The Key to the Lari Goss sound

Though others are well on their way to the top, there is little question that Lari Goss knows how to use an orchestra better than anyone else in Southern Gospel. But why?

I have this theory that Goss’s use of the woodwind section is what sets him apart and makes his impeccable arrangements instantly recognizable.

Am I right?

Update: For whatever it’s worth, my comment the other day comparing Goss to the giants of classical music was part of an overall discussion about his skills in arranging for orchestra. That Goss has a talent the level of the great classical composers was part of a larger discussion about his skills at arranging for orchestra. Of course he does not compose Sonatas and Oratorios (though he surely could if he desired). I stand by my original point, which is that he is as good as they were at coaxing the maximum potential out of the almost limitless sonic combinations available in an orchestra.

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  1. Well, you know a lot more about this kind of thing than I do. However, I did notice one little tid-bit on EHSS’s self-titled that reinforces what you’re saying, and that was on the song “Forgiven Again.” In the first chorus, after the line “His big arms were open to draw me to him,” there’s this lovely, gentle swell of woodwinds (flutes I think in that case) that just adds so much right at that moment. You can tell they used a full orchestra on that song.

  2. Actually, yes. I’ve had that theory myself. I absolutely love him. He is truly brilliant.

  3. Brilliant as all get out. I totally agree anyone can use the brass section to and produce a blaring intro to some songs and such, but its those woodwind based undertones that make it musically genius. Lari truly is the maestro at what he does, unlike some projects Lari can orchestrate them to where they all have the same “tone” but not the same “sound” its all orchestrated yes, but each one is an individual little concerto; all conducted by Lari. He is surely a force to be reckoned with and no matter what project he touches the results are always
    sheer musical percipience!!! =)

  4. I’m anxious to hear what he’s doing with the Mark Trammell Quartet. Do you know anything about this, Daniel? I’m guessing they’ll have something out by NQC. My expectations are so sky-high for this album…I might need to temper them, lol.

    • Yes, I do know, actually. It’s not a ballad-heavy recording; they’re going for a sound like the Cathedrals’ 1984 Prestigious Cathedral Quartet project.

      • Nice…I figured it would be quite different from something like Declaration. “Prestigious…” is a great album.

        I’ve listened to “Come On Home” from Travelin’ Live about 50 times in the last week…I’d love to see Mark bring that back. (Too late for this recording, obviously, but I can always dream.)

      • “In that city…” Go ahead, sister”…Where the streets”…
        Always cracks me up. I love that song. It sounded to me at first more like a Kingsmen song. The Cathedrals still never cease to amaze me. “I Just Can’t Make It By Myself” sounds ahead of its time!

      • Yep…that moment, obviously completely unrehearsed and spontaneous, makes the song.

      • That makes me even more excited for this album! I believe it is to be released on August 10th the same day as the new GVB album…

  5. I agree with what has been said…. on the other hand, Garry Jones did some MARVELOUS work on “Pillars of Faith”.

    “There Rose a Lamb” anyone?? And even “One More Time Will Do It”


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