A few weeks ago, it was announced that Blackwood Legacy was making a huge change by adding Daniel Rivera on tenor and moving the other vocalists around (Daniel Childs to lead, Luke Yates staying on baritone, and Rick Price moving to bass), effectively making Blackwood Legacy a quartet. Yesterday, I saw a video on Youtube that showcased what the group sounds like now. Rick Price was unable to make the tour this video was taken from, but check it out. Daniel Childs leads on “Back To Grace,” which was recently covered by The Kingsmen but originally showed up on Statement of Faith’s only release (the track for which is used here):

If the group can retain these singers, I’m interested to hear what the four man lineup sounds like and what music they will produce.

The wave of tornadoes that recently hit parts of the US affected many people in some way. In light of all this, Triumphant Quartet is offering a free download of one of their new songs, “God Works All Things For Good,” which was written by and features bass singer Eric Bennett. Bennett wrote the song after his two nephews were killed in the tornadoes that hit Alabama about a year ago. The download actually consists of two tracks; one is a live version that is prefaced by Bennett’s testimony about the song, and the other is the studio version that was released on the group’s latest project, Songs from the Heart. The group hopes that this song can be used to speak to those affected by the tornadoes, or any trial that may be going on in their life.

You can obtain the download by going to the group’s Bandcamp site.

Rating: 4 stars

Producers: Justin Terry, Zack Knudsen, Andy Stringfield
Label: Unsigned (Self-released)
Website: www.justinterry.net

Song titles: There Is A Fountain, Two Winning Hands; He Has Taken His Children Home; Love Song; I’ve Never Been This Homesick Before; Knowing What I Know About Heaven; I Must Tell Jesus; I Go To The Rock; When He Reached Down His Hand For Me; God’s Gonna Do The Same For Me And You; In The Garden

A couple of years ago, there was a quartet whose label debut with Crossroads made a splash in the blogosphere, and part of the reason was the vocal prowess of their bass singer. Cross 4 Crowns boasted a young guy by the name of Justin Terry singing the bass part that drew comparisons to Jeff Chapman, a considerable feat considering his age. Now aged 28, Justin left the quartet after six years and has launched a solo ministry with this CD.

Those who have heard Cross 4 Crowns will likely know Justin Terry for the low notes he hits. On this project, he wisely breaks that mold, and instead opts for a country bass-baritone sound akin to Josh Turner or Trace Adkins. Terry covers material here that you would not expect out a bass singer’s solo project; for instance, The Hinsons’ “Two Winning Hands” gets an updated treatment that does a good job of showcasing Justin’s upper range. Other songs in that vein include “Knowing What I Know About Heaven” (yes, the one that Guy Penrod sings), and “God’s Gonna Do The Same For You And Me.”

This is not to say that the project is devoid of the lower singing that usually comes with things like this. The CD starts and ends with hymns, “There Is A Fountain” and “In The Garden,” which settle more into “bass lead” territory. Also done in a similar style is “When He Reached Down His Hand For Me,” which fits Terry’s voice well; he doesn’t try to be the next Tim Riley with it, and that works in his favor. The original song written by Justin’s dad, “He Has Taken His Children Home,” fits equally as well.

The only song that seems to interrupt the flow of the music is the fourth track, “Love Song.” Stylistically, it is different from anything else found here. While not necessarily a bad thing, and certainly not a bad song, it seems out of place here, and would perhaps have been better saved for another project of similar styles, or tacked on towards the end. Other than that, this CD is a strong collection of songs and a good display of Justin Terry’s talents. Inspired receives 4 stars.

If you’ve been to the Palmetto State Quartet website in the past few days, you may have noticed that both the site and the group have gotten a revamp. David Staton just posted the above picture to his Facebook with the caption, “This is the new Palmetto State.”

Pictured from left to right are Mike Allen, David Staton, Casey Martin, Paul Lancaster, Larry Strickland, and Jeremy Easley. Be on the lookout for a press release soon. I will post my thoughts on the change once the press release goes out.

Update: That was quick. Right after I hit the publish button, I received this:

PALMETTO STATE POISED TO EXPAND REACH
PSQ Partners to bring Southern Gospel Music to Wider Audience

NASHVILLE, Tenn.—The historic Palmetto State Quartet announces the newest incarnation of this enduring vocal ensemble that defies the quartet label. The group assembles not four, but five vocalists, and breaks out of any traditional mold by refusing to define its members by vocal part. The diverse lineup includes: Mike Allen, a fixture on the popular Gaither Homecoming television series, who had never signed on officially with any one group until now; Jeremy Easley, the X-Factor season-one, top-15 finalist (male vocalist ages 15–30 category) who received a standing ovation from Simon Cowell, Paula Abdul, Nicole Scherzinger, and L. A. Reid; Paul Lancaster, longtime Palmetto State member and former member of the Mullins, winner of two Dove Awards with gospel music siblings, the Martins; Casey Martin, popular keyboardist for an array of secular and gospel artists, brings a soulful influence and plays an integral part in the PSQ presentation; David Staton, Grammy-nominated songwriter, singer, producer, and adroit industry thought leader; and Larry Strickland, who sang with the famous Stamps Quartet in the ’70′s when they backed up Elvis Presley, and has been seen on the OWN network show, The Judds.

“Ask any of these guys and they would tell you that singing with other great singers causes you to step it up. And once in a while you hit this magical combination where the whole is greater than the sum of its parts,” according to Strickland. Besides their stellar talent, each member brings a unique new audience to the gospel music they love and its message they cherish.

With so many tie-ins to pop culture that cross musical genres, this group is uniquely positioned to attract and influence new listeners. This will be welcome news to music promoters and presenters of gospel music globally. Not since Strickland’s Elvis days with the late J.D. Sumner and the Stamps has there been another vocal group that has featured two great bass singers.

Most recently, PSQ has been touring with the Judds, singing backup to Wynonna’s powerful voice and introducing southern gospel music to a whole new audience.

“We are not interested in anyone labeling us a ‘super group’. What we hope is that churches will leverage whatever we’ve been blessed to do in order to reach out to various crowds that typically aren’t planning to come to church or a gospel concert,” said Staton. And with some strategic use of traditional advertizing and social media, church leaders may be surprised the number of first-time attendees who drop in to check out the great music and happen to hear some very good news. The members of Palmetto State are committed to effectively sharing the gospel in a clear, compelling manner and consider that their top priority.

Palmetto State is booked exclusively through the Becky Simmons Agency at +1 615.595.7500 or Info@BSAworld.com.

It should be noted that Mike Allen was with the Poet Voices as a member several years back, and was with The Prophets Quartet during their short revival period, so the statement that he has never officially signed on with anyone until now isn’t entirely true.

When I saw the new group picture over the weekend, I had wondered what the deal was with having two bass singers (Larry Strickland had been the group’s bass up to this point.) I had wondered if maybe Strickland was taking a Jim Hamill/Eldridge Fox type of role with the group and handing bass singing duties mostly to Mike Allen. This five-man revamp, however, is interesting; Palmetto State has been a quartet its entire existence, and while the Gaither Vocal Band did make the transition to five vocalists, they have never been a Southern Gospel quartet in the traditional sense with their vocal arrangements; truly, more of a vocal band with four (now five) part harmony.

I was intrigued by the fact that the point was stressed that they would “refuse to define members by vocal part.” This would make it interesting in terms of arrangements; lots of part swapping among the vocalists. I would imagine that we’ll be hearing Strickland and Allen trade off on the bass vocals quite a bit, but it’s anyone’s guess how the three others will end up configured on a given song. David Staton sang lead with The LeFevre Quartet from its inception until last year, and Jeremy Easley held the tenor slot with that same group for a time. Paul Lancaster has a versatile enough voice that the possibilities are numerous as far as where each vocal will stack.

While the group may not be interested in “being labeled a ‘super group,’” Strickland has definitely brought together a lineup of talent that many may think of them that way. The problem with super groups, however, is that they don’t always stick together for one reason or another (see the Ron Blackwood Quartet of a few years ago). I, for one, am hoping to see this one pan out, and am listening with interest for what these vocalists will produce.

There have been at least two lineup changes to different groups that have come down the pipe this week:

1. First change comes to The Songfellows Quartet. Bass singer Brad Smith has left the group after accepting a job with Fee Entertainment, and will be singing at the Hatfield/McCoy Theatre at Pigeon Forge as part of the Country Jamboree Breakfast Show. This will make the second Blackwood group that Smith has been a part of; he sang with Mark Blackwood’s Blackwood Quartet a few years back, and has now joined RW and Donna Blackwood for this show. The Songfellows Quartet is now seeing the return of Butch Owens, who is a strong bass singer as well, joining alongside tenor Rick Strickland, lead Bob Jones, Jr., and baritone Ed Hill.

Smith was a huge asset to The Songfellows in both sound and promotion; he did a great job at getting the group’s name out there to a lot of people. I’m sure he’ll do the same promoting for this last venture as well!

2. Blackwood Legacy was a trio that has recently garnered some attention on Daniel Mount’s blog for their unique rendition of “Glory Road.” I say “was” because they are no longer a trio. The group announced the addition of tenor Daniel Rivera today, making the group a quartet. The press release explains the ins and outs of this change:

Daniel Childs, grandson of the late Cecil Blackwood and lead singer of the quartet Blackwood Legacy, announced today the addition of Daniel Rivera as tenor singer.

“I’ve been singing the tenor part for over a year,” Childs stated, “and this past month, our group leader Rick Price made the decision to have mercy on me and hire a high tenor, moving me down to lead, and making our trio into a quartet.  Daniel Rivera was the obvious choice for this position because of his youth, his easy-going temperament, and his high singing ability… all of which are traits that make him a perfect match for how we operate as a group.”

Rivera joined the group on tour in Phoenix, Arizona this past week, and has already become a great addition to the group’s live concert.  Having previously sung full-time with the Hallmark Quartet and the Toney Brothers Quartet, Rivera brings to the group a soaring tenor vocal and a dynamic stage presence.

Blackwood Legacy, signed to Mansion Entertainment, places ministry first in all matters, and endeavors to progressively carry on the work of the late Cecil Blackwood.

The personnel lineup is now Daniel Rivera singing tenor, Daniel Childs singing lead, Luke Yates as baritone / pianist, and Rick Price handling the bass vocal and emcee work.

For more information, visit the group online at www.theblackwoodlegacy.com.

For a preview of the group’s sound with Rivera’s addition, here’s a video. And yes, Glory Road is there as well!

Rating: 4 stars

Label: Crossroads Music
Website: www.souldoutquartet.com

Song titles: All Things Are Possible; Go Out And Get Them; Since I’ve Been Saved; That’ll Be A Great Day; Worthy The Lamb Is He; If You’ll Just Ask Him; He Is There; When They Had Prayed; What The World Doesn’t Know; Thank You Lord

Download Here

If you hadn’t heard of Soul’d Out Quartet before the end of 2011/beginning of 2012, then you certainly have by now. The group hired Kingsmen lead singer Bryan Hutson after the departure of longtime baritone Tanner Stahl, which moved lead singer and group owner Matt Rankin down to that slot. With a new website, two new CDs (this mainline release and a table project that may be reviewed soon), and a new sound, many have looked forward to hearing what the quartet’s first project since signing with a record label.

The best way I can describe the quartet’s sound with this project is this: smooth. Listeners who enjoy a CD that is chock-full of upbeat numbers will not find much to like here. Rather, the group opted for a laid-back approach this time around. Kicking off with a mid-tempo tune about faith called “All Things Are Possible,” no time is wasted in featuring Bryan Hutson, who gets a solo on the second verse. Hutson is also featured on the project’s most unique song, “Since I’ve Been Saved,” a shuffling song that sounds like it was pulled from a 1950s soundtrack. Of all songs to bring to mind, I thought of Louis Armstrong’s “What A Wonderful World.” The closing track, “Thank You Lord,” also puts Hutson out front on a slower progressive strong that fits him very well.

Though many of the songs feature the new guy, the other singers do a great job as well. Bass singer Matt Fouch shows why he is among the most underrated basses on the road with his solos on “All Things Are Possible” and “That’ll Be A Great Day.” Tenor Dusty Barrett shines on “Go Out and Get Them,” as well as “If You’ll Just Ask Him,” and Matt Rankin sings the title track, which features some very thought-provoking truths. He also gets the second verse of one of my favorites of the CD, “Worthy The Lamb Is He,” an orchestrated ballad in the vein of one of the quartet’s earlier songs, “He Is My Lamb.”

As I mentioned before, the group’s sound is very smooth now, and that fact is prominent on their ensemble work on tracks like “Go Out And Get Them” and “Thank You Lord.” That does not mean that they have lost anything in the way of singing faster, more “quartety” songs; “That’ll Be A Great Day” and “When They Had Prayed” are evidence of that. The difference of style that was chosen for this project show that this lineup has a versatility that will benefit them greatly in future efforts. My only complaint would be that there seemed to be an imbalance in the number of slower tunes vs. more uptempo fare. Too much slow stuff can start to run together after a while!

If you have not heard Soul’d Out Quartet before, this CD will be a great introduction for you, and people who were already fans of the group will find a lot to like about their new sound. What The World Doesn’t Know receives 4 stars.

Last night, Ryan Seaton’s quartet that has been singing together for a while made their official debut. Seaton, along with Toby Hitchcock, Andrew Goldman, and Aaron McCune, make up the quartet now known as Union Street. Roy Webb was on hand to play piano for this concert, and Hitchcock has even uploaded footage from the group’s introduction of the name and first song, “Boundless Love.”

Count me in the number that is looking forward to hearing more out of this group!

Update: There is more video footage of the group’s first night:

It’s about that time of year again: the time when there’s a new development in the upcoming National Quartet Convention’s schedule on a pretty much regular basis. Two news items have come down the pipe today:

1. The NQC has added the NQC Music Awards, taking the place of the Singing News Fan Awards. This will take place at a Friday afternoon showcase.

The Fan Awards have been at Dollywood the past couple of years and will continue to be held there this year. The absence of the awards show has arguably taken away much of the buzz that used to come with NQC, especially near the end of the week. The wrinkle that separates these new accolades from the old is that there are two divisions to the awards; one is voted upon by fans, and the other is voted upon by “music professionals,” which is defined as those who are exhibitors during the National Quartet Convention. Color me intrigued; perhaps this will help to fill in the “empty” feeling that has hung around NQC these past couple of years.

2. The initial draft of the Showcase Schedule has been posted. Notable additions include:

• The Gaither Vocal Band Reunion Encore. This is intriguing. I’m hoping that there will be songs picked for this time that weren’t featured on the videos or in the showcase last year. The GVB catalog is broad enough that they can bring out the stuff that hasn’t been revived to death. I’m hoping this will also bring back some of the alumni who haven’t been present at any of the reunion events (Terry Franklin, Jonathan Pierce… heck, how about Lemuel Miller?) I noticed that Guy Penrod gets his own dedicated showcase the same afternoon as this one, but that is done in plenty of time for him to be able to attend the Reunion this year.
• There’s another Crabb Family reunion showcase. I remember the last one being at NQC 2008, and I enjoyed it for the most part. I also remember it featuring most of their latter, more progressive material, and witnessed a large number of folks walking out on the showcase. Perhaps the Crabbs will play it safer this time around?
• Tim Parton is reviving the Parade of Pianos. This showcase, originally done by Anthony Burger, then done by Roger Bennett, hasn’t been around in any capacity since Gerald Wolfe hosting it in 2008. The NQC Board wisely gave Dino his own showcase that year, saving the Parade of Pianos from becoming the Dino Show as it had in years past. I’m looking forward to seeing the collection of pianists that Parton puts together.
• Lari Goss is getting a tribute showcase this year. Well-deserved, and it’s about time! The Hoppers, Greater Vision, Legacy Five, The Booth Brothers, and others will be a part.

Ever wonder how some of the legends of yesterday that are no longer “in the spotlight” sound today on a more modern song? Here’s one of those legends: Ernie Phillips. One of the more famous tenors to come along in the history of the Kingsmen, and Southern Gospel in general (remember his big ending on “Love Lifted Me” on Live… Naturally?), and the father of Mark Trammell Quartet tenor Eric Phillips. Since the departure of Harold Reed for the LeFevre Quartet, Phillips has been filling in for The Kingsmen. Here he is taking one of Reed’s signature songs while with the group, “God Saw A Cross.”

If this doesn’t make the case for why The Kingsmen should try their hardest to get Phillips out there with them full-time, I don’t know what does. (Well, this and the fact that, from what I hear, he can still do those sky-high endings!)

Update: Daniel Mount informed me this morning that there had been more videos from this concert uploaded since this post went up. I’ll post a few more, some of which also highlight new lead singer Bob Sellers. Even if Ernie Phillips doesn’t turn out to be the man for the job, this is still an interesting look at one of the legends still toting the mail!

Rating: 4.5 stars

Producer: Wayne Haun
Label: Stow Town Records
Website: www.erniesigsound.com

Buy Project Here

It’s been said that, in Southern Gospel music, the only thing that is more certain than the Truth that is sung about, is change. Ernie Haase & Signature Sound are not immune to that fact; since their last project of original material (2008′s Dream On), the group has said farewell to longtime lead singer Ryan Seaton and bass singer/founding member Tim Duncan. Devin McGlamery filled the vacancy left by Seaton, and Cumberland Quartet/The Imperials bass Ian Owens came back on the road following Duncan’s departure. Though McGlamery was featured on a table project (Influenced II: Spirituals and Southern Classics) and a mainline release (A Tribute to the Cathedral Quartet) in 2010, this is his first “original” project with the group, and Owens’ first effort with them period (unless you count background vocals on George Younce with Ernie Haase and Signature Sound).

With this latest release, fans are hoping to see a return to the creativity and energy that was found with the group’s 2007 hit effort, Get Away Jordan. The follow-up release, the aforementioned Dream On, had several strong songs with lasting value in the group’s repertoire, but was overall just… missing something. I’ve made the observation that it was “sleepy” (pun somewhat intended!).

I am happy to report that Here We Are Again brings back the spark, in spades.

Take, for instance, the opening track. “Swing Low, Sweet Chariot” starts with the sound of an old projector reel, and then launches into a classic spiritual that EHSS injects with its trademark “SG quartet music with a kick” style, much like they did with “Someday” to open Get Away Jordan, complete with an “instrumental” break in the middle that has the quartet mimicking a band with their voices. This track sets the tone for the rest of the project, and flows nicely into an original upbeat tune, “Singing In The Midnight Hour,” which serves as a vehicle for baritone Doug Anderson to show off some of his soulful vocals. The other most creative tracks undoubtedly come in the form of “Every Time,” a wild Ernie Haase feature in the vein of “Happy Birthday, Anniversary Too” (except more bearable, and twice as hyper), and “Any Other Man,” which adopts a Third Day-esque rock sound and has already piqued interest around various SG blogs and message boards.

The big question is, how are the “new guys” doing in the new group? The answer is, quite well. Lead singer McGlamery takes the feature on the group’s latest single, “I’ve Been Here Before,” as well as solos on “Love Carried The Cross” and “Stand By Me,” the latter of which he absolutely nails his part on. These songs spotlight his development since joining the group, seeming to bridge the gap between his sound as lead for the Dixie Melody Boys and his more modern sound he attained with Karen Peck & New River and brought to EHSS.

Speaking of “Stand By Me,” that is indeed the song that really got EHSS started back in 2003 with a project of the same name, and it was actually the first track I’d heard on the project since I went right to it, wondering if it was actually the same one. Ian Owens is a different type of bass than Tim Duncan; he’s not all about the low notes, and has a smoother higher range that makes for a killer blend. On this particular track, he takes the EHSS signature and effectively makes it his own, giving it a soulful swagger that reminds me of a Black Gospel group like the Fairfield Four. Other highlights for him include his standouts on “I’ve Been Here Before,” which serve to show that his lower range has been brought out and developed nicely in the year since he joined the quartet, and “I Believe,” which he has sung regularly in concert since his Imperials days, and has become his “signature” with this group.

The other vocalists also have a strong showing. A big ballad about Christ’s sacrifice (“Love Carried The Cross”) calls to mind a ballad the Haase-era Cathedrals would do, especially with Haase’s delivery on the last verse. “Sometimes I Wonder” sounds like a song that would have fit seamlessly into Doug Anderson’s solo project, and pianist Wayne Haun even gets a full-fledged feature on “You Are Welcome Here.” The whole group comes together for “Thankful,” a softer, orchestrated tune that I’d imagine would be used near the end of a concert, but doesn’t really jump out on CD.

People who have written the group off since the lineup changes took place are doing themselves a disservice. This lineup can hold its own with any previous iterations of the quartet and has developed very nicely, and has produced a top-notch project. In fact, I will go out on a limb and rank this project as the best collection of songs they have released to date, with Get Away Jordan at a close second. I’d encourage anyone who may have been a fan of the previous lineups to purchase a copy of Here We Are Again; you just may be pleasantly surprised. Here We Are Again receives 4.5 stars.