CD Review: Healer of My Heart (Sisters)

Sisters traces its musical roots back to the Ruppes, a family group that hit its peak of popularity in the mid-1990s. For some time, Sisters did selected dates, while Kim Ruppe Lord did other dates with her husband, Michael Lord, as LordSong. Recently, though, Michael Lord has come off the road, and Sisters has moved to full-time status. Healer of My Heart, released by Daywind earlier this week, is their first major-label release.

This project should particularly appeal to fans of Point of Grace. Most of the tracks have a 90s adult contemporary sound (and, off topicโ€”yes, Chris U., I am predicting and watching for your comment to the contrary!) Though Point of Grace’s trademark has been incredibly tight harmonies, sibling genes give Sisters a blend as tight or tighter.

It is not exactly clear what the project’s first single is. The cover letter stated it is “Can’t Keep from Singing,” while an attached promo sheet stated it was the story-song “Mercy Leads.” It could be that the former is going to adult contemporary radio, while the latter is going to Southern Gospel radio.

Sisters’ tight harmonies and riveting solos would make probably anything they sing at least somewhat compelling. Tracks that should appeal to middle-of-the-road Southern Gospel fans include “God’s Grace,” “Mercy Leads,” “Healer of My Heart,” and what is probably the project’s strongest track, the thought-provoking ballad “We All Came to the Cross.”

If your musical preferences include artists like Point of Grace and Hope’s Call, you will probably enjoy the whole project. Even if your tastes are more traditional or middle-of-the-road, you should still find several tracks to enjoy.

Song list: I Can’t Keep from Singing; You Made My Day; God’s Grace; Everything Yuo Do; We All Came to the Cross; Brothers and Sisters; Healer of My Heart; Unexpected Blessings; Mercy Leads; I’m Sure; You Always Answer Me; Healer of My Heart (reprise). Personnel list: Kim Lord, Heather Day, Valerie Ruppe. Review copy provided.

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51 Letters to the Editor

Southern Gospel Journal welcomes letters to the editor. We will post the most thoughtful and insightful submissions. Ground rules: Don't attack or belittle groups or fellow posters, or advance heresies rejected by orthodox Christianity. Do keep comments positive, constructive, and on topic.
  1. I’m not Chris, but I will make a predictable comment, since you have reinforced a stereotypical idea that isn’t always true.

    The fact that they are sisters makes reviewers try to find a way to say their blend is superior to other great harmony groups. The blend of Sisters is outstanding. There’s no argument there. But the harmonies of the 1990s early-Point Of Grace were every bit as tight and amazing. Sisters has the advantage of having had similar training and natural ability from an early age, but blend itself is fine tuning that genes can only help (or hinder) to a certain extent.

    My most reliable proof on this topic has been the Martins who sounded so much better when Paul Lancaster replaced Jonathan Martin. That’s not to say Jonathan Martin was a shabby singer at all, but the blend those two sisters achieved with Lancaster was noticeably better.

    • Maybe Chris isn’t going to, for once, just since I dared him! ๐Ÿ™‚

      I listened to every Point of Grace album from whenever they started (was it 1991?) through 2003 or so, before I discovered the good stuff and almost entirely quit listening to CCM. I still maintain that Sisters’ harmony is better / tighter. ๐Ÿ™‚

      • If you honestly think they sound better than Point Of Grace, that’s great and a fair point.

        My point is that they aren’t better because they happen to be related, which is what you implied in your review:
        “sibling genes give Sisters a blend as tight or tighter.”

        It’s actually a more finely tuned ear for what the other voices are singing and the vocal skill to match that sound that gives them a superior blend.

        “Superior blend”…maybe they should introduce their own line of coffee. :o)

      • Let’s just say that growing up together, in all likelihood, gave them a head start toward a blend I consider better . . .

        . . . but that they undoubtedly had to work at that blend for years, like the ladies in POG, and that I furthermore concede many siblings do not blend well together, and therefore genetics alone is not sufficient?

        How’s that for a mutually agreeable compromise position? ๐Ÿ˜›

      • Hey Daniel, I like that reason you gave for hopping off the CCM boat. “I discovered the good stuff.” I think I might use that myself!

      • You’re welcome to! ๐Ÿ™‚

        Normally, I keep all nice and quiet about the issue, but every now and then my sense of humor gets the best of me and I let a zinger rip. ๐Ÿ™‚

      • The way I look at it is this: Why should I listen to the latest cookie-cutter CCM group on the radio when I can just fire up the iPod and listen to the Cathedrals?

      • Precisely. ๐Ÿ™‚

      • Unfortunately, SGM has more “cookie-cutter” sound alike groups than any other genre, IMHO…

      • I would tend to think CCM has more, but I think this debate is way more subjective than most . . .

      • I don’t hear near as many new bands trying to sound like the David Crowder Band or Switchfoot or new soloists trying to sound like Natalie Grant or Brandon Heath near as much as I hear quartets trying to sound like Gold City or Signature Sound or mixed groups trying their darn’dest to mimic The Hoppers or The Perrys…

      • Well in the case of DCB and Switchfoot perhaps that’s not such a bad thing…

      • NSoGoF, that’s awesome! I love it . . . ๐Ÿ™‚

        I noticed Chris’s comment but couldn’t think of any way to express my thoughts that hadn’t already been used. That’s great. ๐Ÿ™‚

      • Whether you like the music of SF or DCB and think it’s a good thing that bands aren’t mimicking them is beside the point (I think their sales more than prove that MANY people would disagree with your sentiment) – the point was that you DON’T hear bands on major labels and getting major airplay that sound like them. Unfortunately, that happens ALL the time in SG…

      • To Daniel: Thanks!

        To Chris: I agree that the DCB has a rather…ah, shall we say, distinctive sound that isn’t getting widely imitated. I do think the Robbie Seay Band (sp?) is trying to mimic that style, however. But you’re right that in that particular case, it’s not a widespread thing. (Per your comment about all the people who would disagree with me, since when is good sales a mark of good music?)

        Honestly, I don’t think you can point to just one band or group that everybody is trying to imitate. I think that somewhere along the line, this idea of “what CCM sounds like” got born, and young groups like Rush of Fools and, more recently, Mikeschair, began churning out stuff that would fit that mold. Common characteristics include pointless walls of sound, mediocre vocalists, and cliched lyrics. With few exceptions, this is what I’m getting on my local CCM station today.

      • Different strokes….

        the ‘musicology’ is / should be subservient to the ‘theology’.

        To me a CCM station sounds like a ‘pop’ station – sometimes even when the lyrics can be distinguished, often they are divinely anonymous, and mind numbingly repetitive even when faintly Biblical. ‘Dumbing down’ comes to mind often…

        Regardless of who sounds like who in SGM, the lyric is, mostly, a) intelligible, b) intelligent, and c) relatively Biblically sound. – Not ALWAYS, but mostly!

        maybe that is the Key difference in the diverging genres?

      • I think you nailed it there. In general, I feel like SG has higher lyrical, musical, and vocal standards than CCM.

        The vox difference is especially striking to me. The people GMA has been crowning as “Vocalist of the Year” lately are acceptable at best, and their limitations are even more striking when you compare them to SG vocalists. Fact: you don’t have to be a particularly good singer to get CCM airplay, and if other factors are working in your favor (like a hit song or two), you need not be more than middling to win a Dove.

        Now I’m not saying every gospel singer out there is fantabulous, but I’m looking at a trend here. Even looking at a singer like Chris Tomlin—whom I really like a lot—when I see the numerous Vocalist awards he’s won, I have to honestly say, “He’s good, but he’s no Ernie Haase.” And Chris is one of the better singers in CCM.

      • We’re definitely going to have to agree to disagree here. To say Robbie Seay Band is trying to mimic the sounds of DCB is really shocking to me. RSB recalls Dave Matthew Band, MAYBE. DCB? Hardly.

        As far as the “wall of sound” – well I’ll agree with that in so much as that’s what radio’s looking for (Rush of Fools has only one hit – “Undo” – and Mikeschair may have had a Top 10 hit – but that hasn’t reflected in sales) – it’s also why it’s really only the same 20 artists being played on Christian radio right now.

        But I just have to sit back and chuckle when people make statements about other genres of music being “cookie-cutter” when they can’t see it in their own genre. There are VERY FEW artists that are really breaking any kind of mold in this genre (in terms of core sound) – KPNR, Booth Brothers (at times), GVB, and others have their moments like Isaacs, Jeff & Sheri, Talley Trio, and Sisters.

        If you talk about cookie-cutter – look no further than Greater Vision, Legacy Five, The Perrys, Mark Trammell Trio, Kingdom Heirs, Hoppers, Triumphant, Whisnants. Each album sounds like the one before and they all sound like each others’.

        That’s not necessarily bad. I enjoy ALL of those artists and their music. They know what their fans want and they give it to them. That’s part of the reason WHY they are so successful.

        However, to deny that SG is stuck in a musical rut is really a mistake. You want to know why people tell me they don’t like SG? “It all sounds the same…” 9 times out of 10.

        We can tell the difference because we’re engrossed in the genre – just like hip hop aficionados can tell the difference between Drake, Jay-Z or 50 Cent.

        Anyways, I said all that to say that SG is NOT where it’s at. It is NOT a perfect genre – and the reason we’re stuck where we are is because we have too many people working in the industry who think it is perfect and we don’t have any problems musically…

        Our songs are too simple, our melodies boring, and everyone sounds the same when they sing.

      • BTW – I’ve always held the belief that they need to change the “Vocalist of the Year” awards to say “Male Artist” and “Female Artist of the Year”. That’s really what it is – it hasn’t been about the voice in 20 years…

      • Just my opinion, but I couldn’t care less about someone “breaking new ground”, “pushing barriers”, or “being unique”. I’m more concerned about the music honoring the Lord.

        Stick with the old stuff…it works every time.

      • I really had only one song in mind with RSB, and that was “Song of Hope (God of Heaven Come Down.)” In all fairness, I haven’t heard much more of their music (and don’t have any particular inclination to do so). However, that song definitely does have a DCB feel, say what you will. Regarding Rush of Fools, you may consider only “Undo” to have been a hit, but it sure seemed like radio played songs like “Can’t Get Away” and “Lose It All” to death as well—my local station did anyway.

        Well, if your point in all this is to say that SG is not “where it’s at,” can we at least agree that the lyrical content alone is vastly superior to what you’ll get on the average CCM station? I don’t care how “cookie-cutter” a SG group or album might be. Lyrically, SG has repeatedly proved more committed to communicating solid Biblical truth than CCM. You say our melodies are simple—are CCM melodies any better? Seems like a lot of it is just loud repetition to me.

        I’ll be honest, I’m fairly new to this genre. I don’t know as much about SG as you do. I’m much more familiar with CCM. I stopped listening to CCM because…well, it all sounded the same.

      • I present as a small sample two songs I just heard on the radio—one on a CCM station and one on a gospel station.

        The gospel station:

        Lift Up the Cross–Crist family

        Bracing. Incredible harmonies. A sweeping challenge for the believer. Never heard this song or this group before. Now I’m planning to go find more music by this group.

        Free To Be Me—Francesca Battistelli

        Mm-hmm, she’s got a couple dents in her fender, got a couple rips in her jeans…and perfection is her enemy (!) Yes, and on her own she’s so clumsy, but on God’s shoulders, voila! “I’m free to be me.” Have some Paul, sweetie-pie.

        I say this sample reinforces my point nicely.

      • Sure – “Free To Be Me” is a fluffy – God loves me for me song. If you were going to look at a Francesca hit single I’d have preferred you listened to “I’m Letting Go” – which talks about sacrificing our own dreams to walk in the will of the Lord (sounds a lot like Paul) – or “Beautiful Beautiful” – a tune that speaks of how God’s mercy calls us beautiful and changes us into a different person.

        Now let’s look at The Crist Family (whom I love BTW) – “Living With the Light On” (“I’m living with the light on, happy as I go along”) – pretty simple tune about enjoying being a Christian. What about “Nothin’ But Good” which speaks about how life is “nothin’ but good because of God’s work in their life.” Again – not wrong – but nothing terribly profound.

        I can look at the CCM charts right now and see plenty of fluffy, substance-less songs (Matt Maher’s “Hold Us Together,” Dave Barnes’ “God Gave Me You,” or Josh Wilson’s “Before the Morning”) – but I also see a lot of songs that have a LOT to say about faith, mercy, worship, healing, and more (“Healing Begins” by Tenth Avenue North, “Get Back Up” by Toby Mac, “Love Has Come” by Mark Schultz, “Greatness of Our God” by Natalie Grant, “Come to Jesus” by Point of Grace).

        Then there are those that absolutely knock my socks off like “All of Creation” by MercyMe, “You’re Not Alone” by Downhere, “Lead Me” by Sanctus Real, or “Come As You Are” by Pocket Full of Rocks.

        Look at SG Top 80 – lots of fluff there too – “God Rides On Wings of Love” (Janet Paschal), “I Wouldn’t Miss Heaven For the World” (Ball Brothers), “The Maker of Them All” (Guy Penrod), “Little Bit of Heaven” (The Isaacs), “Hold On” (Dove Brothers), “My Father’s Angels” (Charlotte Ritchie), “God Put a Rainbow In the Cloud” (Mercy’s Well). But I also see a lot of very sound, scripturally relevant tunes as well (“I Still Glory In the Cross” by Bowling Family, “Did I Mention” by The Perrys, “Message of the Cross” by The Browders, “Why Should I Worry?” by Karen Peck & New River), “I Am Redeemed” by Brian Free & Assurance).

        They’re in both genres.

      • Anyways – I say all of that to make this point that I’ve yet to actually say:

        Why do we constantly have to throw another genre of music under the bus simply to make our genre look better?

        It’s not ABOUT CCM – it’s about SG and how can we make it better. It’s got a LOT of room to grow (particularly lyrically). What can we do to make it better? Not settle for what’s been the status quo up until now…

      • There’s some fluff in SG too. I do applaud people like Michael Booth who are exploring other things to beef up the doctrine. Topics like the wrath of God are left uncovered in SG, so we have to rely on people like the Gettys to give us *all* the doctrine. (Though I would hardly call them CCM.)

        Frankly, with CCM it’s a *combination* of fluff with the shouting vocals and wall of sound that puts me off. The sound is so annoying that even when somebody tries to give the lyrics more substance, it’s not enough.

        I was forced to listen to “I’m Letting Go” ad nauseam before “Free To Be Me.” Loud, annoying, cliched…”Beautiful, Beautiful” is a little better lyrically anyway, but again, wall of sound, and melody is uninspiring. Sadly, the wall of sound was a problem with Mark Schultz’z latest album as well (and I love Mark). “Love Has Come” is one of the better tracks, but man…LOUD.

        Toby-Mac? Come, let’s not bring a hip-hop artist into a discussion of *music* for crying out loud. To mention this guy within even a couple paragraphs of Guy Penrod is just laughable. “Come to Jesus” by Point of Grace? We can do better even within CCM—Chris Rice’s song of the same name beats the socks off of this song and anything POG’s done, for that matter.

        Ultimately, I suppose we will just have to agree to disagree. I’m not trying to throw CCM under the bus for the heck of it. I stuck with CCM for a long time even after I could tell it was going downhill. I kept trying my local station over and over again to see if I could find *anything* palatable. I found a few artists I really liked—that was it. At this point, you’ll have to rewind a decade or two to get the “good stuff” in CCM. Its glory days are past at this point.

        I think the future of SG, by contrast, is quite bright. We have talented young up-and-comers like the Browns and the Collingsworth family (who are not trying to fit a pre-established sound, I might add) we have artists like the Booth Brothers who are refining their approach, and we have artists like EHSS who have always served up a wide variety of stuff and are continuing to hone their craft. All of these artists make interesting, enjoyable music, which is more than I can say about much of CCM.

        (Pssst, Daniel, how am I doing? ๐Ÿ˜‰ )

      • I just think it’s so funny that you’re calling some of these artists LOUD and using terms like “wall of sound” to describe them. If we were talking about Skillet or Red or The Almost or Day of Fire (heck I’d even give you Switchfoot), then I’d agree with that description.

        But I’ve NEVER heard anyone refer to AC/pop artists like Francesca Battistelli, Mark Schultz, etc. as LOUD. That’s really funny to me. I know I can’t discuss this further with you, because this isn’t even a differing of opinions. You’re only on the first chapter – I’m on the epilogue of pop music.

        And no serious music listener classifies Toby Mac as hip hop. His pop/rock. While, I agree that he doesn’t have a good voice – I wasn’t talking about his voice, I was talking about the lyrical substance of his music. But, if you can’t get past the “music” to hear the “lyric” – then this discussion will go no further. Andrew Peterson is one of my favorite singer/songwriters – no one can touch his story telling in his generation (he’s often dubbed as his generation’s Rich Mullins) – but the dude can’t sing. It’s like MWS’ nasal voice on steroids. However, that doesn’t nullify the fact that he speaks great truths in his music and is in a class all his own in the CCM community…

      • And I’m sorry – I can’t let you get by with saying that “Come to Jesus” by Point of Grace is lyrically trite.

        This is for the weary and the weak.
        This is for the desperate and ashamed.
        This is for the hopeless hiding in the shadows
        cuping hands around a flicker of faith.

        This is for the one’s who don’t belong.
        This is for the silent castaways.
        This is for the sinner peeking through the stained glass
        from a sidewalk in the cold driving rain.

        We all fall down.
        We all need saving once in a while.
        You are not alone.

        We all lose faith and lean on mercy.
        And through our darkest night, He said He’d wait for us.
        Just come to Jesus.

        For anyone who’s given up on God.
        For those who tripped and fallen out of grace.
        For anyone who’s lookin to the bottom of a bottle
        for the strength to make it through another day.

        We all fall down.
        We all need saving once in a while.
        You are not alone.

        We all lose faith and lean on mercy.
        And through our darkest night, He said He’d wait for us.
        Just come to Jesus.
        Come to Jesus.

        He did not come to raise the living or touch the eyes of those who see.
        It was for the bitter and burned-out.
        It was for the unforgiveable.
        It was for the failure, standing on the bridge, because the guilt’s too high a price to pay to live.

        We all fall down.
        We all need saving once in a while.
        You are not alone.

        We all lose faith and lean on mercy.
        And through our darkest night He said He’d wait for us.
        Come to Jesus.
        Come to Jesus.

        I wonder if someone like The Greenes or Crist Family or Karen Peck had recorded this you might have had a different feeling. This fits right at home in a Southern Gospel concert…

      • I gladly concede that there are levels of loud. Skillet or Red are off-the-charts-intolerable loud as far as I’m concerned. Run-of-the-mill CCM is annoying, thumping loud. Just because it’s not as loud as it could be doesn’t mean it’s not loud.

        I completely agree with you about Andrew Peterson. He is in a class by himself. I esteem him one of the most underrated talents in Christian music today. He makes Rich Mullins’s passing easier to bear. Is he a great singer? Not by half. I will say that I like his voice better than Michael W.’s though. But at least he *sings* instead of yelling or rapping. And his music is *music*. Acoustic folk stuff—not the same tired mix of electric guitars and synth strings that we’re hearing all the time.

        I never said POG’s “Come To Jesus” was lyrically trite. The lyrics are fine. I consider the Chris Rice composition to be *musically* on a higher level than the POG song.

      • Toby-Mac pop/rock? Okay, so maybe he doesn’t rap on *every* song. But I thought Michael W. Smith and Steven Curtis Chapman were considered pop/rock? Not seeing much similarity between those guys and Toby there.

      • I just now read this. ๐Ÿ˜‰

        For the record – I’m not going to deny that the group resembles Point of Grace – however, I’d say they sound more like today’s version of the group – which is straight up country.

        Track wise, I’d say they sound more like the mid-90’s version of The Martins. Not a lot to disagree on. One thing is for certain – this is a stellar recording from start to finish. I’m really disappointed you didn’t mention what is, to me, the highlight cut – “You Always Answer Me.”

      • Cool!

        For whatever reason, that track just didn’t stand out to me. Could be musical similarity of preceding and following tracks . . .

      • Kim’s vocal interpretation of “You Always Answer Me” is worth the price of the CD alone…

    • BTW – I’ve always stood by the fact that The Martins did sound better with Paul. Jonathan’s a phenomenal singer, but his vocal tone is very unique and his pronunciation so awkward that he sticks out like a sore thumb. Paul is a master group singer – and that’s part of the reason why the girls sounded SO good with him.

      However, I’m a huge fan of The Martins in whatever form they take. I’ve heard 6 cuts from their new release and MAN they sound great. Jonathan doesn’t stick out near as much. Their blend is super tight this time around!

      • I’m fascinated to hear several people say this, since I personally really preferred their sound with Jonathan.

  2. Well…I can’t speak for this specific case since I’ve never heard the Sisters. But Daniel’s right that there is a special something about family resemblance in a blend. If the singers are talented (and that’s a must), you can’t beat it. Just listen to Kim, Courtney, and Brooklyn Collingsworth to see what I mean. That’s what I call a *blend*. Not saying you can’t have a great blend when you’re not related, but when you are related, your voices are already going to have some natural similarities, so that makes it easier to melt together. For that matter, if you want to go *really* far back, look at the Andrews Sisters from the 40’s. Unbeatable harmonies. You just can’t ignore the “sisters” factor there. So there’s my .02.

    • I would happily bow to trained and technically superior opinion, but to my totally untrained ear, sibling harmony sounds tighter, male, female or mixed, than non related singers.

      it is a generalization, so there must be exceptions. it does seem to stand out more in sisters, and probably in a capella harmony as well.

      It may be the lifelong familiarity with each other’s voices which produces the ability to ‘fit’ so closely, or it may be genetic, or both; but I do feel ‘it’ IS there! – 2c worth on top!

      • I think it’s genetics. Growing up singing together is a contributing factor as well, but I think genetics plays an even bigger role. This can even come up in duets. For example, did you know that Steve Green’s brother David is quite a good singer? Occasionally, Steve will do a duet with him—generally in Spanish. I found a couple Youtube clips of them singing together, and their blend is awesome. Obviously, Steve is the greater vocalist, but David’s voice definitely resembles Steve’s, and together they complement each other excellently. And that’s my point exactly—the similarity is built-in. It’s already there. And if you know anything about harmony, you know that the more similar the voices are to each other, the tighter the blend.

  3. I can not wait to get this CD. I’ve always loved Kim’s voice and I loved Lordsong, but when I went to a Mark Lowry concert and heard Sisters sing….oh my goodness. Of course I’m a little partial to family harmony, I only wish we would have started earlier.

  4. BTW – the first single from this record is “I Can’t Keep From Singing.” “Mercy Leads Us Home” was the first single from Sisters – but it was the cut from Live at the Oak Tree, not Healer of My Heart…

    • Thanks! I thought it was weird how the two papers listed two separate singles.

  5. This is a sincere question. Those of you who don’t care for CCM songs or style, do you like Ivan Parker’s I Can Only Imagine, Redeemer, How Great Is Our God, Gold City’s Mercy Came Running etc?

    Now, I am mostly a SG fan. I like some CCM, Praise, INSP, AC, Soul, country, pop etc. But SG is my favorite over all.

    • Those three songs aren’t my cup of tea. But there are others – “In Christ Alone,” “How Deep the Father’s Love for Us,” “We Believe,” and “A Higher Throne,” among others, that I totally love in their SG settings.

      • Admittedly, I generally prefer the originals of those (I do like the songs and I do like Ivan Parker, just not both together. ๐Ÿ™‚ ) I did like though the How Great Medley of Ivan’s. That is the one he got right. ๐Ÿ™‚

        Truth be told too, Michael English is one of my all-time favorite vocalists. I loved a lot of his stuff in the Singing Americans AND GVB. Didn’t really care for his Courier Unlimited stuff at first listen. Some of his Goodmans’ stuff was good too. However, although I like SOME of his solo stuff (Find My Way Back To You, Heaven Down To Earth, Holding Out Hope To You and others) I still prefer the stuff with the Gaithers and within a group. ๐Ÿ™‚

      • …and likewise. Get Ivan on the right song and he’s awesome. Especially all his Gold City-era songs! ๐Ÿ™‚

      • Daniel, I donยดt think I have ever seen you posting at this time of the morning before! ๐Ÿ˜ฏ

      • I was in a hotel, woke up early, and couldn’t get back to sleep. ๐Ÿ™‚

    • I didn’t see quartet-man’s question here until now, but I thought I’d throw in my belated .02…

      Like q-man, I’m something of a musical omnivore. I like good CCM. However, like Daniel, I can typically only enjoy an SG rendition of a CCM song if I liked the song to begin with. It’s not like “SG-ifying it” magically makes it good if it’s not already good. But I can envision a CCM song where basically the only thing I didn’t like about it was the arrangement/delivery. In that case, a translation could work. But translation is tricky. And sometimes, you get a situation where the original was so good it doesn’t need to be “rescued” for SG, where if SG did it, it would be a respectful re-working as opposed to a rescue mission. Case in point, “Mercy Came Running” (since q-man mentioned that one). Great song, and PCD’s original was terrific. I don’t have a problem with Gold City’s trying to cover it, it’s a good “translation candidate.” That said, I still prefer the original.

  6. New SoGo Fan, I don’t know that Gold City would claim theirs is as good or not since it seems that Daniel and maybe others in there at the time were fans. However, by the same token, these songs done by SG artists might not be as good to those of us who know the originals, but might be the ONLY versions some SG fans hear. Therefore, they can still be successful. On the other hand, I believe there are things that Gold City and other SG groups do that PC&D and others couldn’t do as well.

    • Naturally . . . PC&D had better not attempt any of Gold City’s songs that require a bass part! ๐Ÿ˜ฎ ๐Ÿ˜€

      • For crying out loud Daniel, are you always up by 5 in the morning??

      • Often. Not always.