Longtime fans of the Southern Gospel genre may remember a quartet called The Rebels. Active in the 50s and 60s, this quartet saw several of the more well-known names of this music’s history, including Ron Booth, Sr., Jim Hamill, London Parris, and Nick Bruno. They are the quartet that is featured on one of my favorite “vintage SG” clips on Youtube:
Former Statesmen/Palmetto State Quartet baritone Rick Fair even started his career with the group. Now, he’s helping to bring the name back. The lineup for the “revived Rebels” is tenor Mike Young, lead Alan Kendall, baritone David Fair, bass Rick Fair, and pianist Barry Patrick.
If this group has a sound that’s familiar to you, the reason may be that everyone except the lead singer was most recently heard together in the Southern Sound Quartet with Ben Harris. With the addition of Alan Kendall, who has a very “classic Southern Gospel lead” quality to his voice, this group has the potential to go far with their music. I appreciate the fact that a former vocalist for the group has brought back the Rebels name with the blessing of former members and a quality lineup that will match what fans of the original quartet might expect.
The group is traveling on a limited schedule, but I hope to catch them in my area some time soon, if not at NQC. You can find out more about them at their website.
A few days ago, it was announced on Facebook that a new Southern Gospel trio has formed and will officially launch in 2012, and this group has a couple faces that may be familar. Joe Kitson, brother of former Tribute Quartet/Greater Vision/Statement of Faith tenor Jacob Kitson, has teamed up with his former singing partner in the Toney Brothers, Daniel Childs, to form In The Vine. Many may remember Joe from his days with groups such as the Dixie Melody Boys, The Toney Brothers, and Statement of Faith. Kitson and Childs will sing baritone and lead, respectively, with Childs handling the emcee work. Joining them singing tenor is Kitson’s brother Kurtis, who is by all accounts a newcomer to the Southern Gospel scene.
The group hasn’t officially hit the road yet, but have done at least one performance. Here’s a video from their first night featuring Joe Kitson on “I’d Rather Have Jesus.” httpv://www.youtube.com/watch?v=LQ9qWhOkne0
Since Daniel Childs is currently a member of another trio, Blackwood Legacy, I asked Childs if he was leaving that group for this one, or if there would be a dual membership situation. He had this to say:
I am staying with Blackwood Legacy, and will be working with both groups. It can be explained like this: I work for Blackwood Legacy, but In The Vine is my own group that I’ve started as an equal partnership with Joe. I will be singing with both groups for the forseeable future.
Be sure to head over to the group’s website for updates and music clips, as well as their Youtube channel.
Came across this article on the Singing News website:
Singing News has learned that Charles Burke has passed away today (Friday, Sept. 23) at around 7 a.m. at Baptist Hospital in Winston-Salem, North Carolina. Early indications suggest that Mr. Burke suffered a brain aneurysm late last night at his home near Maiden, North Carolina. He had just celebrated his 75th birthday Sunday, Sept. 18.
Mr. Burke is generally regarded as a “behind-the-scenes” guiding force of Southern Gospel music. Among his numerous contributions to music in bringing life harmony are his distinguished service as a Board Member of the Southern Gospel Music Association and the Southern Gospel Music Hall Of Fame. An entrepreneur with several diversified businesses to his credit, including partial ownership of the National Quartet Convention, Mr. Burke was a driving force behind the outstanding quartet, The Singing Americans, and, with his son Michael, owned Tape Corporation Of America.
A tremendous discoverer and encourager of new musical talent, Mr. Burke was instrumental in the careers of such persons as Clayton Inman and David Sutton of The Triumphant Quartet, Ivan Parker, Danny Funderburk, as well as such groups as The Whisnants, The Reggie Saddler Family and The Dove Brothers.
In a conversation this morning with Michael Burke, Michael says that the family appreciates all the prayers during this time. He further states that funeral arrangements are pending, but will be shared as soon as they are finalized.
Mr. Burke made an indelible mark on Southern Gospel music; one that is, sadly, often overlooked. I suppose that is part of being “behind the scenes,” but the list mentioned in the press release is only a part of his many accomplishments and influences on this music.
I couldn’t find the original version of the song from when Michael English was singing lead, but here is a song from the Singing Americans featuring Clayton Inman that is a fitting tribute for Mr. Burke. Listen to the words that he heard early this morning: “Welcome to Heaven, my child.”
Another National Quartet Convention has come and gone. I got in at about 6:30 Friday evening, and in between getting settled, catching up with people in the exhibit hall, and listening to music, I had no time to blog! I encourage you to check out some of the other blogs for their take on Friday night’s music. However, I have some thoughts on things throughout Saturday, and some final thoughts about NQC 2011 as a whole:
1. The Dixie Melody Boys reunion was this year’s “moment.” Every year at NQC, there is a musical moment, be it in a showcase or evening performance, one song or an entire set, that stands out from everything else during the week as a meeting of both spirit and musical greatness. The twenty or so minutes of the Singing News Fan Awards Straw Poll showcase that were set aside to honor Ed O’Neal’s 50 years in Southern Gospel music were those that made up this year’s moment. Three songs, a presentation, a heartfelt testimony, and a powerful closing number; these ingredients made up the magic this time. I counted at least three standing ovations, though it may have been four; either way, I can’t recall the last time I’ve seen an audience respond so well at NQC.
“Antioch Church Choir” and “Good Old Boys” opened it up, and the former got the first ovation. “Ride That Glory Cloud” was absolutely electric, complete with a live band consisting of Eric Ollis on piano, Rodney Griffin on bass guitar, and a drummer whose name escapes me, and it was encored several times. I am usually not an emotional person, but I will admit that I teared up twice this week. Ed O’Neal’s comments that led into “The Call Is Still The Same” caused that second time. What a broken, heartfelt testimony. All that aside, the current lineup of the Dixie Melody Boys is the best they have had in years, hands down. They have a very powerful sound now.
2. The live band and Burman Porter’s rehire are the two best things to happen to the Dove Brothers. Seriously. Their set tonight flat-out rocked. When you can keep doing encores (venturing into four times) and it doesn’t get old, you’re doing it right. Porter’s delivery of “King Jesus” was, at the risk of wearing this adjective out, electric. The energy is back for the Dove Brothers, for sure.
3. Something felt different about NQC this year. Let me preface this by saying that I am very much a fan and supporter of Southern Gospel music. As a matter of fact, I’d love to be able to sing it full-time one day. That does not change the fact that overall, my impression of this year was kind of disconcerting. I don’t know if it was the fact that by the time I got there everyone was tired or what, but it just felt… empty this year. Like the buzz that usually accompanies this event was turned off this time around. I don’t believe I’m the only one who felt this way; comments I’ve seen and heard around our corners of the web and in person lead me to believe that everyone else felt this weird, void-like sensation as well. Will it be fixed for next year? We’ll see. Until then, we have another year of Southern Gospel to enjoy, so let’s get to it!
Nate Stainbrook has the scoop straight from the horse’s mouth at NQC: West is leaving because two days a week at home is not enough time to raise his son. The quote here:
“Well, you see I have never traveled with a Southern Gospel group before, and I have a ten year old at home that has been used to seeing his daddy home every day. At first it was fine as my son thought it was real cool that his dad was a singer; but after awhile it started getting to my son that he only gets to see me maybe two days a week. My wife told me one day that our son was not doing well at all without his dad at home. So I went and talked to my son about it, after some gentle prodding, he told me that really wants me to be home with him again. Well you see I myself had been feeling like I was not putting my family first and then when my son verbalized his feelings to me about the situation which convinced to start really seeking God’s will. One day while I was running some errands my old boss saw me, and said he wanted to talk to me about something. So we went to lunch where he asked me if I were interested in coming back to his company. After which he told me that God had been impressing it on his heart to talk to me about working for him again. Well I knew then what I had to do. I got ahold of Danny and let him know what was going on.”
Gold City has had a lot of changes take place over the past couple of hires, and I won’t go into the nature of all of them here, but this is probably one of the most clear-cut reasons out of the bunch. Family is important, and often, juggling family and work becomes a full-time gig in and of itself. Some artists (and their families as well) can handle Dad being out on the road so much better than other singers or their spouses/kids, and they make it work. Others don’t handle it quite so well, as is the case here. It is perfectly understandable why Craig is stepping down; there’s no hidden agenda here, and Stainbrook finally going and asking him about it can put the rumors to rest better than any press release about the departure. Yes, he’s leaving, and it is to spend more time at home. As disappointing as it may be to some, Craig is just doing the right thing, the honorable thing, and there’s no juicy story.
Craig West is a tremendous young talent, as I have said many times. His contributions to Gold City’s sound, though short-lived, was profound, and I will miss hearing what he brought to the table. Perhaps one of these days, we will see and hear him again with another big group.
I have been told that Gold City has already found a new lead singer from a regional group, but I will refrain from posting who it is until I get the green light. I wonder if he has already put his vocals on the upcoming project…
In my absence last week, several news items cropped up in the Southern Gospel world, the better part of those being personnel changes. I don’t have much more to say on these developments that hasn’t already been said by the other bloggers, so I’ll encourage you to check out their posts on those. However, what I will post about is a plethora of recent video finds that piqued my interest:
First up is this collection of videos from a recent Gold City appearance:
Since the hire of Dan Keeton to the tenor slot, Gold City has brought back several songs they haven’t sung in years, this one being probably the most notable revival. I believe I posted another video of this a while back, but Keeton’s confidence and delivery has really developed on this song. Those that have pined for the Parrack-Trammell era of Gold City won’t find much to complain about with this lineup. I sure hope this group can keep together and produce original material soon.
Another Dan Keeton feature that has only gotten better with time. I read someone compare Keeton’s style of singing this song with that of the great Rosie Rozell. What a fine compliment for any tenor.
This week, an anonymous Southern Gospel artist threw their hat into the ring to give a perspective that comes from the stage rather than out here in fandom. Check them out here!
I’ve noticed a trend among some fans of this genre lately that kind of bothers me, and I’ve pondered how to state my thoughts on it without sounding like a complete jerk, but any way I’ve cut it, it’s sounded pretty harsh. I suppose a topic like this is one of those things that isn’t pretty no matter what, but the discerning reader will (hopefully) not take too much offense to what I’m trying to say.
There was a statement I read a few weeks ago that a Southern Gospel group owner made and it made a lot of sense: “The only thing as certain as salvation, is change.” Anyone who has been a fan of this music for long definitely knows this to be true. A relatively short period of time ago, a group which will remain unnamed experienced a few lineup changes in short succession that, to many people, rather came as a surprise due to longevity of this particular combination of vocalists. The group brought in new talent to fill the vacated spots, they regrouped and continued to make music, and everyone moved on.
Several stories hit the Southern Gospel news this week. Here they are as they happened:
From a press release by the Dixie Melody Boys, their 50th Anniversary album is now complete:
Dixie Melody Boys Finish Historic Album
The Dixie Melody Boys were recently in Nashville finishing work on their 50th Anniversary album, “The Call Is Still The Same”. The monumental project is a long time in the making. “It’s been nearly ten years since we have done a project of this scale. It will be a milestone for the Dixie Melody Boys. “said Ed O’Neal, Hall Of Fame bass singer and owner. To honor the history of this legendary group, they have included two previous DMB songs on the album. The rest of the project includes new material written by Gospel musics top writers including Daryl Williams, Marty Funderburk, Greg Day and Rodney Griffen. The album also boasts two songs written by lead singer Donald Morris. The new album highlights the current groups new direction and sound. “We are excited to blend our traditional Southern Gospel roots with a fresh approach reminisant of the DMB Band era.” stated Donald Morris.
The Dixie Melody Boys will be joined on this historic album by many former DMB Alumni as well as a few friends. “When we started working on this, so many of our friends wanted to be involved. It evolved from there into having them lend their talents on several of the songs. It will truly be a special event for us.” said tenor Matt Felts. Jason Crabb, Ernie Haase, Ben Speer, McCray Dove, Rodney Griffen and Harold Reed are just a few of the guests appearing. This will be the debut album for the group since signing with Song Garden Music Group earlier this year. A release date of July 1st has been set. A “CD Release Event” will be announced soon. For more information on the new album or where you can purchase a copy of this years must have album, go to www.dixiemelodyboys.com or to www.songgardenmusicgroup.com.
If you’re going to celebrate such a monumental event in a group’s career, that’s the way to do it; bring in a lot of the more well-known alumni to sing on the project. It is interesting to note that this will not only mark the group’s 50th year of ministry, but it will also be tenor Matt Felts’ first recording with them. All in all, it is shaping up to be a project well worth the purchase
Speaking of the Dixie Melody Boys, it’s looking like they will be at NQC after all. In the first Singing News Showcase (the “straw poll” for the Fan Awards), the group will appear with both current members and alumni to celebrate their anniversary. It will be interesting to see exactly who will be on the stage among the alumni (the Ed O’Neal University has many graduates!)
Statement of Faith Trio has reorganized as Promise. Lead Joe Kitson and David Mann, along with TJ Evans starting in June, will make up the new group. Mann’s wife Jael will be filling in on tenor until Evans can join. Tenor Jacob Kitson’s plans are to be announced, so be looking for more on this story next week.
The Dove Awards were held earlier this week, and Southern Gospel had quite a showing in the results. Song of the Year went to “Sometimes I Cry,” written by Gerald Crabb and sung by Jason Crabb. Two of the Bluegrass winners also had Southern Gospel connections: “Mountain Top” by Little Roy and Lizzie Long won Bluegrass Recorded Song of the Year (you may remember Little Roy from his years with the Lewis Family), and Bluegrass Album of the Year was Singing From The Heart by Dailey and Vincent, who was on the NQC mainstage last year and will also be featured this year, and has Christian Davis of Old Time Gospel Hour Quartet & Mercy’s Mark fame singing bass.
There’s been a whirlwind of hires in the Southern Gospel world that are under the 30-years old mark. Tribute Quartet has made two of those hires, with tenor Riley Clark at 19 years old and bass Anthony Davis at 28 years old, and Legacy Five’s most recent hire qualifies, with pianist Trey Ivey being 21. Now, the Toney Brothers are continuing the trend after the departure of tenor Derrick Boyd. Joshua Horrell, of Teachey, NC, is 19 years old and began singing tenor for the group this week. There are no clips of him with the group yet, but Terry Toney has put some great lineups on stage in the past several years, and I’m sure this will be no exception.
Youtube Finds: I had a couple intriguing videos crop up on Youtube this week, the first being this one from the Mark Trammell Quartet:
I’m not sure how long the group has been staging this song, but this is the first instance in which I have heard them sing it. I’ve always thought that Pat Barker’s voice was similar to that of George Younce’s, and hearing him sing a Younce feature only solidifies the comparison. In fact, on his solo, I had changed tabs to do some work on another webpage after listening to the video multiple times, and completely forgot that I wasn’t listening to The Cathedrals’ Travelin’ Live project. Difference in audio quality aside, that speaks volumes about the hire that Mark Trammell made in Barker. The whole group does an excellent job resurrecting this often overlooked Cathedrals tune.
The second video I found was, coincidentally, some Cathedrals footage, singing another song from Travelin’ Live. This was taken in January of 1999, the group’s final year on the road, at the First Baptist Church of Jacksonville, FL. For those that are interested in hearing a fully orchestrated version of “Boundless Love” as sung by the final lineup of the original group to record it, take a look:
What is even more interesting is, in addition to have a full orchestra and choir backing them, the arrangement of the song is basically lifted from the original recording of it. Take note especially of the drum licks in each part; if I’m not mistaken, they follow the exact pattern found on the original. I love tidbits like that!
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