gold City), or “God on the Mountain” (McKameys). These are the elite songs that groups talk about for years afterwards—”We want this song to have a ‘Jerusalem’ feel,” and the studio musicians know exactly what they mean. 

That’s the sort of song “Good News from Jerusalem” is.

The verses pulsate with the energy of a “My Name is Lazarus.” The choruses explode with the enthusiasm of a “He’s Alive.” Yet there is no frame of reference for Josh Singletary’s commanding solo, the shifts between minor and major keys, and the power group harmonies on the choruses.

We often say of groups in Tribute’s position and at their talent level, “All they need is that huge breakout song to really put them on the map.”

This is that song.

2: “The Song of Heaven”: On the album’s standout orchestrated anthem, tenor Riley Clark proves that “Homecoming Day” was no fluke.

3: Vocals: Tribute Quartet’s vocal performances have taken a sizable step in the right direction. An extra year of seasoning has done wonders for relative newcomers Riley Clark (tenor) and Anthony Davis (bass). Clark has retained the unique vocal texture that made his voice immediately unique, while adding an added degree of confidence. Davis, meanwhile, is starting to settle into his own sweet spot, sounding much like a young Glenn Dustin.

:1: Song Selection: Other genres have weekly radio charts; since the main radio chart in Southern Gospel is monthly, albums generally only have two or three singles. This throws a unique wrench into discussions of song selection for Southern Gospel albums. Take, for example, The Perrys; their 2007 Look No Further CD had no less than seven five-star songs, in our rating, while their 2009 follow-up, Almost Morning, had three. However, that quickly became a moot point when one of those three, “If You Knew Him,” became a breakout hit, their first Singing News Fan Awards Song of the Year, and their signature song.

The Perrys provide a decent frame of reference for discussing these last two Tribute Quartet albums. Granted, Our Anthem might have a couple fewer five-star songs. But that will become irrelevant if it has that one breakout hit which becomes a signature song, and it should have that song in “Good News From Jerusalem.”

Meanwhile, the vocals are stronger than on The Waiting is Over, so this album fully stands shoulder-to-shoulder with its predecessor. The Waiting is Over was their first album on one of the premier imprints of a major label (Sonlite, while the previous two were on the more general Crossroads label). It showed bystanders that they deserved to be taken seriously as a top-tier national group.

Our Anthem proves that it wasn’t a fluke. Tribute Quartet is in the top tier to stay.

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

1: “But He Did”: This song proves Kyla Rowland sets aside some of her strongest songs for her son. She doesn’t send all the best ones to the Perrys and Mark Trammell! This song uses one of the most powerful tools in a songwriter’s arsenal, antithesis. One might not expect a song with the title “But He Did” to be a lyric with a powerful contrast. But what a contrast it is!

And if Christ be not raised
Then our faith is in vain
But He did 

Barry Rowland and Deliverance travels a circuit where audiences aren’t afraid to shout “Glory!” If this song doesn’t get audiences shouting “Glory,” nothing will!

(It’s clear enough why Kyla couldn’t have gone with the title “And if Christ be not raised”!)

2: “All Our Hope”: Lead singer Shawn Rupert another powerful Kyla Rowland anthem. The lyrics are so strong that it would be an album highlight with weak vocals—and the vocals are so strong that it would be an album highlight with forgettable lyrics!

3: Vocal Performances. With the genes and training Barry has had, one might expect him to be the vocal star of the show. He’s not. Make no mistake, though—he is good enough that he could be. His rich baritone has the power and warmth of a bass singer singing a solo, yet he can transition into a softer blending gear effortlessly. 

His wife, Tammy Rowland, is a great singer in her own right. She anchors two of the project’s strongest songs, “But He Did” and “God Handled it All.” On verse two, she soars through the roof on the high ending popularized by Jay Parrack in Gold City’s landmark rendition. This suggests that her natural range is probably mezzo-soprano or soprano, yet she has more than capably broadened her tones to spend most of her time in a power alto range reminiscent of Libbi Perry Stuffle or Sheryl Farris.

Shawn Rupert has a phenomenal range. He likes to employ stylings reminiscent of Michael English, but he can sing a straight-ahead lead when needed.

Their vocals suggest comparisons to the Perrys, and their personalities and presentation suggest comparisons to the McKameys. Add that to the production quality you’d expect from either group, and if this is your stylistic cup of tea, this project is definitely one that you do not want to miss!

:1 or +4?: There aren’t any fast songs. But that’s intentional. Their music isn’t for your tapping toes; it’s for your heart.

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

1. “The Call is Still the Same”: The title cut is an autobiographical look at the challenges and blessing of a life spent following Christ. Tenor Matt Felts anchors the song, the best anthem the group has recorded in a decade. Dixie Melody Boys alumnus Rodney Griffin, who co-wrote the song with Wayne Haun, offers a guest vocal on the second verse.

2. Guest Vocalists: Song Garden lined up a number of Dixie Melody Boys alumni for guest appearances to commemorate the group’s fiftieth anniversary—Ernie Haase, Devin McGlamery, Allen O’Neal, Harold Reed, McCray Dove, and Kent Humphrey—and additional guest vocals from Jason Crabb and Ben Speer. It is a fitting salute to Ed O’Neal, who has made a career out of launching others’ careers.

3. “I’ve Got Family There”: Ed O’Neal’s solo on this mellow song about Heaven is an album highlight. Ben Speer’s guest harmony vocals are a pleasant bonus.

:1. One thing I would change: Nothing, really: A few more incredible songs would have made this a five-star project, but even as it is, it’s the best mainline project the Dixie Melody Boys have released in fifteen years.

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

1. Concept: A bluegrass group covering modern praise and worship hits? No question, that’s a unique concept. If mandolins and banjos are more your cup of tea than wailing electric guitars and driving synthesizers, you are quite likely to enjoy this project.

2. “Mighty to Save”: This song particularly shines in a bluegrass setting. Naturally, some songs adapt to bluegrass better than others. This is one of the better ones.

3. “From the Inside Out”: Ditto to #2. This song adapts so well that a casual bystander may well assume that it was written and intended for bluegrass music!

4 (bonus). “In Christ Alone”: This is the one modern praise song that seemingly everyone in Southern Gospel has covered. Naturally, their rendition would sound at least something like a half-dozen other familiar renditions, right? Wrong.

Alto Terri Argot Gore trades lines with (presumably) tenor Mark Dunham for an acapella first verse. Just when you think this comfortable vocal pairing may carry the song through by itself, the instruments kick into a driving bluegrass groove for the second and third verses. It’s a surprise highlight.

:1. Instrumentation/arrangements: The group has a vocalist, an upright bassist, a banjo player, and three guitarists. One guitarist also plays mandolin. Though there’s a guest fiddler on some tracks, the arrangements would have been stronger with a more complete bluegrass ensemble. Of course, if you don’t care for fiddles or dobros, you will perceive this as a plus!

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

1. “I Won’t Trade My Crown”: Amen’s standout ballad steps outside the familiar themes of salvation/testimony and Heaven found in many of the project’s other songs. The first verse starts with Satan’s temptation of Jesus. Even if the chorus makes it obvious that the second verse will pivot to focusing on Satan’s temptation of us, the concept and the rest of the execution are so strong that it’s easily forgivable. In point of fact, most people in the audience for a typical Southern Gospel concert are already saved, and this song is perfect to encourage believers.

2. “When I Could Do Nothing”: Through the choruses of this slow quartet song, group members trade lines, building the song to a big ending.

3. “Waiting for the Day”: This toe-tapper was written by final Old Time Gospel Hour Quartet bass singer Jerry Pilgrim, and originally recorded on the group’s final project (The Word is Out, which, incidentally, featured Tony Jarman on tenor). Since the Old Time Gospel Hour Quartet disbanded shortly after that album came out, this forgotten song was ripe for an encore performance.

:1. Nothing, really: Could one ask for ten incredible songs instead of six or seven? Sure, but that’s not really enough to merit a :1. Suffice to say that if you like good quartet singing, but the Down East Boys have been off your radar for the last few years, it’s time to boot your radar up again.

Traditional or Progressive

Middle-of-the-road.

Radio Single Picks

“Waiting For the Day,” “His Beloved the Redeemed,” “When I Could Do Nothing,” and “I Won’t Trade My Crown”

Album Rating: 4.5 stars

Credits

Producer: Jeff Collins. • Group members: Tony Jarman (tenor), Rickey Carden (lead), Daryl Paschal (baritone), Stuart Cary (bass). • Review copy provided. • Song list: Every Word in the Word; Hold On; I Won’t Trade My Crown; When I Could Do Nothing; His Beloved The Redeemed; Suddenly One Morning; Under the Blood; Waiting For the Day; Redemption Draweth Nigh; Amen.

It has been three years and four months since Gold City released their last mainline CD, Moment of Truth (reviewed here). In the last three years, they have had five tenors (Steve Ladd, Chris Cooper, Josh Cobb, Brent Mitchell, Dan Keeton), three lead singers (Bruce Taliaferro, Craig West, Jerry Pelfrey), two or three bass singers (Aaron McCune, Chris West, and Tim Riley), and three pianists (Josh Simpson, Roy Webb, and Bryan Elliott). This leaves baritone Daniel Riley as the only current member who was also on Moment of Truth. To sum up the last three years in a word: Tumultuous.

Work on this CD started last summer. It was originally scheduled to release at or shortly after the 2010 National Quartet Convention. But each of the six or seven personnel changes since then have delayed the release farther. This lineup has stayed together for long enough that, despite a last-minute change at the lead singer position, the album is finally out. Though the official release date is November 15th, it was released digitally on iTunes yesterday morning.

Somebody’s Coming is just what the doctor ordered. After over three years of staging largely the same songs, the group needed strong new songs every bit as much as they needed a stable lineup. This CD offers quite a few. 

Fans of their last two mainline CDs (Gold City’s most progressive two to date) will like “Somebody’s Coming” and “Lord of Life.” But even if “When Jesus Saves” wasn’t your cup of tea, both of these are good enough songs that you just might find yourself tapping your toes anyhow.

There is also plenty for fans of classic Gold City lineups to like. Heading that list is new lead singer Jerry Pelfrey, who has earned comparisons to a young Ivan Parker. Tim Riley, meanwhile, is among the greatest Southern Gospel legends on the road today; he’s turned loose on “I Get Down.”

Danny Riley, meanwhile, turns in exceptionally strong performances on two of the project’s strongest songs, “Peter, James, and John” and “Footprints on the Water.” The former is the first radio single, and the latter needs to go to radio. (On “Footprints on the Water,” check out the story behind the song from co-writers Joseph Habedank, in this interview, and Dianne Wilkinson, here.)

Tenor Dan Keeton’s sole feature is “Leave That Burden.” Don’t approach that song thinking Brian Free, Jay Parrack, Steve Ladd, or Josh Cobb. The performance brings a Michael Booth voice timbre to mind; even though the arrangement doesn’t scream “Gold City,” it’s a pleasantly mellow song.

Gold City chose the right song order. The four opening tracks are among the most likely to appeal to fans of classic lineups, while the closer is a fifth. Songs 5-8, meanwhile, are the most adventurous—but by this point, they have already won over earlier fans.

If Somebody’s Coming had been released by the lineup that started the project—Josh Cobb, Bruce Taliaferro, Danny Riley, Tim Riley, and Roy Webb—it would probably have been a five-star project. (Of course, it would have had one more incredibly strong song, Josh Cobb’s reinvention of his signature song, “I Stand Redeemed,” helping to boost the rating.) With one or two exceptions, the songs on this project were selected for that lineup, not the current lineup. That said, this lineup turns in a solid 4.5 star performance here. They prove here that they have the potential to turn in a five-star performance on material selected for their voices.

Somebody’s Coming isn’t the best CD Gold City has ever released. But it’s in the top ten. 

Traditional or Progressive

Middle-of-the-road with some tracks leaning country or progressive

Radio Single Picks

“Peter, James and John,” “Footprints on the Water”

Album Rating: 4.5 stars

Credits

Group members: Dan Keeton, Jerry Pelfrey, Danny Riley, Tim Riley, Bryan Elliott. • Review copy not provided.  • Song list: Peter, James, and John; I Get Down; Footprints on the Water; It Won’t Be Long; Showers of Blessings; Lord of Life; Somebody’s Coming; Leave that Burden; I Have an Anchor; Never Too Broken to Belong.

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

1. Concept: In the last few years, Jim Brady has cemented a position as one of the genre’s strongest writers. His songwriting hero is Squire Parsons, and he made this as a tribute to him. Over the last year, Squire has been fighting cancer, and this is a heartwarmingly magnificent example of the genre coming together to recognize one of its finest while he can still smell the roses.

2. “I Call it Home”: Karen Peck delivered a magnificent rendition of this Squire classic. Jim and Melissa Brady completed the trio harmonies. It’s genuinely a hard thing to blend with a first soprano, but Jim and Melissa pull it off with class and perfection. In fact, they sound as good backing Karen up as Karen’s group, New River, does—no small feat. 

3. “I Sing Because”: The Mark Trammell Quartet offers this standout rendition. Mark Trammell has the solo—and, astonishingly, carries it all the way through. From the Kingsmen on, it has been standard practice to hand the high chorus to a tenor singer. But Mark hits the highest recorded notes of his career, singing all the way to a C5 (C above middle C) by the end. This is also notable for being Joel Wood’s final recorded performance with the group.

4 (bonus). “I’ve Got a Reservation”: This features an all-star quartet of Chris Allman, Jim Brady, Mark Trammell, and Glenn Dustin, with Glenn on the solo. It’s as strong as you would expect from a quartet with this level of vocal talent!

5 (bonus). “The Broken Rose”: Ivan Parker turns in a new rendition so strong that it will stand as a highlight, even in this august company. Even if you’re not a fan of Ivan’s typical style, give this one a chance. You won’t be sorry.

6 (bonus). New vocals for Kingsmen, Kingdom Heirs: Rather than simply pulling a track from an old recording, the Kingsmen and Kingdom Heirs both went to the time and trouble to record new vocals with their current vocal configurations.

:1. One thing I would change: Songs pulled from previous recordings: This point must be made in a nuanced fashion, since it’s easily understandable why Jim Brady chose the route he went. There are eight new songs, and two more (mentioned in #6) with new vocals. But the remaining eight are pulled from old projects. Among the most notable are the Booth Brothers’ Song of the Year-winning “Look for Me at Jesus’ Feet,” Brian Free & Assurance’s “The Greatest of All Miracles,” and Gold City’s two songs. Gold City’s are the oldest, from 1992 and 1995; mixing and mastering techniques are so different now that it’s obvious on a casual listen that they are from twenty years ago.

Now, the nuanced point: If Jim Brady wanted to produce a five-star recording, he should have released the ten tracks that are all-new or have new vocals. But, understandably, that wasn’t the point here. He wanted to involve as many groups as possible. So it’s completely understandable why he went the route he did.

Even if there may be a few tracks you skip—a decent chance, with eighteen tracks!—there are so many strong performances on this CD that it is a must-purchase for fans of any of the participating groups. 

Traditional or Progressive

Largely traditional to middle of the road.

Album Rating: 4.5 stars.

Credits

Producer: Jim Brady. • Review copy not provided.  • Song list: He Came to Me (Booth Brothers); I Go to the Rock (Legacy Five); The Greatest of All Miracles (Brian Free & Assurance); I Call it Home (Karen Peck, Jim and Melissa Brady); I’m Not Giving Up (Gold City); The Broken Rose (Ivan Parker); I’ve Got a Reservation (Glen Dustin, Mark Trammell, Jim Brady, Chris Allman); I Sing Because (Mark Trammell Quartet); I Know the Lord (Triumphant Quartet); Hello Mama (Jim Brady); Master of the Sea (Whisnants); You’re Not Alone (Kingsmen); Always In My Hand (Debra Talley); Ever Since That Wonderful Day (Kingdom Heirs); Look For Me at Jesus’ Feet (Booth Brothers); I Stand Amazed (Arthur Rice, Jim Brady, Greater Vision); If God Be For Us (Gold City); Sweet Beulah Land (all artists).

3:1 Reviews offer three highlights of an album and one area that could have been improved. (This album has so many highlights, though, that the list is expanded to five.) 

1. Resurrection Morn: Bill & Gloria Gaither wrote this song in 1972, cutting it on My Faith Still Holds. Other than a Blackwood Brothers cut the same year, the song has been largely forgotten since. This new rendition is so strong as to prompt the listener to wonder, “What on earth took so long?”

It’s significantly slower than the original, about 92 beats per minute versus 144 beats per minute. But it works. In fact, it works so well that, retrospectively, the original Bill Gaither Trio rendition sounds oddly rushed—as rushed as “The King is Coming” would sound at 144 beats per minute!

Anyone can re-record a familiar Gaither classic, and pretty much everyone does. The Collingsworth Family digs deeper into the Gaither archives. First with “Free to Go Home” and now with “Resurrection Morn,” their research has paid off in a big way. This song is as good as new. In fact, it’s better than when it was new. 

2. At Calvary: This hymn lends itself both to a mellow interpretation and a big-ballad treatment. Here, remarkably, the Collingsworth family pulls off both. It starts mellow, but keeps building throughout the song. After the family ensemble starts the song, Kim Collingsworth sings a verse with Brooklyn and Courtney singing harmonies above her melody line, and Phil Jr. sings a verse solo. The whole family comes back in for the big ending.

3. That’s The Place I’m Longing to Go: Though the Collingsworth Family can easily pull off uptempo songs and big ballads, they are particularly adept at mellow songs. If you noted “Oh, the Thought That Jesus Loves Me” as a highlight from The Answer, this song will top your favorites list for this album. 

4. Vocal Growth: The Collingsworth Family releases a major-label CD once every two years. Between the longer release cycle and the increasing maturity of the children’s voices, they have shown growth as vocalists with every album release. Part of the Family is no exception; Phil Jr., in particular, has shown significant growth this time around. In fact, this is the first Collingsworth Family mainline release with no instrumental tracks; their voices are now strong enough to carry the entire project.

5. Vision: Most Southern Gospel mixed groups draw inspiration from the likes of the Happy Goodmans, Hinsons, and Hoppers. The Collingsworth Family aims for a different target. Their strongest influences are the Inspirational groups of the 1960s and 1970s, like the Bill Gaither Trio, Lanny Wolfe Trio, and Henry & Hazel Slaughter. Slowly but steadily, they have honed their skills and focus, and they have now hit this target. The Collingsworth Family has become this generation’s Bill Gaither Trio.

:1. One thing I would change: Selection of fast songs: The mellow songs and big ballads are consistently exceptional. The fast songs are consistently decent.

Traditional or Progressive

Middle-of-the-road, with a few tracks which lean progressive and several which lean traditional.

Radio Single Picks

“Resurrection Morn,” “That’s The Place I’m Longing For,” “I Found it All.”

Album Rating

Average song rating: 4.1 stars. CD rating: 4.5 stars.

Credits

Group members: Brooklyn Collingsworth (soprano), Olivia Collingsworth (soprano/alto), Courtney Collingsworth (alto), Kim Collingsworth (alto), Phil Collingsworth Jr. (tenor/lead), Phil Collingsworth Sr. (lead/baritone). • Produced by: Wayne Haun. • Review copy provided.  • Song list: God’s Family; Tell the Mountain; Joy Unspeakable; Jesus Is All I Need; Nothing’s Worrying Me; I Pray; At Calvary; I Found it All; Just Another Rainy Day; Praise You; That’s the Place I’m Longing to Go; The Resurrection Morn.

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

1. What About Now: This song sounds like Michael Booth took a Paul Washer sermon to Jim Brady and asked him to turn it into a song. (It’s plausible .) It challenges the listener to rely on the saving grace of Christ—not on the words of the sinner’s prayer, by themselves. It calls believers to actively live for Christ, so that we have more than just our moment of conversion to site when asked what God is doing in our lives. 

It’s sure to receive criticism, and likely to be one of those rare songs that some venues will specifically ask them not to sing. We all knew that Michael Booth was daring to the point of audacity, but cutting this song took more courage than any stunt or practical joke he’s ever pulled. Bravo!

2. See, What a Morning: This arrangement bursts with vibrant energy. Compare it with the original songwriters’ version to fully appreciate the sheer genius Lari Goss and the Booth Brothers infused into this rendition. The core band, Celtic pipes, and energetic orchestration change rhythm patterns at several different points throughout the song, making the arrangement so unique that it could singlehandedly earn the album its “schizophrenic” stylistic rating (below)! Yet it works so well that it leaves a listener familiar with earlier versions laughing aloud in sheer delight by the closing orchestral flourish. This would easily make a top five list of our genre’s all-time most successfully creative cover arrangements.

3. Acapella Outro: The opening track, “First John,” is performed acapella. After the closing song, the group revisits that opening melody for an acapella outro. It subtly leads the listener to feel that he has just completed a diverse but unified experience—not what would otherwise seem more like eleven wildly disparate individual moments.

:1. One thing I would change: Cover Songs. ”He’s So Good to Me” and “Bread Upon the Water” have both been recorded by several artists over the years. Notably and recently, the Talley Trio cut the former in 2009 and the Gaither Vocal Band cut the latter in 2006, both on major-label projects. The new renditions, both a little more progressive, aren’t terrible—we’re talking about the Booth Brothers, after all—but neither brings enough to the table to make the album stronger than it would have been with two new songs in these slots. 

Traditional or Progressive?

Schizophrenic—spans the spectrum from mellow to middle-of-the-road to quite progressive.

SouthernGospelBlog.com’s Radio Single Picks

See, What a Morning; Let it Be Known. Use the third slot to go back and single “God Did it All” from Declaration.

SouthernGospelBlog.com Ratings

Average song rating: 4.1 stars. Overall rating: 4.5 stars.

Credits

Produced by: Lari Goss. • Group members: Michael Booth (tenor), Ronnie Booth (lead), Jim Brady (baritone). • Review copy provided.  • Song list: First John (written by Lari Goss); See, What a Morning (written by Keith Getty and Stuart Townend); She Still Remembers Jesus’ Name (written by Melody Goodman); He’s So Good to Me (written by Lari Goss); When You Bow at Jesus’ Feet (written by Jim Brady); Since Jesus Came (written by Jim Brady); Masterpiece of Mercy (written by Jim Brady and Rodney Griffin); Let it Be Known (written by Jim Brady, Sue C. Smith, and Barry Weeks); The Master’s Table (written by Rebecca Peck); Bread Upon the Water (written by Bill and Janny Grein); What About Now (written by Jim Brady, Barry Weeks, and Tony Wood).