Rating: 3.5 stars

Producer: Danny Crawford
Label: Skyland Records
Website: www.vintagequartet.com

Song titles: I’m Gonna Tell The Story; I’ll Cast My Crown; He’s Been So Good To Me; Somebody Touched Me; I Can See The Hand; Freedom Still Flows; Lord Stir The Wind; The Cross Has Won Again; That Wonderful Day; Everything

Crossroads Music recently launched a new label, Skyland Records, to give up-and-coming artists a chance to have Crossroads production, marketing and promotion, and distribution. The first release of this label comes from a new quartet, The Vintage Quartet. By all accounts, this is the group’s debut project, though they have been singing since 2010. I hadn’t heard much about them until a friend of mine (that many know around the SG blogs as irishlad) started giving them some praise. I decided that, since he’s no slouch when it comes to critiquing SG music, it would be worth it to download the project. I ended up being pleasantly surprised.

Being a newer, regional group that has just signed to a component of one of the bigger record labels, it’s no surprise that their debut effort would be a fair mix of original songs and covers. In fact, after the opening track, the project has a streak of four cover songs. The first two, “I’ll Cast My Crown” and “He’s Been So Good To Me,” come from the Soul’d Out Quartet catalog. The former is nice, but doesn’t quite top the original, and the latter throws in some higher tenor harmony near the end to help put the group’s mark on it. The next two songs are both Cathedrals tunes, and both are tenor features. Tenor Chris Jenkins has a voice that reminds me of a mix of Jodi Hosterman and Jeremy Peace, and his rendition of both of these tunes are different from what you might expect because of the timbre and range he possesses. Other covers include The Kingsmen’s “The Cross Has Won Again” (a song that deserved a revival) and “That Wonderful Day” (another Soul’d Out Quartet song that has been widely recorded, but once again is made unique by the harmonies on the higher end).

The original songs on the project are well done. “I’m Gonna Tell The Story,” which also serves as the group’s debut radio single, is a straight-ahead quartet number that fits the group’s sound well. “Freedom Still Flows” is a slower song that the group won a talent contest with in 2011, and is one of the project’s stronger songs. My personal favorite of these songs is found in “Lord Stir The Wind,” an upbeat bass feature that gives Jim Albertson that really lets tenor Jenkins and lead singer Steve Bertaux shine on the choruses. “Everything” is a slower song that never really grabbed my attention.

Vintage Quartet has a lot to be proud of with this effort; it does a good job of highlighting their strong sound and the song selection is decent, though a couple of the covers could have stood to have the quartet put their spin on it rather than follow what was originally recorded so closely. The combination of voices found with Chris Jenkins, Steve Bertaux, Warren Kinney, and Jim Albertson are very good for any quartet, much less a regional one. I was especially impressed with Jenkins; with the power and range in his voice, I wouldn’t be surprised to see him end up with a group with The Kingsmen in the future.

You may be wary of buying a project from a quartet you’re unfamiliar with, but The Vintage Quartet has made a project is worth the purchase. Tell The Story receives 3.5 stars.

The LeFevre Quartet got a makeover right around the time of NQC 2011 with the departure of lead singer and founding member David Staton, and the additions of Mike LeFevre’s son Jordan at the lead position (moving up from soundman/former drummer) and Old Paths bass Brandon Barry finally filling the position that was being held down long-term by Mike Allen. In December, it was announced that tenor Jeremy Easley was leaving the group and that Kingsmen tenor Harold Reed was coming aboard. Now, three videos have surfaced of this new lineup in action. These are from Reed’s second weekend with the group, and it should be noted that Jordan LeFevre was performing with laryngitis.

This quartet classic features each vocal part out front at some point, and does a good job highlighting the new sound this combination of voices brings to the table. Here’s “Oh The Glory Did Roll:”

One of the changes that Harold Reed brings to the stage presence of the group is a keen sense of humor. The previous lineups knew how to have fun for sure, but Reed brings some new comedy to the group, especially in learning the words to the songs! Here’s a double feature of “Crown Him King” and “Wait Upon The Lord:”

You never really know how a group’s dynamic changes until you hear a new vocalist singing one of the group’s popular sings. This tenor feature has been sung by Gus Gaches, Jeremy Easley, and even Stephen Sigmon in a fill-in situation. Reed’s voice is a different timbre and style than all theirs, but no less effective on “You’re Never Too Far Away.”

Count me in the camp that is looking forward to a project of new material from this lineup of the LeFevre Quartet. I really like their sound!

On January 6, I was privileged to be able to attend the Soul’d Out Quartet concert in East Bend, NC, hosted by JOY FM and a local group, The Boys. Every Soul’d Out concert I’ve ever been to has been great, but there was an extra level of excitement to this one, as it was the debut concert for the group’s new vocalist, Bryan Hutson. Hutson came from singing lead with The Kingsmen to fill the void left by Tanner Stahl’s departure in December 2011.

The activity center of Enon Baptist Church was filled to capacity, making it one of the biggest crowds I’ve seen for a concert that wasn’t NQC or Gaither related. There were quite a few singers in our genre, past and present, that were in attendance as well; among those spotted were Phil Barker, Darren Osborne, Harold Reed, and Chris Collins.

Bryan Hutson fits the Soul’d Out Quartet like a glove in sound, stage presence, and personality. I also picked up the new Soulace project and a pre-release copy of their upcoming Crossroads debut, What The World Doesn’t Know, and both are really good. But you don’t have to take my word for it about their live sound; see and hear for yourself!

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I attended a Down East Boys concert in my area on January 1st, and got several videos of the event. This was my first time seeing the Down East Boys outside of a couple sets at NQC over the years, and I was particularly looking forward to hearing their live sound with Tony Jarman at tenor. This was their first date in about fifteen days, so though they were getting back into the swing of things singing on the road, they still put on a great concert.

Click the link below to see the videos!

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Near the end of 2011, it was announced that Valor III would be making the transition to a quartet with the addition of former Palmetto State Quartet/Dixie Echoes/Blackwood Brothers bass singer, Ken Turner. This is the first group that Turner has sung in for a number of years, so I was particularly thrilled to have the opportunity to hear one of my personal favorite bass singers again.

I’ll let some of the videos taken at their debut concert a few weeks back speak for themselves as to how good Turner still is. I’ll only use a couple of them, but you can watch all the videos that were posted here. Here’s the first song of the concert:

I’ve always felt that Turner was underrated, due in part, perhaps, to his goofy stage demeanor! But the range that Turner possesses, both back in his day and now, is incredible. This is displayed with “Lonesome Road,” complete with some of his more comedic side:

Here he is in a more serious setting with “How Big Is God:”

Finally, I’d be remiss if I didn’t include something that featured the vocals out front. That happens with the A Capella classic, “Sweet Sweet Spirit:”

Youtube is an amazing tool. I found a high quality clip of the group singing a brand new song that I assume McCray Dove wrote, and it’s probably one of the better ones I’ve heard from him. There haven’t been too many videos of the group since Keith Casstevens joined as tenor, other than a couple in the beginning, so it’s nice to hear more from this form of the group. It’s clear that Casstevens brings a different tenor sound than the group is used to having.

As good as the sound is, I want to draw particular attention to the lyrics of the song. It should be a wake-up call for a lot of people, both fans and industry personnel alike. I know that I, personally, was gripped. I can think of several examples right in the world of Southern Gospel music where someone failed in some way, and people in both camps I mentioned were guilty of kicking them when they were down. Granted, some go on living like the Devil and seem to have no intention of changing that, but how many of them have been truly, sincerely sorry and have repented of what they have done, only to be shunned and cast out by those that are commanded to forgive? It’s a slap in the face of the One who created them, loves them, and forgave them, no matter what they did. May such an attitude of unforgiveness, contradictory to what God commands, not be found in us.

Change has hit The Kingsmen yet again. The group announced the departure of tenor Harold Reed today, and he is making the move to The LeFevre Quartet. From Brandon Reese:

The Kingsmen announce the departure of tenor Harold Reed.

“I have been blessed to sing with one of my favorite Quartets for the past 4 1/2 years and now I feel it is time for me to start the next chapter in my singing career and join The Lafever Quartet,” says Harold. “Sometimes the Lord tells you it is just time and I will truly miss Ray and the rest of the guys but I am comfortable knowing we will remain in contact.”

“The Kingsmen will be celebrating 55 years of music ministry in 2012. Through those years we have had the most talented and enjoyable team members but more importantly good Christians work with our organization,” says Brandon Reese. “Harold is no exception. I know God is in control and has a plan for The Kingsmen. We are more committed than ever to spread the gospel in song all throughout 2012 and beyond.”

For consideration of the tenor position please send all info and demos to: ray@kingsmenquartet.com or brandon@kingsmenquartet.com

Harold is replacing the departing Jeremy Easley. I was very impressed with Easley in the couple times I saw him in a live setting and am looking forward to seeing where he ends up. I have no doubt he’ll be singing in some capacity!

I had a hunch that this move might happen when I saw Harold filling in with the LeFevre Quartet on TBN the other night. I’m very interested to see who The Kingsmen might hire; their tenor part is notorious for being demanding, especially on the older material. Perhaps a young, upcoming talent that hasn’t really been widely heard yet will take the spot.

For a taste of how the LeFevre Quartet will sound, here are their two songs from their TBN apperance. Bass singer Brandon Barry was out in the hospital and Mike Allen was filling in. The addition of Reed gives them a different sound than they are used to, but it’s still good.

Rating: 3 stars

Producer: Rick Sandidge
Label: The Mansion Entertainment
Website: www.threebridges.net

This trio gets the distinction of being the only group to have a Christmas project come across my desk for review this year. I was looking forward to hearing another CD by Three Bridges, since I was so impressed with their last effort, and after reading a review of this particular one at Musicscribe shortly after receiving the project in the mail, my interest was even piqued.

Kicking it all off is the upbeat, light rock-tinged title track featuring lead singer Shannon Smith. This style seems to be the one that the group clicks the most with. The song takes three perspectives: a traveler going to see the newborn Jesus, the shepherds on the hillside, and someone dreaming on the night of Jesus’ birth. Though the lyrics do seem random in this way, the song ties them together well, and this is one of my personal favorite tracks.

The Drifters’ arrangement of “White Christmas” comes next, reuniting Smith and tenor Jeremie Hudson with their former Imperials partner, Ian Owens, as a guest bass vocalist. Though it would have made it impossible for the group to do this song live had Owens gotten the feature as the original arrangement dictates (the bass got the first verse and standout lines on the chorus in The Drifters version), part of me wishes he had gotten it instead of being confined to background vocals. Baritone Elliott McCoy takes those features instead, with Hudson taking the second verse. Owens shows up at background vocals again on “Mary Had A Baby.” The sound on both of these tracks sounds remarkably like the later versions of The Imperials, especially when Smith and Hudson start ad-libbing on “Mary Had A Baby.”

Other high points include “Mary Did You Know,” which follows the Gaither Vocal Band arrangement pretty closely but showcases the beautiful high harmony of the group, an uptempo arrangement of “It Came Upon A Midnight Clear” that is probably the most unique I’ve heard in quite a while, a mellow Hudson feature in “He Came Here For Me,” and another unique arrangement of a classic carol in “Noel.”

As a whole, Christmas projects are something that I can take or leave. Unless they offer something different from the stuff that usually permeates the airwaves this time of year, you can count me out. Three Bridges offers enough interesting arrangements and songs that haven’t been recorded by everybody and their brother that it has earned multiple plays on my iPod and in my car. Though not every song is a solid choice, this CD is a fine effort. If you’re a Three Bridges fan, or just want another Christmas collection to play every year, Christmas Must Be Tonight is a good choice.

Last week, I won a ticket to a Booth Brothers concert in a giveaway on SouthernGospelBlog.com. Big deal, you might say. Here’s the catch: the concert was not in a church, a concert hall, or even outdoors. No, the concert was held in the living/dining room area of a recording studio (I believe it was Homeland), and the audience consisted of myself and many others across the United States, and even in foreign countries, if I remember correctly. This wonder was accomplished with a relatively new technology that has found its way to our genre of music. Thanks to the American Society of Gospel Music (ASGM), that concert was one of the first to be held in a new venue: online.

To be clear, musical events being broadcast online is surely not a new event. National Quartet Convention has had a live stream on the web for several years, and the Singing News Fan Awards are also available to watch online, as well as other events throughout the year.  What separates these events from what the Booth Brothers did last night is the fact that these events have a live audience and just happen to be available for online viewing. The Booth Brothers sang to zero live audience; the concertgoers were all watching from computers. The dynamic of audience participation was absent, and there was no applause. In a live concert setting, they also don’t have to deal with the concert completely going out (at least, I’d hope not!). I was impressed with the class with which the Booth Brothers handled all the technical difficulties, giving the full music and Q&A section as promised.

The question here is whether or not this will become a more regular thing. This concept of using technology usually reserved for “webinars” to hold an online concert is certainly an interesting one, and the ASGM, by all indications, is planning on conducting more. Before the BB concert, there was a full schedule being displayed of other groups doing online concerts in the coming months.

I would say that this will catch on, but only if they can work to bring the technical issues down to a minimum (which is certainly not their fault; technology can be fickle). There are enough SG fans with an Internet connection these days that the idea of paying for a ticket to watch your favorite group do a concert for you online would be appealing, especially if they don’t come to your area very much. However, if half the concert experience is spent waiting for the thing to come back online, the advent of concerts on the Internet will go on a fast decline.

In a move that has been much speculated on and expected, Capstone Quartet lead singer Bob Sellers has come in as the new lead singer for The Kingsmen. Here’s the press release:

The Kingsmen are pleased to welcome Bob Sellers to the quartet, filling the vacancy created by the departure of BryanHutson. “I am so excited to become a member of the legendary Kingsmen Quartet family,” says Bob. “I’m thankful for this opportunity that Ray and Brandon Reese have given me, and I look forward to meeting every single Kingsmen fan.

“The first song I recall singing with my mom and sister in our little country church was ‘A Place Where The Hungry Are Fed,’ so it is a dream come true to now stand on stage with the group that introduced that song and so many other great songs to Gospel music. I will work with all that is within me to continue the proud tradition that is The Kingsmen Quartet and, most importantly, to present the Gospel of Jesus Christ in song effectively. I cannot wait to see what God has in store!

Bob’s first concert will be in Chilliwack, British Columbia, Canada on December 31, 2011.

Sellers has filled in for two Kingsmen singers recently: the first was Bryan Hutson a couple months ago when he had to be away for a funeral. Most recently, he was filling in for Randy Crawford when he was out for his heart operation. Here’s a taste of what he sounds like, singing “For God So Loved” with the Capstone Quartet:

For a taste of his sound with The Kingsmen, here’s “Look For Me At Jesus’ Feet.” Hat tip goes to my friend Andrew Graham for this find:

If the videos are any indication, Sellers will be a great fit.