NQC: 100 Years of Southern Gospel

Several days ago, Brian Free announced that he would be taking part in a Gold City reunion performance in a 12:00 noon showcase (100 Years of Southern Gospel) on Saturday at the National Quartet Convention. Initially, people were disappointed that they are only doing two songs. But be disappointed no longer. Like everyone else, I would love to see a full-length reunion CD/DVD at some point, but NQC has a too-good-to-be-true reunion lineup to fill out the showcase:

From the press release, here is a partial list of reunion lineups taking place:

  • Bluegrass segment featuring members of the legendary Lewis Family, Jeff & Sheri Easter, and the newly formed Lewis Tradition
  • A Gospel Caravan segment with the Lefevre Quartet, the Chuckwagon Gang, and the Blackwood Brothers Quartet
  • A Speer Reunion with members Diane Mayes, Ann Downing, Sue Dodge, Jeannie Johnson, Karen Apple, Ben Speer, Faye Speer, the Speer Sisters.
  • A Cathedral Reunion with Legacy Five, Greater Vision, and the Mark Trammell Quartet
  • A Hinson Reunion featuring Ronnie Hinson, Chris Freeman, Larry Hinson, Bo Hinson and many former band members such as Gary Prim
  • A Downings Reunion featuring Ann Downing, Joy Gardner, and Donnie McGuire
  • A Rambos Reunion featuring Reba Rambo McGuire, Buck Rambo and Reba’s daughter Chastity Destiny
  • A Singing Americans reunion with Michael English, Ed Hill, Rick Strickland, and Dewayne Burke
  • A reunion of 1980’s version of Gold City featuring: Tim Riley, Brian Free, Ivan Parker, Mike Lefevre, and Garry Jones

Let me revise my earlier prediction. To get a good seat, you will now need to get there four times as early as for the Sarah Palin showcase. Palin will probably draw plenty of people from the area who have no interest in Southern Gospel, so there will be plenty of seats filledβ€”but this is one where I fully expect to see some of my most dedicated fellow Southern Gospel fans waiting out hours earlyβ€”with meβ€”to get a good seat.

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90 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 hope this is one event that NQC will make availale on video. There will be a lot of people that would like to see it that won’t be able to attend the Convention.

    • It will, at a minimum, be available through their live online streaming, and for those who sign up for that, archived through October 31.

  2. Reba Rambo McGuire’s daughter’s name is Destiny, not Chastity.

    • True. But does she have a grand-daughter by that name? (By the way, it was the press release’s mistake.)

      • Reba only has 2 children — Israel and Destiny, and Destiny performed with her mother and grandmother at NQC in the past.

      • OK. Does Destiny have any children?

      • No, Destiny has no children and is not married. Dionne (daughter of Joy Gardner and Dony McGuire) has a son I think.

      • Yeah she did, here is their website: http://www.destinyschild.com/

      • Good one, JR… πŸ™‚

  3. Nate Stainbrook mentioned that a webcast of the event would be archived until November 1st. Where would that be available for viewing?

    • It’s available via natqc.com (NQC’s official website) for anyone who subscribes to the live webcast.

      • Ahhhh… for one heady moment I thought it might be available for free. πŸ˜›

        Incidentally I’m not even seeing a place to subscribe on their website…maybe that’ll go up later.

      • Click on “WEBCAST” on the right.

      • OOPS, a little late to the party I see.

      • Please advise.

      • What kind of advice would you like? πŸ™‚

  4. Here ya go New SOGO Fan http://316networks.com/registration/nqc/

    And Daniel I have to agree this may be (stress may be) a bigger draw than the Gaither Showcase on Wednesday, I remember last year getting there early with you and my brother, we was in line for what 2 hours? πŸ™‚ I am looking forward to NQC this year more than any other previously.

    • You can say “may be” if you like; I’m inclined to go out on a limb and say “will.”

      And yes, we were in line for two hours, and then didn’t we wait another hour before it started?

      I might get in line 2.5-3 hours early for this one!

    • Thanks Nate!

      Hmmmm… $60 is pretty good, but it would be better if I could just *have* it instead of only being able to watch until November 1st. I’m such a cheapskate! πŸ˜€

      Regarding which will be the bigger draw, this or the Gaither showcase, I suspect Daniel may be right. Pardon my ignorance, but just clarifying, would the Gaither showcase be just GVB and EHSS, or are there other artists involved in that?

      • At any rate, it will be interesting to have a Cathedrals remembered showcase with L5/GV/MTQ and Cathedrals songs in EHSS’s set. I wonder if they will try to avoid overlap in the song selection.

      • I wonder the same thing… I’ve also been wondering if L5 will be debuting any of the Cathedrals songs from their new project “Give The World A Smile”… they recorded. Both groups recorded “Boundless Love” and “We Shall See Jesus”. It’s actually kind of crucial(in my thinking) to be the first one to sing “We Shall See Jesus” at NQC… it’s such a landmark in Cathedral history and(unless I’m mistaken) none of the former Cathdral members have attempted it until now. It will be interesting to see how it all plays out. Oh yeah, both groups have also recorded “Life Will Be Sweeter” which has become one of 2 songs that L5 uses to intro their new tenor, Gus Gaches, every night. The whole thing seems kind of awkward…

      • *edit…. please overlook the “… they recorded” after “Give The World a Smile”. Not sure what I was attempting to say there! lol πŸ˜€

      • No, I wouldn’t call it crucial who does it first . . . the two renditions are different enough to stand on their own merits.

        Of course, L5 is on earlier in the week, so they can do it first if they want. But either way, watch for EHSS to bring the house down with it during their set, and be one of the biggest “buzz moments” of the night.

      • Yeah, “crucial” was over-stating it just a bit πŸ˜‰ . I still haven’t heard EHSSQ’s version… I’m assuming that you’ve heard L5’s?

      • Can I plead nolo contendre on the question?

      • I’m afraid I don’t speak latin! πŸ˜‰ . But wikipedia just told me that you can if you wish πŸ˜› .

      • Wikipedia is smart.

        At least till tomorrow. πŸ˜›

      • Couldn’t get by without my Wiki!!Lol. What’s tomorrow?

      • …just that I might disagree with it then.

      • Ahh, I see πŸ˜‰ . Hey, this is slightly random, but did you see that the Gaither Thanksgiving DVDs are available for pre-order? They have a preview video clip too. It’s going to be good!

      • Yes, and yes.

      • I have not heard L5’s version of “We Shall See Jesus,” but I have seen EHSS perform it live and in the flesh, and I agree with Daniel that it will be a huge highlight. EVERYBODY will be talking about it, I promise! As Daniel said in the review of the tribute taping, the group decided to switch to a video of Glen singing the third verse and climax on the DVD, but Devin carries it all the way through whenever they do it live, and he does a terrific job. My one concern is that they would also switch to a video for NQC instead of letting Devin do it. That would be a big disappointment. I really think it’s important that they allow Devin to prove his mettle in a major setting like that, but we will see.

        As for “Life Will Be Sweeter,” I have seen both the EHSS and the L5 versions, and I personally prefer the L5 version simply because it’s more distinctive. Of course the EHSS version is very well sung and arranged, but there’s just not a whole lot about it that really sets it apart, if you know what I mean. For me, most of the fun of the original was watching Roger improvise on the piano solo—for me that made the piece. With the EHSS version, Wayne does some stuff, but it’s not particularly flashy or impressive. With L5 on the other hand, Tim Parton really goes to town on that bridge—it’s different from Roger, but may be just as good in its own way. So that’s my .02.

        As far as how “crucial” it is which group sings “We Shall See Jesus” first… who says they both have to sing it? It may in fact be possible that L5 will “take” “Life Will Be Sweeter” and “leave” “We Shall See Jesus” for EHSS. Ever thought about that?

        One thing’s for sure though—if EHSS does “WSSJ,” I think they should pull out all the stops. Take full advantage of the opportunity. In short, LET DEVIN SING!

      • This would be Exhibit A for me of “Life Will Be Sweeter” by a non-Cats group—Legacy Five in January of this year:


        I love it when Scott Fowler starts “channeling” Glen Payne around 2:27—priceless!

        You know, watching this video leads me to a general observation about L5: Most people have commented that they’ve taken the “slow but sure” approach. They’re solid and consistent, but not generally the first group people point to when they’re talking about those groups that just BOWL YOU OVER. In short, they don’t generate “buzz.” That said, they have two trump cards: Tim Parton and Gus Gaches. If they play those cards right in the years to come, this just might be the “X Factor” for them that’ll really start getting people to pay attention.

      • There’s no question Tim Parton is good enough to be worthy of buzz. But is he too subdued and laid back to actually receive it?

      • Let’s just say that if he plays the piano on “Life Will Be Sweeter” at NQC like he does in that clip, I’m sure at least some people will be talking!

        And since Gus is the newest addition, I largely had him in mind when I was thinking about “X Factor.” Virtually everybody who attends L5 concerts now comes back talking about Gus. I believe they’ve struck gold with him, and I think he will be a key ingredient in their future success and popularity.

      • Sorry, had to step away from the computer for a few minutes!

        I’m curious to see, but won’t be surprised if L5 bows out on the “We Shall See Jesus” bit… I just don’t see them fighting for it(excuse the term… they are not fighting, of course.).

        I agree with you on Gus and Tim… I think they are invaluble additions to L5. Gus is easily one of the best tenors in the business(I’m trying to be unbiased here… I think he is THE best tenor on the road today!)… I’ve seen L5 5 times this year and he’s gotten better and better every time I see them. Speaking of which, you posted my YouTube video! LOL. Gus actually had bronchitis at the time 8) . The guy is unbelievable!

        I also think that Tim is the most talented(AND underrated) pianist in the industry, but his nature prevents him from promoting himself as other players with his ability would. I do, however thing that Tim is beginning to come in to the spotlight for his arranging/producing skills on the Jubilee projects.

      • *thinK, not thinG in the last paragraph! Good grief.

      • Ah! Then you must be texjoy777! I love your videos! So then you and your friend are the two girls who always travel around to L5 concerts together?

        Incidentally, I agree that Tim Parton is fabulously talented…but Kim Collingsworth would have to be my favorite overall. Competition is stiff, but she just has to be seen to be believed!

      • Oh, sorry, I should have said your sister—I remember now from browsing southerngospelforums.com. πŸ™‚

      • I think what I like about Gus is that his voice is so easy to listen to. As far as tenors are concerned, it’s not so important for me who can blast it out the loudest, who can make the best shot at breaking the sound barrier, etc. Power and range are important and necessary ingredients for any really good tenor, but good tone and listenability are key for me personally as well. I think Gus has the complete package.

      • Haha! It’s ok! I was about to ask how you knew that! I don’t think I’ve included exactly that in any of my videos… Though Scott did mention something like it on the “Wedding Music” clip. Thanks for watching my videos! I’m so glad you enjoy them!

        I love Kim Collingsworth too, but I’ve never had the opportunity to hear her. They don’t come this far south very often. I have seen videos of her playing, though, and she is without a doubt one of the top 3 in the “WOW” category! I love how much emotion she puts into her playing πŸ˜€ .

      • Yeah, Kim is in pretty much everyone’s top three. πŸ™‚

      • I watch your videos because they’re high quality and fun. It’s as simple as that. πŸ™‚

        You’ve never heard Kim Collingsworth! Oh my goodness… well, not to make you jealous or anything, but I’m a Yankee and I have! πŸ˜† I agree, she really pours herself into the music when she plays—very intense! I love it though. I also think it’s fun that every pianist is a little different as far as style and personality. Kim, Tim, Roy Webb, Jeff Stice…and say, there’s a young up-and-coming pianist named Michael Howard who’s REALLY good too! He even has his own version of “How Great Thou Art,” and it can stand up next to Kim Collingsworth’s (well, I think so anyway, LOL). Video here:


      • My top 3 pianists… Tim Parton, Stan Whitmire, Kim Collingsworth…

      • It is just GVB and EHSS.

        And Daniel yeah we waited another hour for that showcase to start…

  5. I have heard L5’s version of “We Shall See Jesus” and it would also create buzz IMO… Like Daniel said the two versions (EHSS & L5) are different enough that they could both do them (at NQC) and get away with it… I don’t see L5 doing that song personally however, I see them covering more stuff off of “Just Stand” at NQC. I would love to see them stage “Headed Home” (from their upcoming project) at NQC I think it would be a big hit for them, they took that old Statesmen song and really breathed some life into it with one of the most challenging and incredible arrangements I have ever heard them do. Another good one off of that project (which is chock full of good ones) is “Cleanse Me” it would go over well at NQC as well… We’ll see in about a month how it will all shake out…

    • Concerning which group or groups should perform “We Shall See Jesus” at NQC…

      I haven’t heard L5’s take on it, and I’ve only seen one you tube video with Devin singing it and wasn’t blown away by it. So, I’ll throw a curve ball and recommend that the Singing Americans sing it at the 100 Years of SGM showcase. LOL I liked how Mike English did it with them, except for the tag… it seemed too rushed.

      Or just let Arthur Rice take a crack at it and blow everyone away.

      • I could go for both of your suggested scenarios… πŸ™‚ Arthur Rice could KILL that song.

  6. @New Sogo Fan
    Thanks, again! lol. I really appreciate that because quality is a big hang up for me. I can’t stand putting out videos that are bad quality. I actually cringe when I watch some of my older videos that I posted before I figured out how to output in higher quality. Anywho, thanks! I’m hoping to upload a few more videos from the past couple concerts I’ve been to… I just keep running into computer problems!! lol.

    Oh, and about Gus… I couldn’t agree more! That’s one of the things I noticed about him first… He has a clean, clear quality to his voice. While it’s usually not a bad thing, most tenors have a quality about their voice, whether vibrato or a heavy accent/style that kind of.. well… you might say it “muddies” up their voice. Now, that’s usually a good thing(’cause we don’t want everyone to sound alike!)… but I think it’s refreshing to hear some one like Gus that can deliver a note, with whether strong or soft, in such a clear, enjoyable way.

    • “Clean” and “clear” is exactly right!

      Which is why Steve Green is my favorite singer. πŸ˜€

      • Believe it or not, I’ve never heard Steve Green! Guess I need to spend a little more time with YouTube πŸ˜‰ .

      • O my your missing a treat! Steve Green is one amazing vocalist!

      • WHAT? ‘Scuse me, got kind of carried away there. You’ve never heard anything by Steve Green??

        Oh my.

        Steve Green actually was the singer who first got Daniel J. Mount into Christian music, believe it or not! Wes Hampton has also cited him as a huge influence.

        I won’t go overboard here, but there are at least three Youtubes you should check out to start with. Two of them are from about 23 years ago when he really took off, and one is a really recent duet he did with Wes.

        First, “God and God Alone.” A beautiful song, and nobody can sing it like Steve:


        Be sure you put in this link instead of just clicking on the first one that comes up in a Youtube search, because this version is much better!

        Second, “A Mighty Fortress.” Completely acapella. Your jaw will drop:


        And finally, a clip from a concert where he invited Wes Hampton to come up to the stage and sing “It Is Well With My Soul” with him. Incredible:


        You’re in for a treat! πŸ˜€

      • Actually, it was Michael Card for me.

        It was the Green – to – Cathedrals comparison that got me into SG.

      • Daniel, please elaborate on the Steve Green / Cathedrals comparison.

      • Oh, sorry for the confusion. It’s actually quite simple. I love Steve Green’s style – I did then, and do now (at least for everything he released in the 80s and early 90s).

        The first Cathedrals project I heard – the first real SG project I heard, I do believe – was High and Lifted Up. I heard most of the songs on there and was like, “That’s decent” or “That’s OK,” but I heard “Death Has Died” and I said, “Wow, that is as good as anything Steve Green has ever done. There has to be something to this genre.” And it all took off from there.

      • Death Has Died is a killer song, but there are other great ones on “High and Lifted Up.” “High and Lifted Up” is great. “Jesus Saves” is really good and “Come Home” is a good one. “I Thirst” is good in its own way too.

      • Oh – there certainly are other great songs on there. It’s just that for someone coming in from a CCM background, that song was the only one that caught my attention. I’ve come to appreciate “Jesus Saves” and “I Thirst” since that time (among others), of course.

      • Yeah, I was gonna say… do you still think none of the other songs rise above the level of decent to okay, because that sure wasn’t my first impression! πŸ˜›

        I will say this—as somebody who also has had an exclusively CCM background until very recently, SG does take a little getting used to. And it’s natural to not be blown away by every SG song you hear at first. It took me a long time before I could appreciate that style. I don’t think it was until I found some stuff from the Gaither reunion that I really realized just how good SG could be. Since “Death Has Died” has just enough of a contemporary/inspo twist to not sound like strict SG to unaccustomed ears, it makes sense that that one should catch the attention of somebody who hasn’t completely “bought in” to the genre yet.

      • Oh, and let’s not forget the astonishingly elegant “Jesus Has Risen” and the irresistible “Every Day, Every Hour.” The latter has been known to get stuck on repeat on my iPod… it’s the strangest thing, but it just got stuck there and I couldn’t “unstick” it!

  7. When I first heard the Cathedrals, it was the Goin’ In Style album which was on play in our Christians bookstore. Admittedly, that one was more countryfied than others in places and different than the others they did. However, I was turned off by Daystar. The Gaither Vocal Band did the definitive version and the Cathedrals version seemed to strip all life from it. I probably heard other songs while shopping, but didn’t pay any mind to them (although I do like some from there now.) It wasn’t until I heard someone do Champion of Love with their track and then hear the Cathedrals sing “This Ol’ House” on Gaither’s Jubilate ’88 and hear Funderburk’s tenor did I go out and buy my first CD (Symphony of Praise.) I later very much so grew to appreciate George, Glen, Mark and Roger’s gifts, but Funderburk is who stood out initially.

  8. Someone else may have already mentioned this, but with the new Ernie Haase/Sig Sound CD and DVD tribute to the Cathedrals coming out in a few months, having “A Cathedral Reunion with Legacy Five, Greater Vision, and the Mark Trammell Quartet” without EH/SS seems a little incomplete.

    • If you are referring to the Cats reunion at NQC this year (as part of the 100 year celebration) EHSS had already scheduled a date on the day of the showcase at NQC.

  9. Ok, I have officially listened to the EHSSQ version of “We Shall See Jesus” and I’ve come to this conclusion: It is a great new take on the song, but I don’t know if the majority of SG fans are ready for it. I may be completely off-base, but I think that since it will be slightly hard for a lot of people to hear ANY version other then Glen Payne’s, Legacy Five’s version might go over a bit better because of the slightly more traditional feel that they’ve kept in the song.

    Don’t get me wrong; I think it’s a very creative and well performed version of the song… It suites SSQ. BUT, I think that it’s just different enough that it loses the nostalgic Cathedrals “feel” if you know what I mean. Like I said, they’ve arranged it to fit SSQ, which is a good thing. But I, personally, think that L5’s version will go over better with the general public. Just had to get that out of my system! lol

    • Somehow I suspected you’d prefer L5’s version. πŸ™‚

      I think that Legacy Five’s committed fans will prefer their version, EHSS’s committed fans will prefer theirs, and ditto for Scott Fowler/Ernie Haase fans.

      I predict the EHSS will get a bigger response, for one simple reason: They do the big ending and L5 doesn’t. Gus stays on the fifth for a subdued, anticlimactic ending for L5, while Ernie goes up the octave (like he always did with the Cathedrals) and hits the big high C that will bring people out of their seats.

      If Gus had pushed the envelope a little more and gone for the big ending, too, then I think they might have gotten similar responses.

      • Not that this is much of a secret, but I would consider myself a committed EHSS fan. However, I am coming to really like L5 a lot as I gradually hear more of their music, particularly now with Gus on tenor.

        I also love both Ernie and Scott for different reasons and wouldn’t say that I have a “favorite” between the two of them. I do think Ernie is the greater singer, but I love Scott’s outspokenness and think he has a good voice as well.

        Not having heard L5’s version of “We Shall See Jesus,” I’m naturally not in as good as position to compare them as somebody like Naomi, who has heard both versions. But as far as which one would get a bigger response… here’s what I think.

        First, let me step back and just make a general observation about the two groups. The fact is that EHSS has gone a lot farther in a much shorter time than Legacy Five. Why is that? I think it’s a combination of factors, but one is that EHSS has always been more willing to push the stylistic envelope than L5. Their goal was to get people’s attention. Well guess what? It worked. Do I disapprove of that? Not at all. I think they’re fantastically talented and deserve all the success they can get.

        However, I think L5 has always been a quieter, less flashy group. This has both pros and cons. A “pro” is that they haven’t stirred up anywhere close to the kind of controversy EHSS has stirred up (which Lord knows doesn’t need to be re-hashed here, so I won’t). But the down-side to their “slow but sure” approach is that it’s been exactly that: slow but sure. They’ve taken a no risks approach and gradually accumulated successes as they come. Ernie has taken a bolder, chancier approach, with rapid, dramatic success. In short, he risked more but gained more.

        Now, back to “We Shall See Jesus.” First, I personally don’t think the EHSS version is particularly “non-traditional” or loses any nostalgia. I’ve watched it get a HUGE response live and in concert from a crowd of mostly older fans, many of whom, I’m sure, loved the Cathedrals. That said, it could well be possible that the L5 version sounds closer to the original version. It may also sound less “big” or “impressive,” which leads to Daniel’s point that it probably wouldn’t get as big a response because they don’t do the high ending.

        Now I personally think that makes perfect sense. Do I think it might have been better if they had let Gus do the big ending? Sure. I would have liked to hear him do it. And I think Daniel’s probably right that it would generate a bigger crowd response.

        But here’s the thing: I don’t think they’re trying to get a big crowd response. Like we’ve discussed, they might not even do it at NQC. I think they just thought it would be cool to put their own spin on it for the favorites project, since Scott is a former Cats member, nobody else has tackled the song until now, and it’s a classic that deserves to be brought back. Moreover, it’s featured on a modestly budgeted table project, which naturally means that the production will be less grand.

        On the flip side, Ernie’s group is releasing a massive, two disc tribute project to the Cathedrals. Needless to say, this created a lot more pressure on his group to “get it right” with “We Shall See Jesus.” While Legacy Five had the freedom to take a more modest, rootsy approach to the song, Ernie knew it had to be BIG when Signature Sound did it. And that meant throwing in everything and the kitchen sink: the big, lush production, the sweeping, dramatic climax, and the towering high ending.

        I’m sure that I will enjoy Legacy Five’s version when I hear it as well. I may even like it just as much as the Signature Sound version in its own way. The point is that I can enjoy each version for what it has to offer, just as I enjoy each group for what they have to offer. I expect one thing from Legacy Five and another thing from Signature Sound, and I can appreciate both equally.

      • And you thought YOU got long-winded, Josh. LOL! πŸ™‚

      • “The point is that I can enjoy each version for what it has to offer, just as I enjoy each group for what they have to offer. I expect one thing from Legacy Five and another thing from Signature Sound, and I can appreciate both equally.”


        (And congrats on outdoing my longwindedness)

      • And congrats to you for making it all the way to the end of my post! πŸ˜†

      • I believe its debatable that EHSS has as you say “Gone A Lot Farther” than L5… Actually L5 came flying out of the gate building on the success of Roger and Scott with the Cats. They have garnered as much attention and they have a similar sized fan base, and all of this they built on their own merits without using the nostalgic driven approach. There is nothing wrong with this approach because EHSS used it well with the backing of the Gaither Music Group.
        So to say that they have gone alot farther is not accurate IMO, EHSS are now proving that they can succeed on their own merits and I have a ton of respect for what Ernie has done since 2003.

        About “We Shall See Jesus” I have also heard both versions and I like both versions just about the same, they are different enough to both stand on their own. L5 putting Glenn on the verses was a great move IMO. I agree with Daniel they maybe should have had Gus end on the higher octave (which he can do) but I believe the response will be just the same from the crowd. Sometimes it is actually ok to end a song on a more even level yes even this great song, the way L5 ends it does not take away from the message in the song whatsoever, some people feel every big song should end with the tenor blowing out his pipes. I understand why they do it though, it stirs up the crowds emotions even more and will more likely send them to their feet. With all that said I would love to see both groups do this song at NQC,it needs to be sung there, L5 should not be at all intimidated by EHSS’s version because their version is certainly no slouch, whether the tenor ends on a High A or a C this song NEEDS to be sung.
        Also don’t discount L5’s production of this song just because it is on a “Budget” project, they had Steve Mauldin orchestrate it for them and IMO he did a great job.

      • I’m never one to look down on a project simply because it’s “just a table project.” Some of the best projects I’ve ever heard were table projects, and I completely agree that they can be very well produced! I’m looking forward to hearing L5’s version. I didn’t mean at all to suggest that their version would be inadequate or “slouchy” next to EHSS’s, just that from what I had gathered, it sounded like EHSS’s was more dramatic.

      • This is good post and while I don’t fully agree with all of it, I will say this Scott told me they will absolutely be staging this song at concerts, (maybe not NQC) but they will be singing it and I say good for them. I have heard both versions and I love both.

      • I did not mean to insinuate that you meant that at all, I was basing it on the comments that L5 should just let EHSS do theirs at NQC because it was slightly more climatic… On another note L5 does not end their version on “Just As He Is” They finish with the words “We Shall See Jesus” with a slight pause right before they say Jesus for effect… I think it is very tasteful and well done. Like I said earlier there is room for both versions and they are both VERY well done.

    • I actually disagree with this take (Daniel I’m sure you’re not surprised by this). Here’s why:

      First of all, thank you for bringing up the difference between L5’s “traditional” version and EHSS’s more updated version. But that is the very reason why I disagree with you.

      You said yourself that “it will be slightly hard for a lot of people to hear ANY version other then Glen Payne’s,” which I agree with. But wouldn’t it be harder to listen to L5’s because it is more similar to the original?

      The other interesting thing to remember is that before these two groups recorded this song, it has laid dormant since 1999. Because of that, the song is being introduced to a whole new generation of southern gospel followers. The updated version brings the song some stylistic currency, but yet remains respectful to the past generations who heard Glen sing this song.

      Wow, I got long-winded…..

      • Josh – I’m not sure I understand you completely. Your comment is right beneath mine, and you indicate disagreement, but then agree with my position (albeit for different reasons). Were you disagreeing with Naomi?

      • Yup, my post was in response to Naomi, not you. πŸ™‚

      • Well L5 putting the bass singer on the first two verses makes it completely different than the original whether it “Feels” more traditional (like the Cats) or not. And L5’s has orchestration which is also different from the original. What is funny is there is a video of EHSS singing it on youtube I love that video btw. There is a comment on the video that says “I’m spoiled by the original version with the Cat’s. Hard to accept anyο»Ώ other version.” I am sure that will be consensus among the hard core Cats fans. Most will come to accept both versions (L5 & EHSS) but there will be some that just won’t. ο»Ώ

      • Well… I might not win any brownie points by saying this, but even if we could say that the original version is, in a sense, greater, I think EHSS’s version is a LOT smoother. The vocals are tighter, the pace doesn’t drag as much, everything just flows a lot more cleanly. Now of course you can’t replace Glen Payne, and I’m not at all implying that, but I’m just saying that I do find this arrangement overall easier to listen to. I doubt anybody else will agree with me though, that’s just my personal opinion. πŸ˜‰

      • I can agree with that, I also feel EHSS is more smooth as well as L5’s. But no can put the emotion and passion into his singing that Glen Payne could, Devin is a great singer but he is not Glen Payne by any means. I also hate to say this but EHSS & L5 to an extent use stacks, while The Cats did not…

      • I agree about the updated arrangements… I think I like them both better than the original. I agree about the Glen thing as well… that’s why I think it was such a good idea to use Dustin on the first 2 verses. Devin, being a lead singer, will be compared to Glen Payne, where as Glenn Dustin will won’t. At least I don’t believe he will. Like I said before, I’m open to being proved wrong!

        noninsider- Could you do me a favor and explain what exactly a “stack” is? I’ve heard it a lot but never got around to looking it up. By the way, it’s nice to have another L5 fan in the conversation!! LOL! I mean all of that in good fun, folk πŸ˜‰ . I love that we can have conversations about these issues without getting mad at each other!! πŸ˜€ πŸ˜€ πŸ˜€

      • Yeah you are right noninsider, I know that EHSS has been known to use them anyway, and you’re probably right about L5.

        That said, I doubt they use them on every song. Even on their live DVDs, there are songs where I can hear that EHSS isn’t using any stacks at all. But on some of the big ones with high endings… yeah, maybe. I can’t tell whether they did on “We Shall See Jesus.”

  10. Wow! And to think I was wondering if anyone would see my comment! πŸ˜‰

    Gee… what point to address first…

    Ok, Daniel, I should have mentioned in my comment above that I actually did watch the EHSSQ version from as much of an unbiased standpoint as possible. That is saying something for me because(DON’T SHOOT ME PEOPLE!) I am not an Ernie or SSQ fan. I think they are very talented, but I don’t care for their progressive style. It simply clashes with my personality. BUT, dispite all of that, I truly like their version. I think the arrangement and the beautiful color chords that they worked into the song were truly amazing. I just don’t think that it has as much of an advantage over L5’s version as you say it does. I may be mis-interpreting the SG audience in general, but I think that L5’s version will be accepted just as well(if not better) than SSQ’s. I know the end note is a big deal, but I don’t think that Gus hitting an octave below is going to make THAT big of a difference. But as I said before I may be underestimating what the SG audience wants to hear. I am always open to being proved wrong!

    Honestly, I think a lot of this will come down to how L5 performs this song from the stage. If they put their all into it(which they are in the wonderful habit of doing) I don’t think anyone will notice whether or not Gus’s ending note was an octave lower than it could have been. It’s all in how the group wants it to be received.

    For example… I’m assuming everyone here has heard the “Jubilee” project with L5, GV and the BBs. I was able to attend the Premiere of that project in August of 2009. We attended all 3 of the Jubilee concerts that weekend, and every night, there was one song that always brought the house down… “Jesus Is Coming” which featured the Booth Brothers and Glenn Dustin. You couldn’t have remained in your seat if you wanted to! Just take my word for it, it was phenominal. Anyway, when I watched as they sang it from the stage at NQC, I was all excited, thinking they were going to bring the house DOWN with it… but they didn’t! They just sang the song. Maybe even a little less enthusiastically than on the recording. But that wasn’t the kind of moment they were trying to create… it was the opening of their set and they need to pick up and move on to the next song.

    All that basically to say this: If Legacy Five wants to make a statement with this song, they can and will make a statement. But, if they just decided they wanted to record the song, but don’t want to make that big of a deal out of it, they won’t. It’s as simple as that.

    Josh- My point is that I think that Ernie’s version might be a little too different, as in too updated for the general audience. With L5’s version, they’ve preserved the original feel, but they’ve made it their own at the same time. It kinda reminds you of the Cats version, but it doesn’t COPY the Cats version. I think putting Glenn Dustin on the first 2 verses was a stroke of genius… It keeps a warm, respectful feeling to it, but it doesn’t in any way sound like he is trying to copy Payne(obviously not because Dustin is a bass!). Then, when Scott takes the 3rd verse, he absolutely knocks it out of the park(imo).

    SO! All that blabbering for basically this conclusion: I think L5 version has a bit more of an Cats feel to it, but it in no way sounds like they were trying to copy the Cats. I think it’s a great “go between” for any of the folks who aren’t ready to hear a version as different as SSQ’s. SSQ’s version is completely different than the Cats… if people want something completely different, they will listen to SSQ, if they want what L5 has to offer, they will listen to L5. I’m not trying to say that one is better than the other (although I do feel that one is πŸ˜‰ ) because, when it all comes down to it, the fans will, as Daniel said, side with their favorite artist. That’s one thing to be said for the fans of these 2 quartets… they are very loyal!

    Oh, if I didn’t say this anywhere in there… I agree that both version can stand up on their own and that, eventually, they will both be loved for their individual merit.

    WHEW! I think that’s the longest post I’ve ever made on this site! You guys are rubbing off on me πŸ˜‰ .

    • Naomi vocal stacking is a technique that groups use to well… Back them up… They put their own voices in the soundtrack to like I said back them up. Groups have been doing it for years, some don’t do it at all ala Dixie Echoes, Inspirations among others, some groups use them heavily and others just here and there… In the case of L5 and EHSS they don’t use them as much as some groups, they have Wayne Haun and Tim Parton as their aces in the hole so to speak, both of those guys provide a fifth part or live stacking so to speak on some songs that might require another voice in the mix. I am no expert by any means but I know a little…

      • Ahh… I see. That’s what I was thinking, I just didn’t know for sure. I’ll be listening a bit more closely the next time I hear a group. Thanks for clearing it up for me!

    • That’s okay Naomi, we’re all different. That said, I would encourage you to “try” EHSS live some time, because they’ve mellowed a LOT with age… πŸ˜‰ And their Cathedrals tour is going to be incredible! Still waiting for a date near me…

      • I always try to give people that I’ve heard mixed reports on the benefit of the doubt, so I imagine I would see them Live if they were ever a reasonable distance from where I live! lol. Yeah… I live in the Texas equivalent of Mayberry!!! πŸ˜‰ πŸ˜‰ πŸ˜‰

      • [Cue the whistling…] LOL!

      • Another thing I would say is that sometimes a group’s most-viewed Youtube clips are not their best. So for example, “Get Away Jordan” is near the top of EHSS’s clips, but that clip isn’t really typical of what they’re like anymore. Even if they do the song, they’ve toned the moves way down now. Most of their songs don’t even have moves at all anymore. Oh, and they’ve combed their hair and wear normal-length ties now too. πŸ˜†

        Plus, every one of the guys is really nice in person and will take time with anybody who waits after a concert. So even if a few of the numbers they did still weren’t your stylistic cup of tea, there’s no way you could deny that they are some of the friendliest, most gentlemanly guys you could ever hope to meet! πŸ™‚

  11. Stacking has different uses. Some used it years ago (Oak Ridge Boys early to mid country, Singing Americans Black and White lp, Cathedrals Christmas A capella etc.) There are different reasons to use it. Some use it to sound fuller and at times cover over imperfections. It is done in the studio where a group will record the same sections more than once. Think of it like reading or singing into a portable tape recorder, then playing it back while reading or singing the exact same thing again, and keep repeating it again. It will make it sound like there is more than one of you or at the very least make your voice sound bigger than it is. Some do this to make a choir out of their own voices (although sometimes they do a different thing in multitracking and sing harmony to themselves in other words sing tenor, lead and baritone (and maybe bass). This is different because they are different parts where in stacking it would be like singing the same thing again or each of the parts again.

    Other times this is done to cover over pitch problems in another take or to thicken up or make stronger a thin or weak performance. In SG when most people talking of stacking it is in concert use. Groups will sing with themselves (or at least have their voices to some degree mixed in with their already recorded voices in their accompaniment. This is done to help save their voices, or make a bigger sound, or sometimes because groups aren’t good enough to sing it right or as good in concert. This isn’t quite the same as lip synching in that not only generally it is their own voice on the track, but they are doing at least some singing instead of only mouthing.

    Many ears can catch stacks because of their imperfections (in ways that is nearly impossible to recreate in concert) or because it is obvious that there are more than just the vocalists on stage singing even if they try to put more live vocal in the mix than recorded vocal.

  12. As far as the song, I liked the original (with Talley) best for a long while, but found myself eventually liking how it evolved and became faster, more bombastic in places, differences in tempo and dynamics, as well as legato at the beginning and more staccato later. Roger really made the arrangement and piano parts better. The one thing about the arrangement they changed that I didn’t like and wish they had kept from the original is as follows. In the minor key in the original, the tenor and baritone sang “yet Jesus Loved………….and disappeared. In the latter version they sang the word “them” too which I didn’t like as much. At first I also didn’t like them holding that out extra, but that doesn’t bother me as much and now I can’t say which of the two ways is better for sure. Probably the original again, but maybe not.