Category Archives: Album Reviews

Anyone who follows my music preferences knows I love family harmony. Genetics just help build a foundation for a vocal blend difficult for non-family groups to match or conquer. Though its roots run deep in traditional male quartet singing, Southern Gospel has been home to family groups of varying styles for decades. The Isaacs have transformed a unique Bluegrass blend into a successful conglomeration of Bluegrass & Country with deep Southern Gospel roots. The group’s latest release, Why Can’t We, proves their diversity while keeping each listener enthusiastic.

For groups who release new material each year or every other year, the recording process often becomes tiresome. However, if one were to add the potential strain of songwriting in the mix, the process could seem, at times, a bit overbearing. Sonya Isaacs Yeary and Becky Bowman contribute the majority of songs on the project while communicating them at the same time. For instance, the thought-provoking lyrics in “Waiting in the Water” probe into deeper emotion due to Becky’s soulful delivery. Likewise, Becky & Sonya’s demanding alto and soprano vocals shine on “You Can’t Take My Joy”, one of the project’s best up-tempo selections. The title track, “Why Can’t We”, offers a unique perspective on the task Christ outlines, forgiveness. This song’s hook may have been stated in murky format in some other song I don’t currently recall, but I enjoy the fresh and earthy feeling the tune offers.

Similar to their last project, Naturally…, the Isaacs dig into the wells from other great artists/songwriters. Becky’s cover of “I Still Trust You”, made popular by the Dunaways & the McFalls, is soft and enlightening on a simple avenue of life. Sonya’s layered harmonies above Becky’s lead vocals make the song even more enthralling. The group also turns in a superb performance of the Gaither classic, “I Believe in a Hill Called Mt. Calvary.” Many fans will associate this tune as a David Phelps-transformed ballad, but the Isaacs draw more emphasis on the lyrics in their simplistic approach. Covers of songs like “I Believe…” and “Hallelujah Turnpike” make the recordings seem not so much of a tribute to the past, but a uniquely different perspective of songs Southern Gospel fans have experienced throughout the years. In other words, the Isaacs’s recordings of these tunes don’t sound as if the group were obligated in any form to perform them.

As mentioned earlier, the Isaacs have experienced varying styles in their music, but the roots have stayed firmly planted in Southern Gospel. Until the group’s 2004 release, Heroes, the world didn’t hear much of the Country side of the Isaacs (electricity + drums). Their last “normal” cd, Big Sky, was the farthest from their traditional Bluegrass roots the group had visited. For most, the album seemed a bit too much too soon. Naturally… came along with much of the music taken away which left fans perplexed as to the group’s direction. However, Why Can’t We solves those qualms. This album is exactly the Isaacs’s last 3 projects tied into one release. Why Can’t We isn’t for only the sophisticated or more learned people. The honesty and sincerity prove their living the messages which helps make this project worthy of a slot among Southern Gospel’s best. The music, songwriting, and performances all show exactly the Isaacs’s abilities to sing differing versions of Southern Gospel while preserving the heritage instilled within them.

I highly recommend this project. I’m not into Bluegrass very much, and I like this project.

Personal Favorites: Hallelujah Turnpike, Waiting in the Water, Why Can’t We, You Can’t Take My Joy, Why, I Still Trust You, I’m Gonna Love You through It, and I Believe in a Hill Called Mt. Calvary.

Available from the Isaacs and Gaither Resources.

* Please pardon my absence for October. I’ve been reviewing Southern Gospel. Due to prior obligations, I haven’t exactly had quality time to put thoughts to typing until recently.

Mainly because of my Southern rearing, I have developed a strong love for Country melodies – not the averaged Country (secular) lyrics. However, I enjoy projects from Karen Peck & New River or the Nelons or Jeff & Sheri Easter because of the raw effects of the music & lyrics. Jeff & Sheri’s daughter and harmony vocalist, Morgan Easter, is gearing to release her second solo project, Not without Love. It’s been nearly 9 years since Morgan released her first album, Jesus Knows Me This I Love. This new release helps create an identity different from the young vocalists of today.

From what I’ve heard via the trailer Madison Easter posted, the project is sure to mark some milestones in her musical journey. Joining her on vocals are Sheri Easter (“Like My Mother Does”), Joseph Habedank (“Dreaming Wide Awake”), and Wes Hampton (“Broken”). Also, family member, Shannon Easter, provides back-up harmonies for the project. Joseph Habedank, Jimmy Yeary, and Madison Easter are also among the songwriting contributors. Each of these aspects under the production efforts of Madison Easter, Morgan’s brother.

*Be watching for a full review of the project within the week of its release on November 11, 2011. In the meantime, Jeff & Sheri Easter are accepting pre-orders for the new project through their website.

Southern Gospel music is filled with family names – however, incomplete family groups. However, the Collingsworth Family is entirely as their name states – a family. Audiences across the USA, Canada, and some foreign countries have eagerly anticipated the family’s first effort for StowTown Records, owned by Ernie Haase & Wayne Haun. Longtime Southern Gospel fans will appreciate the family’s salute to the past as well as a strong directional move forward on Part of the Family.

Opening the project is God’s Family. This Lanny Wolfe tune fits them like a glove. Having heard Kim’s siblings & parents perform this on her 2009 dvd, God’s Family shines stronger by the Collingsworth Family because of their multi-dimensional blend. Tell the Mountain offers a reflective tune on a current, yet familiar message, “Just tell the mountain how big your God is.” This message has been delivered in 2 other songs, but Tell the Mountain consistently and most effectively carries the purpose throughout. This is a smooth introduction to Phillip’s voice which is featured in several places on Part of the Family. Joy Unspeakable picks up the pace offering a testimonial perspective on joy. Because of the particularly stronger tunes, this seems to be lost in the mix, but it’s still a pleasant tune. Jesus Is All I Need offers a simple message of Christ’s constancy. Some would complain of its over-simplicity, but the simple moments are necessary to remind where the complex began.

Only the Collingsworth Family could take a male-quartet song and transform it into a family style song. Nothing’s Worrying Me gives a blues feel that Brooklyn portrays effectively. However, the style doesn’t fit with the musical approach on Part of the Family. Olivia Collingsworth shares a simple message in I Pray, sounding reminiscent of Courtney on God Is Faithful. Clearly, the strongest performance on Part of the Family lies in At Calvary. The family shows their ability to superbly capture and deliver each facet of a message. Phil & Kim step back on I Found It All. Courtney Collingsworth Metz, though not necessarily with the same vocals, has the ability to be this young generation’s Sheri Easter, a well-poised and effective communicator. The seemingly effortless emotional display immediately captivates and brings such an enlightening perspective on the lyrics. On the side, I love the track…especially those horns.

In stark contrast, the family moves into a cover of Just Another Rainy Day. This tune, previously recorded by the Nelons & LordSong, is given a rocky feeling. Phillip & Courtney’s solos are excellent showing some attitude and maturity in spite of their ages. They’re 17 and 20, but they sound approximately 15-20 years older, which is a good thing. The mix on this tune lets the music shine which may make this seem less appealing. However, the family needs to push it, and Just Another Rainy Day shows this well. One of my favorite Gaither tunes, Praise You, follows with such an excellent performance from the entire family. That’s the Place I’m Longing to Go gives an excellent view of heaven. This scaled-back tune sounds musically more like a hymn than At Calvary. To hear the group perform an acoustic song when least expected, I am awestruck. Very pretty harmonies everywhere. Closing is the magnificent The Resurrection Morn. The family evidently knows how to build a project’s concluding number and hold the attention throughout. This proves that a group other than the Gaither Vocal  Band can ably hold a big Gaither ballad through it all.

Part of the Family offers a retrospective approach to the Collingsworth Family. Mostly cover tunes, the latest release gives an excellent demonstration of their ability to cover various styles. On the other hand, this ability can lead to a flaw. While being able to sing diverse styles like blues & acoustic on the same project, the songs’ lyrics need to be strong to accompany those performances. Choosing stronger messages in both departments, up-tempo & slow, the Collingsworth Family could have an album to raise the bar for Southern Gospel – not just the Collingsworth Family. This album gives strong insight to their growth since their 2009 release, and I’m looking forward to many greater recordings from the group.

Personal Favorites: Tell the Mountain, At Calvary, I Found It All, That’s the Place I’m Longing to Go, The Resurrection Morn, Joy Unspeakable, Praise You, and Just Another Rainy Day.

Rating: 10/10 – completely

Production: Wayne Haun, for StownTown Records. Executive Producers: Phil Collingsworth and Ernie Haase. Available from the Collingsworth Family.

With the National Quartet Convention underway in Louisville, KY, I’ve decided to post some reviews of projects artists have ready to purchase. On the heels of their highly successful project, Shine, the Bowling Family has released Feels like Sunday. The album’s theme is derived from the various worship styles in different churches.

The project begins with what has already become a concert standard, I Thank You, Lord. Terah Penhollow’s voice is such a delight, showing her ability to stand beside veteran altos and sing just as well. Continuing in the Traditional Gospel flavor is a cover of Winds of This World. The excitement is sometimes difficult to convey in this style in the studio, but Kelly Bowling will be sure to capture the fans’ attention in live concert. The Bowling Family captures the essence of a Black Gospel performance with We’ve Come This Far by Faith, a biographical tune which is the strongest performance Kelly Bowling shares on Feels like Sunday.

The Bowling Family also included a few classics from the Church Hymnal. I’m on the Battlefield is easily one of the project’s strongest tunes. The project also includes Unclouded Day and Farther Along. Given the group’s unforeseen bus accident in July 2010, this tune gives stronger meaning to the idea of understanding through patience. The group crosses the border from Tennessee to Kentucky with the Church Medley (Bless That Wonderful Name of Jesus/God’s Not Dead, & Jesus on the Mainline). Terah Penhollow’s performance shines as the strongest in this medley. Another medley, the Blood Medley (There Is a Fountain, Nothing but the Blood, & The Blood Will Never Lose Its Power), offers the fans a more insightful blend to the ballads with its thematic approach.

In addition to the Traditional Gospel & Pentecostal music styles, the Bowling Family includes Praise & Worship through CCM covers. Terah Penhollow leads the family in a pleasant performance of Jesus Messiah, a popular Chris Tomlin tune. The performance felt stiff at times, making the family seem unfamiliar with this music style. Mercy and Grace ensues with a very slow pace. This is easily the least thrilling song on the project because of repetition and reliance on the musical backdrop. However, the little harmony lines Mike shares with the ladies are well placed and take away from the song’s drawn-out performance. In addition to these, the Bowling Family performs Aaron & Amanda Crabb’s tune, Thou Art Worthy, giving a seemingly flawless performance.

With Feels like Sunday, the Bowling Family has authentically captured the main tenants of church music and bottled them into an 11-track recording. This is the magnificence of Mike Bowling’s leadership as well as his production expertise. Each song is tailored to the individual’s abilities giving strong blends and harmonies to light the way. This project does give the fans a glimpse of each American church. However, there is a flip side. Feels like Sunday allows the fans to possess a brilliant marketing tool, too. The project ably shows the group’s ability to sing at any church simply because the styles are so readily adaptable to their voices. It doesn’t matter which church you attend, Feels like Sunday has more than enough for you.

Memorable Moments: I Thank You, Lord; Thou Art Worthy; Blood Medley; I’m on the Battlefield; We’ve Come This Far by Faith; and Farther Along

Available from the Bowling Family or Springside.

Time has disappeared from my grasp, and I have discovered that it has run ahead of me somehow. When these projects’ release dates were announced, I decided I would eventually post a review of each album. However, time passed by, and others submitted reviews handling each end of the spectrum and all points between the two ends. As with each “mini review” feature, the actual album ratings are featured in the photo captions.

Rating: 9.25/10

1) Reach Out – Karen Peck & New River (Daywind Records)

This talented trio never fails to release exciting recordings with unique musical arrangements to match the lyrics. Each group member receives at least 2 solos with group front member, Karen Peck Gooch, receiving the majority of lead & solo features.  The project is likely to introduce many new fans with its solid musical direction. However, deeper lyrics from songs like Last Night and Behind the Line of Grace could have landed this project above its recent predecessors, No Worries and Ephesians One. However, the vocal blend Karen & New River has created with new second tenor, Jeff Hawes, is astounding. These are the thickest harmonies the group has seen in many years. New River failed to disappoint fans during the nearly 1.5-year wait. Reach Out‘s strongest cuts lie in the debut single, On the Banks of the Promised Land, as well as the potential hits, This Is What Mercy Does, Broken into Beautiful, and Sustaining Grace.

Rating: 9/10

2) Grace Says… – Kingsmen Quartet (Horizon Records/Crossroads)

Strong quartet harmonies and lively lyrics and melodies to match have drawn Southern Gospel fans to the Kingsmen’s style. With Randy Crawford’s recent re-joining, the group has provided a solid and soothing sound in Grace Says. The album’s direction seems to cater to everyone’s tastes while attempting to point out the common thread in each song – grace. The musical roller coaster on Grace Says isn’t for the single-styled individual. However, for those listeners like me who enjoy various music styles, the Kingsmen’s latest project is the right choice for them. Fans are treated to classic quartet harmonies, worshipful hymn-like melodies, and the Country and Pop feeling throughout Grace Says. However, the project seems to drag in the middle in its conversation of God’s presence in everyday lives. No, Southern Gospel songs don’t have to be overtly obvious as to who is the author and finisher of the faith. Grace Says (the song) and Ordinary Man could have benefited from stronger lyrical foundation making them feel less awkward. On the other hand, each member brings out stellar performances with He’s Everything I Need (That’s All I Need), Loving Shepherd Gracious God, I Can Hardly Wait, and If Not for the Love of Christ.

Rating: 8/10

3) I Still Need Him- Mark Bishop (Sonlite Records/Crossroads)

Nearing his 10-year anniversary as a soloist, Mark Bishop offers fans a cool retreat from the noise and distractions of everyday life. I Still Need Him offers fans a unique look on Bishop’s perspective of life. By drawing lyrics with fresh views of the Gospel message, Mark Bishop is able to capture the listener’s attention for a 10-song journey of faith and love. Because he writes with a narrative format, his titles sometimes don’t completely capture the eye for the ear to listen. However, songs like My Name Is Jesus, I’m Listening for the Call, That’s the Sound of a House Being Built on Love, and Are You Going Where I’m Going? give the listener a unique spin on common themes in the message – salvation. One of the potential downfalls with writing in the narrative style is the messages becoming too similar and less captivating. There’s no doubt as to the album’s direction, but the pace seems to quicken in some areas and slow down when you least expect it. Mark Bishop captures pleasing presentation with the thought-provoking lyrics in My Name Is Jesus (a performance including solo talents of Lauren Talley, Mitchel Jon, and Ivan Parker), I’m Listening for the Call, Are You Going Where I’m Going?, Your Easter Sunday Is on Its Way, and That’s the Sound of a House Being Built on Love.
Over the next few weeks, I will be posting full-length reviews. However, I felt the need to express my comments for these by showing the pros and cons of each CD. I hope you all enjoy a great weekend!

More Than Enough, the Whisnants

Through the years, Southern Gospel fans have become familiar with the Whisnants’ music. Jeff & Susan Whisnant provide the baritone and alto vocals, while Aaron Hise joins on the lead/tenor vocals. Eric Ollis (piano) and Austin Whisnant (bass) accompany the group. Since the group became independent in 1997, the Whisnants have offered projects featuring one hit after another. Their long-running vocal blend has allowed them to keep a consistent sound and develop a strong fan base. More Than Enough features the talents of 3 producers: Lari Goss, Jim Brady, and Mylon Hayes. With their newest release, More Than Enough, the Whisnants treat fans to sweeping orchestrations, expressive vocals, and musical arrangements to enhance them.

Opening the project is the mid-tempo Oh, It Is Jesus. This gives clear examples of the Whisnants’ Country roots. Continuing the project is the tune, All Is Well. This tune features a stunning performance from Susan Whisnant. The vocals are crisp and clear. On the other hand, the song’s similarity to the McKameys’ tune of the same name will make fans of both artists perplexed for preferences. The project’s first true uptempo lyric, God Settled It All, follows. The bumpy personality makes this tune radio friendly. Stronger lyrics would have made it a definite #1 hit. I’m Trusting the Blood features an entirely slow, traditional Southern Gospel flavor. In exactly opposite fashion, He’s Living Today offers swift orchestration to pick up the pace from the previous track. This tune is one of several cover tunes, one of which the Whisnants recorded on A Glimpse of Grace (1999). Fresh vocals and music accompaniment breathe new life into this strong piece.

Sandy Blythe tunes have been welcome on each Whisnants project for nearly 8 years. Susan Whisnant delivers a strong performance on I’ll Trust the Potter’s Hand. This is the strongest “new” tune on the project. The music provides an excellent backdrop for Susan’s soft delivery. The group then picks up the pace for a driving Country tune, Are You Ready?. The chorus’s lyrics are catchy and sure to light up request lines. Are You Ready? proves Susan’s ability to handle an up-tempo tune just as much as a ballad. I Will Glory in the Cross stands as the strongest performance on the project. Aaron Hise’s vocals make this selection his strongest performance to date. This features excellent Whisnant harmonies and Goss’s lush orchestrations weaved throughout to enhance Hise’s superb vocals. The Whisnants’ cover of I Will Glory in the Cross stands as one of 2011′s strongest performances. Dottie Rambo would be proud.

Once again, contrasts occur with the next track, Weapon of Prayer. Jeff Whisnant’s feature gives a cool Country style. Next is a medley of Southern Gospel favorites: Ready to Leave, Packin’ Up, Gettin’ Ready to Leave This World, and Goodbye, World, Goodbye. While each song is performed well, the medley seems entirely too rushed for fans to appreciate each song featured. Since the group used Ready to Leave the most, it seems more logical to sing the entire song and include one of the other 3 tunes. Closing the project, Susan Whisnant expertly performs the encouraging, yet convicting lyric, Burn the Boat. This Dianne Wilkinson tune shines as a strong message for the Christian. The lyrical set-up stands strong and is the most lyrically capturing song on More Than Enough. This tune will likely encourage each person in concert attendance because of its direct message to each person.

More Than Enough captures the Whisnants’ dream for an outstanding project. Joining forces with Lari Goss in the orchestrations and Jim Brady & Mylon Hayes on the vocal arrangements gives a strong bond. Production expertise helps keep the project standard high. Producers and group members successfully weaved portions of hymns in applicable places. For instance, the production team used two lines from the Crosby classic, Near the Cross, in I Will Glory in the Cross effectively to keep from diverting the listener’s attention to the original lyrics. On the other hand, the lack of lyrically strong up-tempo numbers gives the project a dragging feeling because the slower tunes are where the project’s deepest lyrics lie. However, the Whisnants are sure to win new fans as well as satisfy returning fans with More Than Enough. The fresh performances and music accompaniment provide the listener with the Whisnants’ strongest project to date.

CD Rating: 8.5/10

Songs: Oh It Is Jesus, All Is Well*, God Settled It All, I’m Trusting the Blood, He’s Living Today*, I’ll Trust the Potter’s Hand*, Are You Ready?*, I Will Glory in the Cross*, Weapon of Prayer, Ready Medley, and Burn the Boat*.

*Asterisks denote personal favorites.

Album copy purchased by reviewer. Available from the Whisnants.

New Day, the Martins

In approximately 15 years or more, the Martins delighted audiences with hits like “The Promise,” “Grace,” and “Out of His Great Love.” After disbanding in early 2004, the group followed individual music interests. However, the group began forming limited reunion dates. After eight years with no entirely new project, the Martins have joined Jay DeMarcus to offer a 10-song collection full of strong lyrics and exciting vocal arrangements to match. New Day pleases the fans while creating a fresh sound to invite new listeners.

For New Day, the Martins begin the project with a driving selection, “Love Enough,” sharing that love is always available. Joyce Martin Sanders’s solo and the siblings’ harmonies prove that the group’s sound remains intact. This tune opens the listener to a strict Country sound compassing the entire project. “New Day” continues as an album highlight with Judy’s clear vocals which keep this from sounding exactly the same as the first track. “Tell Them That I Love Them,” a song recorded by the Bowling Family last year, is given a slower treatment featuring Jonathan. His vocals seem as if he weren’t completely comfortable with the arrangement. The song’s pace does, on the other hand, gives the listener a better chance to catch the message. Jonathan continues with “Good to Me.” This tune is reminiscent of their Windows & Dream Big days. Once again, musical treatment similar to the first two songs is used. On the other hand, this tune seems more relaxed and show the vocals more. “All the Love in the World” follows in a late 90s/early 2000s CCM feeling heavily with the percussion and electricity. This could do well at mainstream Country radio.

On the flip side, Southern Gospel/Inspirational fans will delight in ”Unredeemed.” This Selah cover shows Judy Martin Hess’s vocal strength at its finest. The lyrics speak of how God doesn’t leave people as they are. “The Truth” ensues offering a more simple message speaking of “jumping into the truth.” The musical similarity in this tune and the other “up-tempo” selections makes this tune sound less creative. If the song’s place were changed with either “Good to Me” or “Love Enough,” listeners would be less likely to skip the track. It’s not worthy of such simply because it has the best vocal arrangement of the up-tempo numbers. “Somebody like Me” continues the ever-present percussion heavy feeling. Jonathan takes the lead, but he doesn’t seem to capture the energy his sisters pack into the song. However, the ladies’ edge contrasts Jonathan’s features on the verses well. “Love’s Gonna Drove This Train” gives a different Country style on the project. It’s lyrical similarity to the Suzanne Jennings/Jeff Silvey tune, “Love Is like a River,” leaves the Southern Gospel listener desiring more lyrical creativity. Joyce Martin Sanders’s soulful vocals shine well on this tune. In complete contrast musically & lyrically, Joyce & the Martins close the project with a worshipful prayer, “I Surrender.” It seems as if Joyce saved her emotion for the final track, one of her own compositions, co-written with Chris Eaton. The accompaniment gives a stark contrast to the other songs on the project. This tune is the most reminiscent of the classic Martins sound from days of “Wherever You Are” and “Except for Grace.”

On New Day, the Martins delight long-time fans with their powerful harmonies and excellent arrangements. After 5 songs following in the same vein, the project tends to lose the creativity and seem less appealing. However, the best songs are equally dispersed giving stronger lyrical content in areas where the music sounds the same. The group continues to offer insightful individual performances in addition to group performances. Jonathan shines on “The Truth,” while Judy and Joyce shine well on “Unredeemed” and “Love Enough” and “I Surrender.” For fans who are looking for the classic Martins project with a cappella woven throughout, this project offers the opposite – 10 songs filled with high energy and electricity. New Day picks up exactly where their last project, Above It All, in 2003, stopped. This project keeps the listener fully aware that the Martins have continued to embrace new territory while sticking to their familiar formula for quality music.

Pick up a copy today. You’ll be glad you did.

CD Rating: 9.5/10

Song List: Love Enough*, New Day*, Tell Them That I Love Them, Good to Me*, All the Love in the World, Unredeemed*, The Truth*, Somebody like Me, Love’s Gonna Drive This Train, and I Surrender*.

Asterisks denote personal favorites.

Review copy purchased by reviewer. Available from the Martins or Gaither Music Group.

Since my review of the Tribute Quartet’s 2010 cd, Hit Replay, the group has experienced a membership change. Bass vocalist Dennis Dugger decided to leave the road, and Anthony Davis joined the group shortly afterwards. However, this is also recently acquired tenor Riley Clarke’s first mainstream release with the group. Both vocalists prove ability to stand strong beside group veterans, Gary Casto (lead) and Josh Singletary (baritone/pianist). On Tribute Quartet’s project, The Waiting Is Over, fans are treated to refreshing vocal arrangements combined with excellent lyrics and smooth instrumentation to accent both.

Starting the project is the mid-tempo concert-opener, “Songs of Zion.” This tune is reminiscent of the latter full-time days of Poet Voices providing strong harmonies throughout. Continuing in a similar feeling next is “Makes Me Want to Go.” This song receives a soft shuffle treatment which keeps it unique from the other up-tempo songs on the project. The Waiting Is Over begins to slow down for a resurrection-themed tune, “Jesus Is Alive.” Its pace doesn’t quite match to the power in the voices causing for a minor drag in some areas. However, the song doesn’t suffer from clichéd rhymes which help it stand as one of the project’s better lyrical selections.

Riley Clarke steps up for his first significant solo, “Homecoming Day.” This song written and previously recorded by Jim & Melissa Brady holds a strong message for the Christian. Tribute Quartet’s performance isn’t too much musically motivated, nor is it too much vocally motivated. Both the music and vocals work together to provide a powerful sound for the listener. This could easily be Riley Clarke and the Tribute Quartet’s breakthrough to the large realms of Southern Gospel. “More Than Able” continues in an evangelistic feel much similar to Greater Vision’s original performance on their 2002 live album. This performance shows the Tribute Quartet’s ability to traverse from a mega-ballad to a lighter quartet style.

Some groups have been able to perform the “name” songs well. By “name” songs, I’m referring to songs speaking of the names of Christ or God, the Father. “The I Am” continues the project in a much simpler vein drawing a stark contrast to the stronger lyrics in the project’s first half. “There Is a City” moves on livening up the project. Riley Clarke is featured once again and nails his performance. This song, though musically similar to the Kingdom Heirs’ “I Know I’m Going There,” has more of a concert favorite feeling to it rather than a radio hit. The encore tagged at the end gives the same singing experienced at the “fake” ending. More creativity at the song’s end would build a better ending rather than making the song seem the same for a minute longer. “The Climb” continues featuring a soft performance from Josh Singletary. His vocals and the calm mood in the song combine for a great thought for the listener.

Tribute Quartet pays homage to one of the “trailblazers”, the Hinsons, with “He’s Leading the Way.” Though not quite capturing the energy and excitement the popular family group held, Tribute does a good job keeping this song for current & future generations to hear. Riley Clarke shares a humble prayer in song, “Save My Family.” This song speaks to me personally because it describes the first verse describes my immediate family perfectly. The message is timely, giving a reminder for fellow individuals to keep family members and friends’ spiritual lives at the forefront of their prayers. Closing the project is the high energy tune written by Ann Downing & Daryl Williams, “Bring on the Joy.” The encore from “There Is a City” could have been moved to this tune considering its length & the vivacious spirit consistently interspersed. The song is an excellent close to the recording and an obvious pick as the project’s best up-tempo track.

Tribute Quartet, in more ways than one, gave Southern Gospel fans a message, “The waiting is over.” Not only does the title borrow from the project’s big hit, “Homecoming Day,” without being too obvious, but it also shares that the waiting is over for the project’s biggest and best album to date. Correct emphasis placed on the lyrics rather than music accompaniment rank The Waiting Is Over high in 2011’s best Southern Gospel recordings. The song selections with their impeccable vocals give the listener a healthy dose of quartet singing without being too flashy. Southern Gospel listeners have tapped into a fountain quality singing from Tribute Quartet, and The Waiting Is Over is evidence of their carefully displaying this.

CD Rating: 9/10

Song List: Songs of Zion, Makes Me Want to Go*, Jesus Is Alive*, Homecoming Day*, More Than Able, The I Am, There Is a City*, The Climb*, He Is Leading the Way, Save My Family*, and Bring on the Joy*

Asterisks denote personal favorites.

Review copy provided. Available from Crossroads Music*

*This project is slated for retail on July 19, but Crossroads recently released the project digitally.

Joyride, Ivan Parker

Since his departure from Gold City in 1993, Ivan Parker has remained at the top of the field for male vocalists in Gospel music. His mantle full of awards including Favorite Male Singer and/or Favorite Soloist for multiple years prove this to be true. Ivan’s latest release, Joyride, serves the listener a bit of fresh air, allowing them to join Parker for a ride of not only various music styles, but also a variety of messages in the lyrics.

Ivan starts the project with a cool mid/up-tempo selection, the title track, “Joyride.” This song speaks of allowing God to take us wherever the road leads. Musically, this song goes back to the style of his 2006 hit, “The Grace That I’m Under.” “Joyride” is one of the stand-out tracks from the project, and this would do well at radio. Next is the Rodney Griffin tune, “Expect to Win.” Since 2007, Ivan Parker has picked a Griffin tune for each project, whether the song were written or co-written. Those songs include Ivan’s first #1 song, “I Choose”, and his latest chart single, “When There Was Nothing to See.” Griffin’s strong lyrics and Ivan’s solid performance provide a strong encouragement for the Christian to remain expectant for victory. These qualities make the song the best of all styles on the project.

“I Wanna Make a Difference” continues the vein of encouragement as well as strengthening the personal actions of the Christian. However, Ivan’s emotion is rarely carried through to make it a strong performance. In addition to the performance, the song relies too strongly on the backing vocals to achieve a good performance. “Mary’s Wish”, a new Joseph Habedank/Matthew Holt tune, gives a strong look at Mary, the mother of Jesus, and her desires to keep Jesus from pain and misery. The simple instrumentation gives the listener a more pleasing feeling. Unlikely for regular radio airplay, this tune could benefit from being pushed in the Christmas season. “He Knows What You Need” gives a strong uptempo feeling. Though the song’s wording isn’t as complex as the latter song, Ivan Parker performs the song well. It is one of the standout performances from the uptempo selections.

The debut single, “Who I Am Ain’t Who I Was”, follows the lively feeling from “He Knows What You Need.” This tune speaks of the fallible nature of man while realizing the change when becoming a Christian. The incorrect grammar wins zero marks from this reviewer. However, Parker gives the listener a chance to hear himself sing with fewer backing vocals and more simplistic instrumentation. “I’m Going Home” ensues at a high-energy pace. This tune seems to be a misfit for the recording given its appearance from out of nowhere. However, the energy from the music & vocals bring a good performance for the listener. “Temporary Goodbye” follows in a cooler Country vein, beginning with an account of a person who passed away and continuing through what may happen in heaven. Weaving the song’s central idea of a temporary goodbye throughout the song shows its receiving stronger songwriting. This clearly stands out as one of the strongest on the project.

Closing the project are “I Can’t Help It” and “Author and Finisher.” The former tune speaks of turning situations and dilemmas over to Christ. This tune gives the listener a strong choice in the up-tempo department for Joyride. The final song on the project, “Author and Finisher”, gives a declaration attempting to weave political and social actions with spiritual truths while pointing the wrong with the former. By being introduced with the same words, the second and third verses are structurally identical while mentioning different topics for each one. This song doesn’t seem as cohesive, causing some confusion as to its direction. For instance, the chorus begins sharing of how “they may take the commandments off the wall.” But, by the end, it mentions Christ as having the final say. The connections seem to be lost in the shuffle at times.

Ivan Parker’s latest album, Joyride, offers the fans a strong variety of musical styles while keeping the message true to Southern Gospel. However, the project seems to fall apart from a lack of attachment. The project has the listener experiencing the brakes, the gas pedal, and some swerves on the road while trying to keep the listener’s focus. In addition to the emotional ups and downs, the project relies too heavily on the backing vocals to accomplish its goals. For instance, the vocals on “He Knows What You Need” and “I Can’t Help It” and “Author and Finisher” hide Ivan’s lead vocals in places leaving the listener confused as to who’s holding the lead. However, the ability to maintain various musical types as well as the vocal types prove to the fans exactly what styles Ivan Parker can sing best. On this album, Joyride, Ivan Parker gives a unique selection of current songs while maintaining a more fresh sound for the listener.

Rating: 7.75/10

Personal Favorites: “Joyride”, “Expect to Win”, “Mary’s Wish”, “Temporary Goodbye”, and ”He Knows What You Need”, and “I Can’t Help It.”

Song List: “Joyride”, “Expect to Win”, “I Wanna Make a Difference”, “Mary’s Wish”, “He Knows What You Need”, “Who I Am Ain’t Who I Was”, “I’m Going Home”, “Temporary Goodbye”, “I Can’t Help It”, and “Author and Finisher.”

Available from Crossroads Music, the Artist, or Springside Marketing

God Makes No Mistakes, the Inspirations

Since their last release, the Inspirations have experienced vocal changes. Their last project, On the Sunrise Side, was quite possibly the last to feature Melton Campbell’s voice since he departed the group at the end of 2010. Jonathan Epley, formerly of Statement of Faith, Jacob Kitson’s short-lived group, joined in the baritone position. His vocals are similar to lead vocalist David Ragan’s but with a heavier sound to help Mike Holcomb, the group’s bass vocalist, combat the soft tones from Ragan & the group’s tenor, Jodi Hosterman. With God Makes No Mistakes, the Inspirations continue to offer fans the distinct Appalachian-style accompaniment for energetic vocals.

Known for their mid-tempo declarations of God’s goodness (i.e.- “Thank You, Lord” & “We Need to Thank God”), the Inspirations start the project with a similar thought in “My Lord Is Taking Good Care of Me.” This sets the stage for the project well while not giving too much info as to the vocal arrangements coming. “Something about a Prayer” follows reminding the listener of the power in prayer. Written by Scotty Inman & Barbara Huffman, this tune is one of the stand-out performances, especially of the up-tempo regions in the album. The album’s title cut, “God Makes No Mistakes” is the first of only 2 real ballads on the project. Mike Holcomb’s somber delivery invites the listener as he shares a message sounding as if he’d written it himself. The story of his studio performance is quite touching given the correlation of the lyrics & Holcomb’s personal experiences. See Daniel Mount’s comment for his take on the encounter. Holcomb’s vocals on this track prove his versatility which has endeared him to the hearts of many fans for nearly 40 years. As a means of vocal contrasts, Jodi Hosterman is featured on the second verse continuing to carry the ballad’s soft approach. This, the first single, is actually the best song on the project- lyrically, musically, and vocally.

The Inspirations are known for choosing songs with simple lyrics. This idea is intentional to keep the message universal and drawing to the listener. However, there is occasion to choose overtly simplistic lyrics with arrangements to match them. ”He Got Up” seems to be a songwriter’s rough copy needing unique wording to make it stand out to receive positive recommendation. The lyrics aren’t completely the problem. The connection is lost between the singers & music tracks creating an energy lag. The group has the energy, but the track drags creating a clash making the song seem to drag. On the other hand, in my review of On the Sunrise Side, I stated my love for the vocals on “Heaven By and By” , a barborshop-style song. We’re treated to a similar feeling for “He Made a Way”, an excellent example of Hosterman’s sharp, yet not piercing tenor vocals as well as the depth in Holcomb’s voice. Following “He Made a Way” is Epley’s solo feature “Why We Came Here.” This tune is the a-typical singer’s proclamation of the purpose of singing and sharing the message. Once again, good lyrics, but not enough to entirely captivate the listener to hit replay.

The energy picks up for the next two tracks, “Talk about Dying” and “Nothing Less Than Grace.” The former speaks of the final obstacles to defeat (i.e.- Jordan, Zion, etc.). Holcomb turns in a solid performance on this tune while Epley performs well with the latter, “Nothing Less Than Grace.” Rodney Griffin’s lyrics suggest a strong blend to accompany them, which the Inspirations serve well. This is likely to strike a strong chord with long-time Inspirations fans and radio listeners. The next tune, “Living in the Land of Canaan”, promises to continue the energy level and does so accordingly. However, the first verse doesn’t exactly tie with the chorus. The second verse makes up partially with the outstanding trio from Ragan, Hosterman, and Epley. Closing the project is the smooth ballad, “I Choose the Lord.” This tune gives the listeners a feeling for what is an Inspirations power ballad. Through its arrangements, ”I Choose the Lord” holds the best music/vocal conglomeration for the entire album. Hosterman pulls out all stops for a good ending to the project.

Through their nearly 50 years of singing, the Inspirations have recorded songs that thrive on the simplest platform. A portion of their longevity is due to their ability to make the Gospel “ground” level for the listener. Fans appreciate being able to listen to music without having to decipher its purpose or the preferred receiver. The way the group has counteracted being simple vocally is by using strong vocal arrangements to even the mixture. However, dwelling on this lyrical simplicity can give room for choosing songs too simple. The messages remain the same, and fans know the songs by heart because it’s “the same old same old.” Don’t get me wrong, the Inspirations are not travelling this path completely. On the other hand, they could be headed closer if stronger lyrics aren’t chosen. And I do understand that stronger lyrics must first be written. But that’s a topic for another day. In the meantime, consider this a “call to action” for both the singer & songwriter to achieve better dealings all around- whether singing, writing, playing, or just watching/listening.

In God Makes No Mistakes, the Inspirations serve fans a healthy dose of strong harmonies and give Southern Gospel listeners a hint as to their vocal potential. With stronger lyrics and as equally outstanding vocals in the future, the group is sure to build a better album featuring various styles while sticking to the traditional Inspirations feeling.

Rating: 7/10

Personal Favorites: “Something about a Prayer”, “God Makes No Mistakes”, “Nothing Less Than Grace”, and “He Made a Way.”

Song List: My Lord Is Taking Good Care of Me, Something about a Prayer, God Makes No Mistakes, He Got Up, He Made a Way, Why We Came Here, Talk about Dying, Nothing Less Than Grace, Living in the Land of Canaan, and I Choose the Lord.

Available from Crossroads Music and Springside Marketing.