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This CD is a is a good example of a regional group that performs at professional quality. All the Way is Higher Hope’s debut project and was released by Lamp Music Group / Mountain Top Records.

The project has a pleasant mix of new and old songs. The project starts with a recently composed song, “If You Believe.” The song is written by Ricky Atkinson and was previously recorded by Ricky Atkinson & Compassion.

The next three songs are a trio of classics–the LeFevre’s “Sweeter as the Days Go By,” the Hemphill’s “Paid in Full” (not the same song as the Florida Boys anthem featuring Rick Busby), and Ronnie Hinson’s “He Can.”

Group soprano Jenna Boyd wrote five of the songs on the project, “The Moment that You Ask,” “Good to Know,” “All the Way,” “Nothing Greater,” and “Jesus Walks With Me.”

The project has three other familiar songs, the Kingsmen tune “He’s All I Need,” Carroll McGruder’s “To Me He’s Become Everything” and the classic song “When He Reached Down His Hand for Me.”

The packaging and artwork are professionally done. The songwriters are credited and copyright information is given–something that is, I believe, a legal requirement, but nonetheless something that many groups omit.

No one song on the project jumped out as ideal for being a radio single. Of course, this is not necessarily bad, because when no one song particularly stands out from the others, it just shows that the entire project is of roughly equal quality.

The project is well-done and enjoyable.

Let me just admit it forthrightly: I am fascinated by the inner workings of the Southern Gospel “industry.” With that in mind, let me point out a recent post on David Bruce Murray’s Musicscribe blog. He discusses how artists and record companies recoup their costs for producing a record.

But perhaps the most interesting part of the post is when his train of thought wanders from the original topic. Towards the end of the post, he says:

Groups that should be singing to crowds averaging 5,000 per night, 50 nights per year, with a $30 ticket price are instead singing to crowds of 1000 or less per night, 200 nights or more per year, with a $12 ticket in a concert hall or for a small flat plus a love offering at a church.

By the way, this is NOT the fault of tight fisted existing fans who often get the blame.

He proceeds to blame the unprofessionalism of Southern Gospel radio stations and concert promoters, and the lack of imagination on the part of those who market (most) Southern Gospel groups.

While acknowledging that he has a point, let me observe one other thing. Concerning Southern Gospel fans being unwilling to pay a $30 ticket price: When was the last time we were asked? Could it be that “ye have not because ye ask not”?