The Old Paths Quartet may not be a household name even among fans of southern gospel music, but they have built a reputation as one of the most consistent groups in the industry. Last year, they garnered some well-deserved extra attention with their big ballad “Long Live the King.” With Stay, available today, they offer the same solid vocals their fans have come to expect, paired with new songs mostly penned by Dianne Wilkinson and Rebecca Peck. Click below the fold for my thoughts. Continue reading
Category Archives: 3.5 star
From Southern Gospel’s most popular trio comes their first major release in several years. While this album isn’t available at digital outlets like Amazon or iTunes, the balance of original to cover material qualifies it as more than a table project. (Pick up your own copy at their website here.) It also offers listeners a first look at new baritone singer Paul Lancaster since long-time member Jim Brady took his leave. So without further ado, let’s see what I thought of it!
Out On a Limb is a wide-release re-packaging of Gaither Vocal Band tenor Wes Hampton’s former table project Reality. It is his second solo effort, following 2011’s A Man Like Me, which I first reviewed at Southern Gospel Journal here. Blending Wes’s fresh, confident vocals with a batch of new songs from CCM hit-maker Sam Mizell and friends, it’s sure to satisfy most die-hard Hampton fans. But will it satisfy fans of great music and songwriting? Does it satisfy me as a fan of all of the above? And does anyone else think the cover looks like someone dropped a Land’s End photo shoot in the middle of a Gustav Dore engraving?
Driven Quartet is a young men’s group currently signed to Chapel Records. They’ve been around for a while, even if you may not recognize their name. Their roots run deep in southern gospel, and lead singer Jason Funderburk is the son of legendary Cathedrals tenor Danny Funderburk. In 2009, David Bruce Murray said their self-titled record was the best non-label release he had heard that year. Now they have returned with a new project. Click below the fold for my review. Continue reading
This hymns project is a parting gift from the last Gaither Vocal Band lineup of Michael English, Mark Lowry, David Phelps, and Wes Hampton. Nearly all the tracks are fresh, with a couple exceptions that I’ll detail in the Likes and Dislikes. So, let’s get right to it!
*Although “Amazing Grace” recycles some arrangement ideas from the Amazing Grace Homecoming project (minor modulation on verse three, orchestral rhythm on verse four, etc.), I greatly enjoyed the dramatic Celtic twist they put on it. It led to some very cool harmonic choices, like the perfect fifth on the word “begun” at the end. Also loved the pennywhistle doing a few bars of “Come Thou Fount” as the song drew to a close. Although guys, really, you’re not Irish and we can kinda tell, so lose the fake lilt-warble on verse one if you ever do it live, m’kay?
* “Redeemed” was another successful Celtic-tinged arrangement. The blend of strings, accordion and pipes creates an exciting, toe-tapping rhythm. The familiar hymn tune has been somewhat re-worked for this arrangement, but it works quite well. Vocally, David Phelps’s pure tone particularly shines in this context and I wouldn’t be surprised if he did the arrangement.
I put off reviewing this one all last year, but it seems to be perfect timing now that Adam has been hired by the GVB. This solo outing shows him exploring similar progressive ground to his brother Jason Crabb—country/pop with a gospel twist. As usual, I’ll present my thoughts in “Likes/Dislikes” format.
* “I’ve Got a Right to Pray” — Adam is at his best when he’s rocking that swampy gospel sound with his signature harmonica work. I also loved the jazz organ’s contribution. But most of all, I just love the message of the song (originally recorded by the Paynes and then the Crabb Family in 1999). It’s a spirited application of the story of Daniel to contemporary stifling of religion in the public square. “I wonder what old Daniel would say if he were alive today?”
*As worship songs go, the title track isn’t too bad. It has a pleasant Matt Redman vibe. I’d like to hear Chris Tomlin sing it.
* “Why I Am Who I Am” — A heart-felt, well-written ballad about setting an example for our children. “They’re why I do what I do, why I am who I am.”
* “Higher Ground” breathes new life into the familiar hymn, with some help from Gene McDonald! You’ve never heard such a rockin’ version of this one.
* “Hey Now” may sound a little too much like Eric Church’s “Homeboy,” but hey, that song was wicked cool so why complain?
* “Sometimes He Whispers” starts off slow but builds to a strong chorus:
Sometimes he’s water to the thirsty
Sometimes he’s fire all-consuming
Sometimes his voice is louder than thunder
Oh, but sometimes, sometimes he whispers
*Inserting “Amazing Grace” into “That Whosoever Was Me.” It’s been done, and done, and done. Everyone stop it!
* “Sometimes God Allows” — A promising lyrical hook is wasted by a dull melody that doesn’t allow any lyrical impact to come through.
* “Jehovah Jireh” — Again, very poor melody. Particularly awkward cadencing on the verses and bridge.
*Kids’ choir kicking off “Hey Now” did not work. At all.
*Several songs that I’m struggling to remember and critique by name because… they just weren’t that memorable.
Final thoughts: While Adam has a good voice, he’s not as powerful a soloist as his brother Jason. The good side of this is that he has the ability to blend better with a group, as Bill Gaither has noticed. However, the best thing about Adam is his open heart for God and for people, and that definitely comes through on this project. Anyone who is already a big fan of the Crabbs or of Jason’s solo work will want to pick it up. However, more casual fans who are more interested in really memorable new songs may prefer to download select tracks on iTunes.
Because I have a special treat planned for each of the twelve days of Christmas (!) to come, I wanted to make sure this review went up before the Christmas season was wearing off for everyone. So I’ve decided to bump Monday Morning Humor for the day and give you a look at this worshipful Christmas offering from Davy, Kelly and Odie Boggs. Their live album Havin’ Church received critical praise from both me and Musicscribe. He Came is their first Christmas album.
This CD consists of six vocal tracks, two piano-focused instrumentals by Kelly, and a 17-minute sermon from Davy. In the liner notes, he explains that they included the sermon in the tradition of old-time gospel LPs, which often incorporated spoken tracks with the songs. It’s a classic bit of straight-up, Pentecostal tent-revival preaching that may not be to everyone’s taste but fits very well in the context of the album. Could it have been shorter, thereby saving room for a couple more songs? Perhaps, but then the length of the sermon is part of its charm.
The songs are carefully chosen and arranged with a purpose for a true album experience. For the most part, they are original tunes focused on the theme of expectation. The anticipation builds to a climax with the sermon, which presents the entire salvation story, and then the album closes with the Squire Parsons tune “He Came to Me.” Although not originally a Christmas song, it’s a wonderful choice, movingly sung. The family’s own composition “Until He Came” is a musical and lyrical highlight. I would love to hear a group like the Collingsworth Family pick it up, as it deserves wider exposure.
The production is tasteful and simple, featuring only piano, drums and bass guitar. The tight, jazzy instrumental “God Rest Ye Merry Gentlemen” is worth the price of the album alone, at moments recalling bands like the Vince Guaraldi Trio. It should be noted here that Kelly is a rare talent. What she lacks in flash and flair, she amply makes up for in natural ability and an ear for what sounds fresh, yet feels right. Her musicianship is the glue that holds the group together and makes them stand out among other regional artists.
Although the Boggses are not exceptional soloists, they have a pure, country-tinged family blend in the vein of a group like the Isaacs. This may not be coincidental, as Ben Isaacs is both Davy’s cousin and their producer. As with the live project, it’s refreshing to hear a group who doesn’t sound pitch-perfect, yet still has something to offer vocally. Their sound is rough around the edges, but it’s beautiful in its own humble, unspoiled way.
He Came is unlike any Christmas project I’ve ever heard. It’s a concept album with a clear focus that achieves its goals with minimal wasted space while eschewing nearly all standards, both sacred and secular. It does deliver less music than a comparably priced album of the same length, but it’s a breath of originality in an area where many artists phone it in. For that reason alone, it’s worth checking out. You can listen to samples and purchase it here.
Review copy provided. A positive review was not required.
Karen Peck and New River is one of the hottest trios in Southern Gospel today. They typically offer a blend of traditional southern singing, country and pop. This release doesn’t deviate much from that template, but it is a tad more rootsy than usual for them. Let’s go to Likes and Dislikes for a closer look at the project.
*The production may not be bluegrass per se, but I enjoyed the frequent use of bluegrass textures in the production. It balanced out the squeaky clean, sanitized vocals (on which more anon).
*The title track/opener is not the song cut by Brian Free & Assurance on their latest, but rather a Little Big Town-flavored, country/rock tune. I like the edge on this one.
* “Finish Well” is a very well-crafted big ballad. I was especially impressed with the consistently strong lyrics. From start to finish, there’s not a weak link in this one. My only complaint is they should have saved it for the last. Continue reading
Kevin Mills is a Canadian-born country/gospel singer and voiceover artist. (Not to be confused with Kevin Mills the Elvis impersonator, whose stuff I found in related videos on Youtube!) He comes from an evangelistic background, having experience as an opening soloist for his father’s revival meetings. He is currently signed to Nashville’s Song Garden Music Group/Grapevine records. Travelin’ Through is his third project, a mix of originals and country/gospel/bluegrass covers. It features background vocals from Jeremy Easley, former tenor for the Lefevre Quartet, and David Staton, lead singer for Palmetto State Quartet. This review presents some highlights of the album and some ways in which it could be improved.
(1) Til the Answer Comes (2) Dig Another Well (3) Believe In the Dream (4) Walk On the Water (5) Travelin’ Through (6) Church Bells (7) You’re My Best Friend (8) Black and White (9) Bible and a Belt (10) Three Wooden Crosses (11) A Living Prayer (12)Til the Answer Comes (Reprise)
The Crabb family made their mark in the 90s as a passionate young group of vocalists who did Southern Gospel a little differently from everyone else. After achieving massive popularity, the group disbanded in 2007. Since then, each member has pursued his own ministry. Jason has found great success as a solo artist, winning Dove Awards in major categories. Kelly married Mike Bowling, and they started their own family group with Terah. Adam has done solo work, and Aaron sings with Canton Junction and has a worship ministry with his wife Amanda. But last year, all five siblings decided to come together for a new project and a limited set of tour dates. Together Again was released in February of 2012.
The format for this review will be a little different than usual. I’ll take a leaf from Eaton & Murray’s “Must Buy or Not” series and present my thoughts in the form of systematic “Likes” and “Dislikes” instead of going track by track. Let me know what you think.
*The style of this project is more laid-back than typical Crabb fare. More country than soul. Die-hard Crabb fans may find some of it a bit tame, but I enjoy it.
*The production values are very high, resulting in a project that just plain sounds good. It was produced by Jason Crabb and his band—Michael Shade Rowsey, Lorie Sikes, and Blaine Johnson, all of whom played on the album.
*All five singers have good powerful voices, and while not all of them are my cup of tea stylistically, this album lets them work as a vocal team instead of just divvying up the features. This was a great idea, and it pays off everywhere. Again, props to Jason for arranging the vocals.
* “I Love You This Much” — By a margin, this ballad is the best song on the album. The title phrase takes on progressively more powerful significance as it moves from an ordinary father and his son in verse one, to Mary and her Son in verse two, to Jesus himself in verse three.
* “Say a Prayer” — This is pure pop ear candy in the vein of 90s groups like Avalon. Excellent melody and fresh chord progressions married with heartfelt lyrics make for a very solid song. Of course, I’ve always been a sucker for songs with a chorus in a different key from the verse.
*Virtually none of the songs made me jump out of my chair and say, “Wow.” Lyrically, many fall back on well-worn cliches.
* “If There Ever Was a Time” has a lot of good ideas, lyrically and musically, but it just didn’t keep my attention to the end. I kept wanting it to go somewhere, and it never really did. Although I do enjoy it more than some of the other songs, I’m being a little harder on it because it had the potential to be so much better. (I realize I’m in the minority here.)
* “You Can’t Do That Anymore” is a really nice song to listen to, but the take-home message is ambiguous. The verses are structured as a series of “remember whens” — when young kids could ride their bikes around town safely, when it wasn’t so imperative that you lock your door at night, and when a boy could carry his pocket-knife on an airplane with him. Judging by the chorus, it seems like it wants to be more than purely a lament for those “good ole days,” implying that we should try to live less fearfully or cautiously in the future. But it’s not made clear what that would look like, or how we could do so without compromising our safety (plus, it seems odd to lump legitimate safety precautions together with the ridiculous regulations that are imposed on us by our burgeoning police-state government). The chorus says it all started when “We started believing this world is a scary place,” but the world is a scary place. It’s called original sin. Then, to make it more confusing, the final verse protests the ban on prayer in schools. I agree it’s a shame that we “can’t do that anymore,” but now we’ve completely changed the subject! That’s a topic for a whole different song. So the whole thing isn’t very well thought-out.
*Maybe this is a naive dislike, but…I could hear Autotune in several places. I’m sorry, I know everyone does it, but it makes me feel at least a little better if I can’t tell!
Bottom line: I enjoy how this project sounds, but some stronger songwriting would have made it appeal to me even more. Overall though, it’s a quality product. Some Southern Gospel fans might be disappointed that a few of the songs are more generic country than southern gospel in terms of their message, but I don’t think this is an issue. In fact, as I mentioned before, I thought those songs were a nice change of pace for the Crabbs from a vocal and stylistic perspective. I think ultimately, this album offers something for everyone, diehard and casual fans of the group alike.
Rating: 3.5 stars
Review copy provided.