SouthernGospelBlog.com

Check out David Bruce Murray’s most recent post at Musicscribe, on promoting his blog with a vanity license place. I think it’s safe to say that’s a Southern Gospel first…and no, I have no plans of following in his stead any time soon!

One of the readers on my blog commented that after I stopped by the Signature Sound message boards, an explanation was posted as to why Roy Webb could not make the DVD taping:

An on going bad situation worsened this weekend….. Roy’s estranged father has been fighting cancer and is right at deaths door. Roy said it is very VERY bad! In the light of the situation and the fact that there are years and years of “issues” between them that need to somehow come to a close “Real Fast” He (Roy) felt the right thing to do was come off the road and “Deal” with these “Real Issues” of life, death, family and healing.

All the guys and the families of EHSS support Him and request prayer for Roy and his family as they wade through these uncharted waters.

Ernie

There we have it.

Though I was aware of the fact that Ernie Haase and Signature Sound and the Gaither Vocal Band were taping a live joint DVD on Wednesday, I didn’t watch it online since I’m not a $65-a-year member of the website.

But I did just go over to the Signature Sound message boards to gauge fan reactions. It seems that the general feel over there is that it was a nice concert but more subdued than they expected.
The big news of the evening is that pianist Roy Webb was absent. There were several different rumors about health problems, but no official word as to what caused the absence.

Given the importance Signature Sound places on their live videos, the health issues (or whatever it was) must have been pretty serious for Roy to skip.

Story developing…

Singing News posted a new upgrade to their website yesterday–sound clips of the top 10 hits on their radio airplay chart as well as sound clips of the top 10 new releases.

This is an encouraging step toward bringing their website to the next level.

It has been noticed that several Southern Gospel artists are moving toward using cardboard packaging as opposed to the traditional CD jewel case. Averyfineline did a post on this not too long ago, and I’ve been watching the trend myself with interest.

What I had not figured out yet was why artists did this. Sure, secular artists might do it for eco-friendly reasons, but for some reason I wasn’t particularly expecting LordSong, the Collingsworth Family, and Poet Voices to be at the forefront of the environmentalist movement. (Parenthetically–it’s one project each for LordSong and Poet Voices, and two CDs and a DVD for the Collingsworths.)
Observing that two of the three artists who have used cardboard packaging (Poet Voices and the Collingsworth Family) are Crossroads artsts, I decided to email Mickey Gamble and ask why some Crossroads artists were moving to cardboard packaging, and if he viewed it as a fad or as the front end of a general trend. He replied:

There is no big plan, one way or the other.  Some artists are preferring because of space, some environmental (although they are only eco-friendly if they use recycled paper which is a very expensive proposition), some just think it is more artful packaging.  We try to please the artist.

Nearly all of the posts I make are either positive or neutral reporting of facts. Here’s one that is intended to be constructive criticism.

Quite simply, I’ve had enough of tenor jokes that refer to the tenor as effeminate, i.e. “Sister Steve.”

Sure, a tenor sings high, and some trained tenors can hit notes that some altos can’t. But with a few exceptions of men with very soft voices, anyone used to Southern Gospel can tell in an instant whether it is a male voice or a female voice hitting the high notes. (Granted, a few female vocalists have worked on their overtones to bring an almost-masculine vocal quality to their part, but I have yet to hear a “Brother Lily” or “Brother Libbi” joke. So I’m just addressing the “sister” problem.)

The jokes that refer to “a man who sounds like a woman” or “sister [insert tenor's name]” were funny thirty years ago, when Jim Hamill was ribbing the Kingsmen tenors with the line and audiences were hearing it for the first time.

But today, just about every Southern Gospel concert-goer who has been to three or more concerts has heard that line. And since SG fans tend to be loyal both to the group and the genre, that’s most SG fans. They (or shall I say “we”) laugh to be polite, but I do notice that the laughter is less enthusiastic than when an emcee makes a joke unique to the group.

With all the other reasons I have given, I can’t avoid the main reason. I considered beating around the bush, but decided to just address it head-on. In today’s society, homosexual behavior has become more prevalent and openly admitted. Some but not all homosexual men think of themselves as women and adopt effeminate mannerisms, including but not limited to speaking / singing in a high voice. [**Sentences edited upon request--see comments below.**] But this problem is too real–too much a major cultural problem right now–for me to enjoy a joke about it.

I know of quite a few group members who read this blog at least occasionally, and this is an appeal to you: Please find other things to joke about. In today’s culture, it isn’t funny anymore.

And to the readers of this blog: If you agree with me, say so in the comments!

Thursday night, Ascension Day, I had the chance to see the Dixie Echoes live and in person. Despite the fact that Stewart Varnado is my favorite pianist currently on the road, this was my first time to see the group. It isn’t entirely my fault; this was their only Ohio concert in 2007.

The church’s choir opened with two songs, “Soon and Very Soon” and “Get All Excited.” The choir was even more interesting to watch than to listen to, since nearly every single one of the approximately twenty members looked like he or she had a quite distinct and pronounced personality. One looked like an intellectual, another like an actor, and a third like she could be quite cross when she had to. (Now why did I say that? I am getting off track here.)At any rate, the choir exited to applause and the Dixie Echoes took the stage. They opened with a trio of fast quartet songs, “Welcome Home My Child,” “If Jesus is There,” and “Up to the House of Prayer.”

Scoot Shelnut (Randy Shelnut Jr.), the baritone, was featured on “New Born Feeling.” His father, Randy Shelnut Sr., the group’s lead singer, sang “Praise the Name of God.”

While the Dixie Echoes record good CDs, they are at their best in the live setting. That statement is best illustrated by Stewart Varnado’s piano solo on “Just a Little While,” which was easily one of the evening’s highlights, and also prompted the evening’s first standing ovation.

Bass singer Tracy Crouch was featured on two songs, “Roll Away Troubled River” and “River of Jordan,” before the group pulled out the red-backed Church Hymnal to do “The Last Mile of the Way.”

Randy Shelnut sang the song “Little is Much” powerfully. After the song had ended to an enthusiastic response, they came out in front of their microphones and did an acapella encore. They were still close enough for there to be a bit of microphone pickup, but the acapella / no microphone effect was stellar and took the song to another level.

They sang an uptempo rendition of “Working on a Building” before heading to intermission. By the way, when I say “uptempo” here, I mean “so fast that you don’t really catch any of the words–but you’re having such a great time you don’t realize that until the song is over” uptempo.

After the intermission, they came back on stage with Tracy Crouch singing “Ole Brother Noah.” For whatever reason, he did an alternate high version on the line “God had Shut the Door,” singing it an octave above where he usually sang it. As others have said, Crouch “knows his limits and stays within them,” which is commendable even when it’s noticable.However, Crouch was warmed up enough by the next song to rattle the floor with some pretty low notes (as in low C/B-flat area) on “Bend Away Down Low.”

Scoot Shelnut sang “Until You’ve Known,” an old Happy Goodmans song that is a perfect fit for his voice and delivery style.

After a product pitch (delivered by pianist and group comedian Stewart Varnado), Randy Shelnut Sr. sang “Suddenly a Rainbow,” a song that had been requested by a member of the audience.

By this point, tenor Dallas Rogers, who hadn’t been featured on any particularly taxing songs, was warmed up enough for two consecutive solos. The first was a great rendition of “If We Never Meet Again,” delivered in a way that would make Archie Watkins proud (and that is meant as a compliment).

The second stands with “Little is Much” and Varnado’s piano solo as one of the evening’s highlights. Dallas Rogers sang “Oh What a Savior.”

Yes, I said that was a highlight of the evening.

Most Southern Gospel fans who have heard multiple groups have heard any number of tenor singers sing the song. But Southern Gospel fans tend to point to either Ernie Haase’s version or Rosie Rosell’s version of the song as the definitive version of the song. More than with most other songs, fans of one or the other–and I’m a Haase fan here–tend to say that no other rendition is in the same league as their favorite version of this song.

Well, this is partially an initial impression, but I have had two days to think it over. Let me say here that I think Dallas Rogers’ rendition is in the same league as Ernie Haase’s. Rogers does the song a half-step lower, F instead of F-sharp. (No, I don’t have perfect pitch–I asked Stewart Varnado what key it was in.) Like Haase, Rogers has picked a key where he actually increases power and volume as he authoritatively hits the higher notes.

Now I’m not saying his rendition is already at the same level as Ernie Haase’s. Haase has been singing the song for a quarter century–if I’m not mistaken, longer than Rogers has been alive. But if Dallas keeps working on the song, he could be the standard-bearer for the third generation of tenors singing that song.Rogers could improve his rendition by carrying the melody throughout the chorus, rather than handing two lines off to the rest of the group for a breather. But I do understand that he does not want to wear his voice out prematurely.

After a high point like that, I wouldn’t have felt like the concert was abbreviated or too short if it had stopped then and there. But the group did two more songs featuring Randy (”On the Wings of A Dove” and “How Great Thou Art”) before they thought they were done. But the church’s pastor asked them to sing one more song after the benediction, and so they featured Scoot on “Old Fashioned Meeting” to close out the night.

Back forty or fifty years ago, two-microphones-and-a-piano quartet singing was standard, but today it is unique. It is a nice and refreshing change once in a while to take a break from stacked vocals and over-amped soundtracks and listen to Southern Gospel the way it used to be.

Singing News has posted some minor upgrades to their website, www.singingnews.com. The most significant is making some freely available feature articles and supplements to feature articles–things which were previously only available via the print magazine.

Like all forms of print media, they struggle with the tension of providing relevant content in the Internet age and providing meaningful content in the print publication that still makes it worth a subscription.

They promised some upgrades this year, and bit by bit, we are seeing several encouraging improvements.

Dinana on the Singing News forums is reporting that Gerald Wolfe is going to take over hosting duties at this year’s pianorama. Beyond doubt, he’s a good pick as an emcee; the only surprising part is that he’s not particularly known for his piano skills right now, being primarily a vocalist, and I’m not sure if he’s even taken part in past pianoramas.

That said, there aren’t too many group leaders / emcees who are also Pianorama-quality pianists, and thus Wolfe makes a logical pick.

To say the least, this will be interesting to watch!

EDIT: Now it’s official.

I’ve had a day to think it over, and I decided to go ahead and post the top-5 Singing News Fan Awards list circulating right now. Obviously, I’m not going to be 100% certain until Singing News actually prints their ballot, but whether or not anything will change this list sure makes for some interesting discussion points.

Female
Bean, Peg McKamey (McKameys)
Easter, Sheri (Jeff & Sheri Easter)
Hopper, Kim (Hoppers)
Stuffle, Libbi (Perrys)
Whisnant, Susan (Whisnants)
Male
Fowler, Scott (Legacy Five)
Haase, Ernie (Ernie Haase & Signature Sound)
Parker, Ivan (Soloist)
Rice, Arthur (Kingdom Heirs)
Wolfe, Gerald (Greater Vision)
Tenor
Free, Brian (Brian Free & Assurance)
Haase, Ernie (Signature Sound Qt)
Seamans, Frank (Legacy Five)
Sutton, David (Triumphant Quartet)
Waldroup, Jason (Greater Vision)
Lead
Dibler, Matt (Inspirations)
Fowler, Scott (Legacy Five)
Inman, Clayton (Triumphant Quartet)
Rice, Arthur (Kingdom Heirs)
Wolfe, Gerald (Greater Vision)
Baritone
Anderson, Doug (Signature Sound)
Griffin, Rodney (Greater Vision)
Howard, Scott (Legacy Five)
Inman, Scott (Triumphant Quartet)
Trammell, Mark (Mark Trammell Trio)
Bass
Bennett, Eric (Triumphant Quartet)
Duncan, Tim (Signature Sound Qt)
Dustin, Glenn (Legacy Five)
Holcomb, Mike (Inspirations)
Stuffle, Tracy (Perrys)
Alto
Easter, Sheri (Jeff & Sheri Easter)
Hopper, Connie (Hoppers)
Stuffle, Libbi (Perrys)
Talley, Debra (Talley Trio)
Whisnant, Susan (Whisnants)
Soprano
Fortner, Connie (McKameys)
Gooch, Karen Peck (Karen Peck & New River)
Greene, TaRanda (Greenes)
Hopper, Kim (Hoppers)
Talley, Lauren (Talley Trio)

Young Artist
Fortner, Eli (McKameys)
Free, Ricky (Brian Free & Assurance)
Habedank, Joseph (Perrys)
Inman, Scott (Triumphant Qt)
Sweatman, Dustin (Mark Trammell Trio)
Horizon Individual
Barker, Grant (Kingsmen)
Lile, Jeremy (Brian Free & Assurance)
Singletary, Josh (Tribute Qt)
Sweatman, Dustin (Mark Trammell Trio)
Trammell, Nick (Perrys)
Horizon Group
Ball Brothers
Browns
Crystal River
Paid In Full
Young Harmony
Musician
Bennett, Roger (Legacy Five)
Collingsworth, Kim (Collingsworth Family)
Holt, Matthew (Perrys)
Stice, Jeff (Triumphant Qt)
Webb, Roy (Ernie Haase & Signature Sound)
Songwriter
Bishop, Mark
Brady, Jim
Crabb, Gerald
Griffin, Rodney
Wilkinson, Dianne
Album
Get Away Jordan (Ernie Haase & Signature Sound)
I Know (Inspirations)
Live In Music City (Legacy Five)
Revival (Gold City)
Triumphant (Triumphant Qt)
Group of the Year
Booth Brothers
Ernie Haase & Signature Sound
Inspirations
Legacy Five
Triumphant Qt

Song
Give It Away Gaither Vocal Band
He Will Hide Me Perrys
Heaven’s Hero Greater Vision
Hey Jonah Triumphant Qt
I Have Not Forgotten Inspirations
I Will Trust You Lord McKameys
If It Takes A Valley Brian Free & Assurance
My Anchor of Hope Kingdom Heirs
Once Upon A Cross Mark Trammell Trio
Strike Up The Band Legacy Five

Clearly, the hottest groups in Southern Gospel right now are Signature Sound, the Inspirations, and the Triumphant Quartet, in roughly that order. Triumphant seems to have a strong enough fan base to be nominated for top 5 in virtually every category in which they are eligible, year after year. They must be nearing a record for most consecutive top-5 nominations without any win I can think of. If they can hold their current lineup together for the next few years, and if any of the select few groups more popular than they are have major lineup changes, I could easily see them starting to win awards right and left. But as it is, this steady track record of being nominated for just about everything and winning just about nothing leaves me wondering if it won’t happen again.

Legacy Five, of course, released what is probably their strongest record yet, Live in Music City, in this year’s eligibility period. Add that to a bit of sympathy vote with Roger Bennett’s passing and I wouldn’t be shocked to see them take home a few awards this year. I still plan to vote for Roger Bennett for one last time for favorite pianist this year.

As always, there are at least four strong albums in the top 5. The Inspirations’ album–no matter the song selection or production details–always stands a chance of winning, and Signature Sound’s could always win, too. But it wouldn’t shock me to see Legacy Five’s Live in Music City win, either. This is just my opinion, but they might be able to seal the deal by sending “I Have Been Changed” to radio.

Of course, after last year’s tie, all eyes are on the Inspirations and Signature Sound. Probably a big factor this year will be which way disappointed Perrys and Greater Vision fans go: To the Inspirations’ side of the aisle because of their clothing and presentation, or to Signature Sound’s big ballads and quartet songs. Of course, there is a third possibility: That Greater Vision and Perrys fans would tend to prefer Triumphant (most similar musically) or Legacy Five (popular personalities), and that this influence could propel one of the two into the top award.
Well, that’s enough commentary, except for one more detail. I haven’t made up my mind on some of the categories yet, but I am definitely planning on voting for Joseph Habedank as Young Artist. As I’ve said before, I think he’s a great singer and has taken the Perrys up a level.

It’s pretty much a given that I always vote for Libbi Stuffle for Alto and Female Vocalist, and I’ll add Young Artist this year. If Perrys bashing goes too much farther, I just might react by voting a straight ticket! I’m waiting until I hear their next album to decide whether or not I think they are the best they’ve ever been, but based on their NQC performace last year, I am strongly inclined to think that they are.