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There has recently been some controversy over changes to the Singing News chart method. During this controversy, it was questioned whether Rick Hendrix’s aggressive and successful promotion methods helped prompt the change, and how he felt about not being included. His comments on the topic were sent to me this evening:

I would like to clarify some things. Contrary to what some are saying, I have not and will not discuss the Singing News changes. I feel there is a lot of integrity amongst the board and advisory committee. I spoke to Jim Cumbee in length over several months ago when a record executive first solicited his office for this committee. I felt then and now-my artist and company are in good hands. Many of my friends are on this board. I do miss the stations that have been removed; I do love the stations that have been added. I feel my job as a promoter is to focus on just that, promoting. I feel my company has its ear to the ground. I feel Singing News and my fellow promoters are looking out for everyone. And contrary to some of the disgruntled promoters and labels excluded from the advisory panel, Rick Hendrix Company was not the reason for these changes. The board and Singing News is not and was not on a witch hunt during this process. You can stop trying to use me to insure your attacks on this board and Singing News. My only reason for making this public statement is to ask others to stop involving my company in the changes. I have a job to do for my artist. I have a commitment to promote and market. The energy I take to enforce changes, just shorts my artist those hours on the phone promoting them. I have always felt losing something is a win. A win of knowledge. It teaches us how not to lose again. So, if labels and artist feel they have lost ground. Learn the new way. Embrace change. Take it as an exciting new way to do what God has called you to do. I do not have a hidden agenda. These changes should not affect a good radio promoter. My company works the Billboard BDS spins system (Josh Turner, Vince Gill, Johnny Cash), we work the Music Row (John Conlee, Ty Herndon, Luke and Olivia) and we work Singing News(Ernie Haase and Signature Sound, Gaither Vocal Band, Young Harmony, Hoppers, Jason Crabb, Mike & Kelly Bowling, and about 45 others). So, any system will work for the new artist, older artist, established or the ones trying to build. Just go for airplay that results in chart positions. Not everyone can be included in change. Not everyone gets to make the decisions. But, being a good steward with what you have been given, is to abide by the rules and policies and doing “THE BEST” job you can for your artist.

Rick Hendrix

Based on the promotional efforts put into this project, I was expecting it to be a major (Daywind) release. While I was inclined to be slightly disappointed on first listen, it turns out the group released it as a table project. Once I found that out, I was pleasantly surprised at the project’s quality. While this project isn’t everything that a major-label release would be, it is well above average for a table project. Like most table projects, it contains several familiar songs in familiar arrangements, but it also contains several new songs.

• “Know So Salvation.” The title track was written by Dianne Wilkinson and Scott Inman. It is reminiscent of the Cathedrals’ “Can He Could He Would He”–a tongue-twister that has so many similar-sounding phrases that it would appear to be hopelessly confusing, except for the little fact that it actually works.
• “O! Say But I’m Glad.” This rendition of the song features bass singer Glenn Dustin, and reminds me of today’s Blackwood Brothers’ rendition, featuring their bass singer Randy Byrd. Both arrangements have the bass solo in E-flat, and have a similar tempo and feel.
• “I’m Glad that I Know Him.” Lead singer Scott Fowler is featured on this new Squire Parsons song.
• “Go Right Out.” This fast-paced convention song was a good pick for a table project and should also go over well in live concerts.
• “There is Hope.” Scott Fowler is featured on the song. Since the album–regrettably–has no songwriter/publishing information, I don’t know who wrote it.
• “I Go to the Rock.” The group’s rendition of this Squire Parsons [EDIT: not Dottie Rambo] song features baritone Scott Howard, lead singer Scott Fowler, and tenor Frank Seamans through the fast-paced modulations. This song should really shine live.
• “Why.” This arrangement bears a striking similarity to Southern Sound’s original (2004) rendition of the song. The song was written by Neal Travis of Princeton, KY.
• “Heaven’s Jubilee.” Legacy Five’s fast-paced rendition of this Speer Family classic fits in nicely at this point in the CD, between several mid-tempo songs.
• “I’m So Glad I Found Jesus.” Scott Howard is featured on this song, penned by Mark Bishop.
• “Where No One Stands Alone.” Glenn Dustin is featured on this classic. Oddly enough, this is a song also currently being sung by Randy Byrd of the Blackwood Brothers. Like track 2, the bass solo on Legacy Five’s arrangement is in the same key and tempo as the Blackwood Brothers’ rendition. Despite the similarities, though, Legacy Five’s rendition of this song is hardly a copy, since it adds a tasteful orchestration.
• “I Stand Redeemed.” This arrangement is almost as good as the original, recorded by original Legacy Five tenor Josh Cobb on Strong in the Strength (1999). It was taken down a step (from F-G to Eb-F) to allow for Frank Seamans’ slightly lower range.

The nature of a table project–re-recording familiar songs–almost necessitates comparison to previous renditions of the songs included. Leaving aside those comparisons and taking the songs on their own merits, the album is a pleasant representation of what Legacy Five can do without a label’s backing.