Could They Make It? Entry 6: Eu4ia

Here’s a rendition of Southern Gospel classic “Goodbye, World, Goodbye,” sung by a barbershop quartet . . . with a twist.

Could they make it in Southern Gospel?

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45 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. Good grief. That could probably have not been any more annoying…

  2. It was a very cute rendition…but the answer to the topic? I’m gonna have to say no. πŸ™‚

  3. Maybe I could handle one song, in the intermission, while they are taking up the offering, so i didn’t have to actually watch…

    Its a nice rendition (as brian said)…just a lil’ over the top πŸ™‚

    • That was some kind of bass singing, though! LOL! They obviously enjoy it, which is the most important thing. Good for them.

      • LOL…good point they did enjoy it. And really, it was a good arrangement

  4. This was arranged by David Wright, one of my favorite vocal arrangers ever. He’s done many awesome gospel arrangements, Up Above my Head, Mary did You Know, When I Lift Up My Head (my a cappella gospel group did this one), Ezekiel Saw the Wheel, Joshua Fit the Battle, Victory Road, This Old House, and more.

    I sang in a few barbershop quartets and competed at the local level, it was a blast. A lot of barbershop groups do some gospel, most of it arranged a lot better than the arrangements sung by the gospel groups themselves.

    This particular quartet is from England, I believe, and placed 12th in 2005 in the Sweet Adelines International competition.

  5. Mmmmm… cute but… no. πŸ™‚

  6. This goes to prove why I’ve always preferred all-male groups. In fact, I’m such an “all-male extremist” that I’m even inclined against mixed groups (with one or two notable exceptions like the Collingsworth family).

  7. I don’t really care for them, but I’ve always been a quartet man, that said I think they could make it in the industry. They have great energy, and they’re good (if a little odd).
    My only complaint is that they need to mitigate the arm flailing.

  8. David Wright is a friend of mine, as is his brother Wayne who is a SPEBSQSA judge. Good arrangement, but difficult for SG fans to understand the erratic stretch and squeeze of the rhythmic beat in Barbershop. As one who was carefully trained to not draw attention to himself when he sings (and it’s become somewhat of a ball and chain that stifles expression), I would suggest that if the girls don’t make it in SG they would make great traffic cops.

  9. That was interesting. In the words of Bill Gaither, “Why not?” Their arm movements weren’t all that different than EHSS’s dancing. πŸ™‚

    That said, I wouldn’t buy the cd… but someone would.

    Daniel, what’s your thoughts on them?

    • Well, I’m ambivalent on the question of if they could make it in SG.

      But when I came across the video, I was both amused and astonished, and my reaction was, “Now this is UNIQUE! I need to pass this one along for sure!”

      • Er… a peanut butter pasta salad would be unique too, but I’m not sure I’d want to eat it! πŸ˜‰

  10. Whoa…. no….

  11. I grew up with this style of singing (my dad is a legend in the field) and this is certainly not the best of this genre. But, something to think about, what would many of our SG groups sound like with no mics, no vocal stacks and no tuning on an arrangement this complex?

    • Ouch! Good point!

      Does your dad also sing tenor?

    • You do have a good and a rather painful point there Terry, but I think some of our groups could pull it off, certainly without vocal stacks and tuning and possibly without mics as well.

    • Excellent point. Many times I have been blown away by the musicality of a great barbershop quartet, and wondered why why why is so much of SG complacent and content with musical mediocrity.

      Suntones rule! You may be interested in a post I did a while back when I discovered the Suntones-Terry Franklin connection.

      And anyone else, if you want to hear Terry Franklin in a barbershop quartet, those videos are pretty kickin’!

      • Well, well. You found the “Sons Of The Suntones” one and only concert! It was our first…and farewell concert at the same time! This was a program we did outside of Washington D.C. with the original Suntones. We tried to sing some of their original arrangements. It was a joy to be with my dad and to hear him sing again.

  12. this kinda freaked me out!

  13. I agree that some groups today could pull it off much better than this. They also wouldn’t have the stilted cadence and phrasing (just my opinion :)) that currently is in vogue in Barbershop singing. (Neil sort of alluded to the “erratic stretch and squeeze”).

    Daniel, my dad sang lead for a ground-breaking group called The Suntones that won the SPEBSQSA International competition in 1961 and spent 10 years on The Jackie Gleason Show on CBS based out of Miami Beach, Florida.

    • Thanks! I just had to look up SPEBSQSA to see what it stood for. πŸ™‚

      I also looked up The Suntones on YouTube, and they had a fantastic blend.

      • I grew up hearing that blend and frankly (with a definite bias!) they were the best at it. Southern Gospel could learn a good deal about blend from Barbershop. These days many of the groups are just singing loud and/or, singing more like soloists. The whole essence of Barbershop is to have a cohesive “whole,” a block of sound where no one voice (except maybe the melody) is more distinctive than another. The harmony voices support the melody. Want a great example of blend from our genre, in my opinion? The Isaacs, “Heroes.” They get it.

      • Yes, the Isaacs do – and yes, SG could learn a whole lot from Barbershop.

        Two other examples I would suggest – Voices Won (a trio of brothers from Georgia) and the Collingsworth Family ladies’ trio (Kim and daughters Brooklyn and Courtney).

        But it does say something that the three examples we’ve named, between us, are all trios.

      • Yeah, I was about to suggest the Booth Brothers, but that’s a trio too (!) Barbershop is just a whole different ball-game.

        Terry, have you ever heard any music by the group Glad? You would love them. They have exactly what you’re talking about, that perfect blend.

      • Yes, Glad is very good, although some of it is “studio magic.”

      • I was about to mention them, but you beat me to it! I think that’s Ernie’s work ethic rubbing off on the other guys there to some extent.

      • The thing that irks me is that your average upper-level barbershop quartet constantly work like dogs on the art of quartet singing, and your average SG group rehearses once in a while to maybe learn some new material.

        So many gospel groups seem to not care in the least to put in some effort to improve themselves musically. Maybe I have a wrong impression, but that’s sure the way it seems to me.

      • I agree. My dad’s group rehearsed for 4 hours or so twice a week, and they all had other outside jobs. And then they rehearsed for 45 minutes or so prior to each concert. The other thing was that the musical arrangements were all written out. There were no “head” arrangements. Sadly, the average SG singer cannot read music…

      • Yes, that is a shame.

        From time to time, I’ll ask a performer in a top group how much time they spend rehearsing. They will typically say, “With how many concerts we do each year, we don’t need to.”

        The only group that has ever told me they consistently spend time rehearsing each week is Ernie Haase & Signature Sound – and it shows.

      • Whoops, my comment right above ITF was meant to be in response to Daniel’s here, sorry.

  14. I just realized what was bothering me, besides the weird group name. The title says “Enrty” instead of “Entry”!

    • Lol, I saw that right away.

    • Oops! Fixed!

      • I kind of miss seeing it the old way. It was the way I started my day for the past couple. πŸ˜‰

      • Sorry to disappoint . . . well, sort of sorry, but not enough sorry to undisappoint you!

      • LOL. At least you made up a word for me to peruse. (Undisapoint.)

      • Yes, but with two p’s. πŸ™‚

      • I wanted to return the favor “Mr. Enrty” πŸ˜‰

  15. I think you will find this redeeming to female Barbershop quartets.


  16. Preach Terry! You said it…a lot of groups would probably suck. This section could be dubbed…’could they make it (with stacks?)
    These video’s and the artist which i enjoy are always compared to the standard of today’s industry.Meaning overcompressed,stacked to the max,even auto-tuned and over amplified.
    These video’s showcase what is called ‘raw’ talent…i never liked that expression..talent is this day and age you should call it ‘real’ talent..and many pro’s are artificial talent. Some groups sound too good to be real…and i don’t wanna bring up the decline in SG, but all the fixing and trimming is one of the biggest reasons.
    There are a lot of good quartets/groups out there on the local/semi-pro circuit..and they will never ‘make it’ when they stay true to real singing…sad but true.
    I love the girls singing that classic…the best i ever heard…no prolly not…but they sang it with vigor and had fun…and that sells the song..and makes it believable and entertaining.
    I thought the ‘bass’ sounded somewhat like Bill Gaither..but

    • Good points.

      But I don’t think anybody had time to overcompress, stack, auto-tune, or amplify this…and it still sounded pretty darn good:

      • New SoGo Fan…EHSS can sing…and don’t need the stacking..they gradually are using less stacks..a good thing.

        Check out these clips by a trio…i guarantee you no stacks/compression was used.

        [EDIT, 6/18/12: Broken link removed.]

        GBU Auke

      • You guys sound nice. πŸ™‚

  17. Maybe, but I’d be afraid of getting whack by those wings… I mean arms!