SouthernGospelBlog.com

This site was in need of some early spring cleaning, so I made a few changes last night. First, I combined the About, Contact, and CD Review policies into one page.

This site’s photo gallery is now officially a part of our official Facebook Page, www.facebook.com/southerngospel (which, as a public page, does not require an account or password to view the photos). For future reference, the link can now be found on the links page.

Finally, I have pruned and re-arranged the sidebar elements. For those of you that use either, do you use “Categories” or “Recent Comments” more frequently? I’ve experimented with making Recent Comments the more prominent of the two, but this would be pointless if “Categories” is used more frequently.

Also, does anyone use the “Archives” area (presently lower right-hand corner)? Since it keeps getting one line longer each month and taking up more of the screen, I am considering removing it.

At this year’s National Quartet Convention, Mark Trammell was able to spare a half-hour for an interview. He is one of Southern Gospel’s all-time best-loved baritone singers, and with good reason: He was with the three most popular quartets and the most popular trio of his generation—the Kingsmen, the Cathedral Quartet, Gold City, and Greater Vision. Since 2002, he has led his own group, the Mark Trammell Trio. In this interview, he shares about his testimony, his call to the ministry, and how running his own group enables him to fulfill that call.

A formatted version of this interview is here. A plain text version is below.

DJM: I know many people have heard the story of how you became involved in Southern Gospel music, but for those who haven’t, could you start by saying what got you interested in Southern Gospel, as briefly or in depth as want?

Mark: I’m the youngest of four Baptist preacher’s kids. When I was a little boy, my dad would have regional groups from around the Little Rock, Arkansas area come in and sing for us during homecoming and things like that. And I just fell in love with this music.

By the time I was eight years old, I guess, I was going to the Robinson Auditorium in Little Rock, Arkansas, about once every six months, to hear groups like the Happy Goodman Family, the Florida Boys, and the Dixie Echoes.

When I got a little older, the Inspirations came to town. Mike Holcomb and I were just talking this week about the fact that the first time I met him was in 1972. He had just gone to the Inspirations. My dad was sponsoring a thirty minute radio program on Saturday mornings for nothing but Inspirations music at that time. So I got to meet Mike, and that was 1972. So this many years later, here we are. I don’t think neither he nor I realized that it had been thirty-seven years, but it has.

So I grew up in and around this industry. I sang in regional groups for a couple of years.

DJM: Which groups were they?

Mark: The New Horizons, the Masters Quartet (out of Little Rock), and the Arkansas Boys. The Arkansas Boys was comprised of myself, my brother Jerry (who sang with the Florida Boys just after that), and Vaughn Thacker. That was the original bunch.

Then I went from that to the Senators, when I was 15.

DJM: Now were you singing with these groups, playing bass guitar, or both?

Mark: Singing. Actually, with New Horizons, I played the bass. I sang with the Masters Quartet. I played the bass and sang in the Arkansas Boys. Those were the groups I was affiliated with around home, before going on the road.

‘Course, I took a Continental Trailways bus back and forth from Memphis to Little Rock every weekend, when I joined the Senators. We would be out every Friday, Saturday, and Sunday. The short version of the long story is that I literally continued going to school every Monday through Thursday. Thursday night or Friday morning, I’d catch a bus to Memphis. I’d get on the Senators’ group bus, and we’d get out of town.

DJM: Now were you singing or playing bass for the Senators?

Mark: I sang for the Senators.

DJM: Baritone?

Mark: I sang lead, actually, with the Senators.

DJM: Did you sing baritone with the other local groups, or did you sing lead as well?

Mark: I sang baritone with the Masters and with the Arkansas Boys.

DJM: The Senators—was this the same group Coy Cook started?

Mark: Actually, this was just after Coy sold the group to Ray Shelton. And Ray is who I worked for. Ray kept it—in fact, he still owns that name, I’m sure.

Tim Shelby was the tenor singer; Ray sang baritone, I sang lead, and Rick Fair sang bass.

DJM: Really? The same who was with Palmetto State some years later.

Mark: Yes.

And Vaughn Thacker played the piano for them.

DJM: Did you do any recordings for them?

Mark: I did one called Stand By Me. And by that time, Big Jim Hamill had come into the picture, and I went to play guitar and singing, both.

Big Jim had left the Kingsmen. Foxy and Jim are in Heaven now, so we can tell the real story, because it’s actually funny. Big Jim had got mad because they weren’t taking vacation one summer. So Foxy said, “Go take one!”

And he said, “I think I will.”

And he just stayed gone for about a year before he went to the Kingsmen.

DJM: When Squire was with them?

Mark: Squire was still there. I think they did one or two albums without Big Jim.

DJM: Just in Time, I think?

Mark: Yes. That’s got Parrack, Parsons, Ray Dean, Foxy, and Nick Bruno.

Of course, I went from the Senators back to finish my senior year in high school. During my senior year, I would travel frequently with the Florida Boys. I wound up playing bass with the Florida Boys when I was on trips with them, when Les found out that I could, and it gave him a break. Many years later, I’m really grateful that he let me do that.

In fact, the first time I was on the Gospel Singing Jubilee, I was playing bass for the Florida Boys. During Thanksgiving break, I had a week off, and I went up there to be with my brother, who was still singing tenor for them at the time. I wound up having the opportunity to be on the Gospel Singing Jubilee. So that was a big thing for me, back in those days.

DJM: So did you just fill in here and there, or were you regularly with them for a while?

Mark: No, I just hung out with them, and I’d ride the bus periodically. But that was a lot of fun.

DJM: So you had already gotten to know Big Jim Hamill during your Senators days. Was that the connection that brought you on board the Kingsmen bus? (Continue Reading >>>)

Today’s random photo of the day: Sony, who writes this site’s Sunday devotionals, can be seen in the background of this photo from the official Mark Trammell Trio’s website photo gallery.

Mark Trammell Trio

I found out about on Sunday that Austins Bridge would be in my hometown the following evening. So I decided to check the concert out. The concert, interestingly enough for a group billed as Southern Gospel (and recording with Daywind), was at a local mega-church.

Probably the high point of the concert (in more than one sense!) was their tenor singer. Toby Hitchcock is an incredible talent, on a par with Wes Hampton. He uses less head tone than pretty much any other tenor out there.

I had intended to post a set list, as usual, but the sound was so loud that I was unable to decipher the lyrics to several of the songs. Of the songs I could understand, particularly memorable were “The Pizza Song” and the group’s rendition of “I’ll Fly Away.”

The baritone and lead singers played various acoustic, electric, and bass guitars. A drummer filled out the live band. There was also a piano on stage, and though a reference was made to the fact that the lead singer could play piano, it went unutilized.

Seeing the group live can rightly be described as an unforgettable experience.

My journey with Liberty Quartet started several years ago, when I started hearing good things about them from a number of west coast friends (particularly John S. in California and Elysse B. in Idaho). At the time, I chalked up the rave reviews to local pride. So when I met them at NQC 2007, and they gave me a copy of their hymns CD,I politely thanked them, and promptly put it in my stack of CDs to review . . . at the very bottom. It ended up being December 2007 before I got to that CD—and promptly gave it a five-star review (here).

But no matter their talent level (or if they are full time), it’s not easy for a group that is literally off the beaten path to attract top-notch songs from top-notch songwriters. Between producer Phil Cross and then-baritone/pianist Doran Ritchey, they managed to come up with a number of strong songs on each project, but not enough to equal that five-star rating.

Until now.

The Journey proves that creative and progressive don’t have to be synonyms in the Southern Gospel thesaurus. Instead of relying on soundtracks to create a fresh sound, Liberty does it with their vocal arrangements. When was the last time you heard someone put a fresh spin on “He Came Down to My Level?”

The project starts out with the title track, easily one of its most memorable songs. The song is kicked off by an “almost exotic” drum solo (hat tip, Aaron Swain), before piano and orchestra kick in to carry this uptempo track along.

Nine of the twelve tracks are new songs. Besides “He Came Down to My Level,” the other two classic tracks are “Till There Was Jesus” by W. Elmo Mercer and “Welcome to Heaven” by Phil Cross & Carolyn Cross English. The latter track is a straight-ahead big ballad featuring lead singer Dan Gilbert that isn’t remarkably different from the Singing Americans original. But in this case the old adage “if it ain’t broken don’t fix it” applies, and it should be a concert favorite for the group.

For a second straight recording, Liberty Quartet and a major east coast group both simultaneously cut a Rodney Griffin song. With Amazed and Triumphant Quartet’s Everyday, it was “Amazed at the Change.” For this project, Liberty and Tribute Quartet both cut “I Love Living In Grace.”

Former Liberty Quartet baritone / pianist Doran Ritchey was still a part of the group during the recording process; he contributed five of the project’s songs and did a guest solo on “The Welcome.” He has since left to be a part of Phil Cross’ musical endeavors (including the group “Crossing”), but hopefully he will continue to send some of his best tunes to Liberty.

This project introduces new Liberty Quartet baritone Jordan Cragun (who, as has been mentioned before, is Kim Collingsworths’ nephew). He is featured on “I Made it Mine” and “In the Day of the Lord.”

Keith Waggoner unfortunately only had one solo, on “He Came to Me.” Bass and manager Royce Mitchell is featured on three, “He Came Down to My Level,” “Till There Was Jesus,” and “Too Long.”

Lyrics are included in the CD booklet. One would think this would be default in a lyric-driven genre, but unfortunately, it’s not, so it’s worthy of mention.

This project easily earns Liberty Quartet another 5-star rating—their second on this site, and first for a recording of new songs.

Rather than just write about it, though, I have received permission from the group to feature several tracks in the flash player for the month. So , for the remainder of this month, enjoy “The Journey,” “In The Day of Our Lord” (featuring Jordan Cragun), “God Made a Way” (featuring Dan Gilbert), and “Till There was Jesus” (featuring Royce Mitchell).

Rating: 5 stars. ♦ Average song rating: 4.33 stars. ♦ Group members: Keith Waggoner (tenor), Dan Gilbert (lead), Jordan Cragun (baritone), Royce Mitchell (bass). ♦ Produced by: Doran Ritchey, Phil Cross, Roger Talley. ♦ Available from: Group. Review copy provided. ♦ Song list: The Journey; He Came Down To My Level; I Made it Mine; I Love Living in Grace; Till There Was Jesus; God Made a Way; He Came to Me; The Welcome; Too Long; He’ll Come Through; In the Day of the Lord; Welcome to Heaven.

This past week, I was reminded of the power of praise in the midst of valleys. It seems like when we’re feeling low, the last thing we want to do is praise God. Yet Scripture is full of commands to do just that.

“Rejoice evermore. In every thing give thanks: for this is the will of God in Christ Jesus concerning you.” (1 Thessalonians 5:16, 18)

This is probably the hardest passage to apply; yet if you are trying to discern God’s will for your life, start here. Praise has a way of lifting us up out of the valley so that we meet God and can hear His voice. Why stay in the valley of despair if you don’t have to?

I’ve been going through a very dark valley lately so I’m speaking from experience.  However, as I begin to thank God for the good things that He is continuing to do, my burden begins to feel lighter and I begin to see sunlight at the end of the tunnel. Although there are times when we fail to see God’s goodness, there’s never a time when He isn’t good. I think the greatest blessing in trials is that they force us to cling to God’s hand. It occurred to me the other day that if God were a man, I would be crushing His hand right now with how tightly I’m clinging. Slowly but surely, however, I’m lightening up and will once again get to the place where, instead of me fearfully clinging (even kicking and screaming), I’ll be walking beside Him allowing Him to lead me where He will and then that joy will return and I will have a deeper faith and trust in Him which this time is designated to produce.

“My brethren, count it all joy when ye fall into divers temptations; knowing this, that the trying of your faith worketh patience. But let patience have her perfect work that ye may be perfect and entire, wanting nothing.” (James 1:2-4)

About a year ago, several former LeFevres family and group members gathered for a special concert to commemorate Eva Mae LeFevre’s 90th birthday. Though nobody there knew this, it ended up being Eva Mae’s final recorded performance. Performances from the former members are interspersed with several numbers performed by Eva Mae, with piano accompaniment by her long-time pianist, Mark Fuller.

Janet Paschal opened the concert with “Rock of Ages Hide Me Again.” After her song, the film cut to a conversation between Janet and Singing News’ Les Butler about how Eva Mae had taught her to be a professional.

Eva Mae sang two numbers, “Mansion Over the Hilltop” and “I Can Call Jesus Anytime,” with a video clip of Les Butler talking with her about her upbringing between the two songs.

After a video introduction from Eva Mae, her nephew Mike LeFevre and his group (LeFevre Quartet / Priority) sang the classic song “Must I Go, and Empty Handed” (penned by her brother-in-law Alphus LeFevre).

Former LeFevres member Ron Hutchins was featured on a brief interview segment before the next number, “Child of the King,” featuring Eva Mae’s pianist, Mark Fuller, singing the solo, with Eva Mae joining on the choruses. On the final chorus, an unidentified third voice (Janet Paschal’s?) joined in a third harmony part.

Ron Hutchins, Eva Mae, and Janet Paschal sang “Leave it There.” Janet had her part spot-on from the first note, and Ron picked his up quickly.

The LeFevre quartet returned for “Without Him.” Mike LeFevre sang the first verse; tenor Gus Gaches had the second, and took the melody through the end.

The Talley Trio kicked off the final song, “Sweeter as the Days Go By.” After the second chorus, all the singers featured at one point or another in the program joined them for the ending.

The video was finished and prepared for release before Eva Mae’s passing this May. Though not originally intended as a tribute, it serves as a good one—and perhaps as a good introduction to fans newer to the genre, just now discovering the over 70-year-ministry of this legend.

Rating: 4 stars. ♦ Produced by: David Staton. ♦ Available from: Label. Review copy provided. ♦ Song list: Rock of Ages Hide Me Again (featuring Janet Paschal); Mansion Over the Hilltop; I Can Call Jesus Anytime; Must I Go And Empty Handed (featuring LeFevre Quartet / Priority); Leave it There (featuring Eva Mae, Ron Hutchins, Janet Paschal); Without Him; Sweeter As the Days Go By (featuring the Talley Trio, the LeFevre Quartet, Janet Paschal, Ron Hutchins, Mark Fuller, Eva Mae).

Crossroads has posted the track list to NQC Vol. 9 (the highlights CD/DVD from this year’s NQC) on their website:

• O It Thrills Me     (Hoppers)
• I Want To Know That You Know    (Greater Vision)
• Cast Your Bread Upon The Water    (Gold City)
• Mountain Mover    (Talley Trio)
• God Saw A Cross     (Kingsmen)
• Favorite Song Of All    (Ivan Parker)
• Hold On        (Dove Brothers)
• Ephesians 1        (Karen Peck & New River)
• Trading This Old Cross For A Crown    (Booth Brothers)
• Jesus Made A Believer Out of Me    (Kingdom Heirs)
• God Will Make A Way    (Janet Paschal)
• Jesus Will Pick You Up    (Brian Free and Assurance)
• Bonus: Hold On (Greenes) from Phil Cross’ Song of a Lifetime
• Bonus: Champion of Love by former Cathedrals members

While previous years’ releases included fifteen or more songs (plus bonus tracks), that list is now down to twelve songs. The most surprising omission was the Perrys’ “If You Knew Him.” Not as surprising (but just as disappointing) is the absence of the Gaither Vocal Band and Signature Sound. Their appearance would particularly help bookstore sales. Legacy Five also isn’t on the list, but that’s a little easier to explain, since Frank Seamans’ departure had been announced, and Gus Gaches will have started by the time the project comes out. Finally, the new Inspirations lineup doesn’t appear. It would have been nice to have the new lineup captured on film. (EDIT: I knew I was forgetting at least one I meant to list. A reader reminds me that the Male Quartet of the Year, Triumphant, isn’t featured, either.)

There seems to be an emphasis on including current radio singles in the song list. That’s not inherently a bad thing, but neither is it the best. It would almost certainly help sales if the most moving and memorable moments were selected—even if they were only selected from the same groups that would otherwise appear on that year’s project. A few examples: Heading that list would be “Save Me a Seat” from Brian Free & Assurance’s final set of the week; BFA bass Jeremy Lyle turned in an unforgettable performance as a tribute to his father, who had just been buried that morning. Also high on that list would be the original Couriers’ rendition of “Statue of Liberty” from Song of a Lifetime; when they were introduced, there seemed to be some audience apprehension as to whether they still had “it,” but that question was answered by the first chorus, when the audience was on its feet. One other worth mentioning would be the Kingdom Heirs’ performance of “He Locked the Gates” at their final set of the week; though it got a surprisingly lackadaisical response earlier in the week, it got the strong response it deserved later in the week.

Make no mistake, the right choices were certainly made on several songs, “God Saw a Cross” (Kingsmen) and “Cast Your Bread Upon the Water” (Gold City) being two of the best picks. But less focus on current radio singles and more focus on the most memorable moments would better capture the essence of the event.

A full film crew is only on hand for the second half of the week, so Thursday, Friday, and Saturday are the days from which the highlights are selected. Suppose NQC gave each person who purchased a ticket for those days a ballot for their favorite moment on mainstage, which could be turned in at the end of the week. These ballots could then be used to select the highlights.

One final idea, that may be a few years ahead of its time. Footage from at least the last decade is presently collecting dust in someone’s archive. Since there is already a live edit available for the video and audio footage, it should be a fairly simple cut-and-paste job to split each song into separate tracks.

Suppose the power to decide which highlights are worth purchasing was given to the fans. Suppose Crossroads and NQC made individual videos of each song available for $1/song, $5/set, and $25-$35/night. Most of the contractual framework with the different labels is already in place. (It might just not be possible for the Gaither footage to appear, but even having everything else available would be incredible.) Bandwidth may be an issue if the idea takes off, but should be in place within the next few years.

What would make this even more incredible is if footage from past years is also released. Who wouldn’t jump at the chance to purchase the complete final mainstage appearances of individuals like Vestal Goodman, George Younce, or Jake Hess, or of groups like the Cathedrals, Florida Boys, Happy Goodmans, or Poet Voices? Or to revisit the Kingsmen in their Jerry Martin days, Gold City in its Trammell days, or the Kingdom Heirs in their Sutton/Bennett days?

In the words of Bill Gaither . . . why not?

In his post introducing Gus Gaches as Legacy Five’s new tenor singer, Tim Parton promised an interview with him. That interview has now been posted, and it has some fascinating insights into Gaches’ background.

http://legacyfive.wordpress.com/2009/10/29/discussing-gus/

…hear Gus say it himself.

This video is from the archives, from NQC 2008 (the first year I did these video greetings).

This post is dedicated to AmyR.