CD Review: Somebody’s Coming (Gold City)

Somebody's Coming (Gold City)It has been three years and four months since Gold City released their last mainline CD, Moment of Truth (reviewed here). In the last three years, they have had five tenors (Steve Ladd, Chris Cooper, Josh Cobb, Brent Mitchell, Dan Keeton), three lead singers (Bruce Taliaferro, Craig West, Jerry Pelfrey), two or three bass singers (Aaron McCune, Chris West, and Tim Riley), and three pianists (Josh Simpson, Roy Webb, and Bryan Elliott). This leaves baritone Daniel Riley as the only current member who was also on Moment of Truth. To sum up the last three years in a word: Tumultuous.

Work on this CD started last summer. It was originally scheduled to release at or shortly after the 2010 National Quartet Convention. But each of the six or seven personnel changes since then have delayed the release farther. This lineup has stayed together for long enough that, despite a last-minute change at the lead singer position, the album is finally out. Though the official release date is November 15th, it was released digitally on iTunes yesterday morning.

Somebody’s Coming is just what the doctor ordered. After over three years of staging largely the same songs, the group needed strong new songs every bit as much as they needed a stable lineup. This CD offers quite a few. 

Fans of their last two mainline CDs (Gold City’s most progressive two to date) will like “Somebody’s Coming” and “Lord of Life.” But even if “When Jesus Saves” wasn’t your cup of tea, both of these are good enough songs that you just might find yourself tapping your toes anyhow.

There is also plenty for fans of classic Gold City lineups to like. Heading that list is new lead singer Jerry Pelfrey, who has earned comparisons to a young Ivan Parker. Tim Riley, meanwhile, is among the greatest Southern Gospel legends on the road today; he’s turned loose on “I Get Down.”

Danny Riley, meanwhile, turns in exceptionally strong performances on two of the project’s strongest songs, “Peter, James, and John” and “Footprints on the Water.” The former is the first radio single, and the latter needs to go to radio. (On “Footprints on the Water,” check out the story behind the song from co-writers Joseph Habedank, in this interview, and Dianne Wilkinson, here.)

Tenor Dan Keeton’s sole feature is “Leave That Burden.” Don’t approach that song thinking Brian Free, Jay Parrack, Steve Ladd, or Josh Cobb. The performance brings a Michael Booth voice timbre to mind; even though the arrangement doesn’t scream “Gold City,” it’s a pleasantly mellow song.

Gold City chose the right song order. The four opening tracks are among the most likely to appeal to fans of classic lineups, while the closer is a fifth. Songs 5-8, meanwhile, are the most adventurous—but by this point, they have already won over earlier fans.

If Somebody’s Coming had been released by the lineup that started the project—Josh Cobb, Bruce Taliaferro, Danny Riley, Tim Riley, and Roy Webb—it would probably have been a five-star project. (Of course, it would have had one more incredibly strong song, Josh Cobb’s reinvention of his signature song, “I Stand Redeemed,” helping to boost the rating.) With one or two exceptions, the songs on this project were selected for that lineup, not the current lineup. That said, this lineup turns in a solid 4.5 star performance here. They prove here that they have the potential to turn in a five-star performance on material selected for their voices.

Somebody’s Coming isn’t the best CD Gold City has ever released. But it’s in the top ten. 

Traditional or Progressive

Middle-of-the-road with some tracks leaning country or progressive

Radio Single Picks

“Peter, James and John,” “Footprints on the Water”

Album Rating: 4.5 stars


Group members: Dan Keeton, Jerry Pelfrey, Danny Riley, Tim Riley, Bryan Elliott. • Review copy not provided.  • Song list: Peter, James, and John; I Get Down; Footprints on the Water; It Won’t Be Long; Showers of Blessings; Lord of Life; Somebody’s Coming; Leave that Burden; I Have an Anchor; Never Too Broken to Belong.

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3:1 CD Review: A Living Legacy: The Songs of Squire Parsons

A Living Legacy: The Songs of Squire Parsons3:1 Reviews offer three highlights of an album and one area that could have been improved.

1. Concept: In the last few years, Jim Brady has cemented a position as one of the genre’s strongest writers. His songwriting hero is Squire Parsons, and he made this as a tribute to him. Over the last year, Squire has been fighting cancer, and this is a heartwarmingly magnificent example of the genre coming together to recognize one of its finest while he can still smell the roses.

2. “I Call it Home”: Karen Peck delivered a magnificent rendition of this Squire classic. Jim and Melissa Brady completed the trio harmonies. It’s genuinely a hard thing to blend with a first soprano, but Jim and Melissa pull it off with class and perfection. In fact, they sound as good backing Karen up as Karen’s group, New River, does—no small feat. 

3. “I Sing Because”: The Mark Trammell Quartet offers this standout rendition. Mark Trammell has the solo—and, astonishingly, carries it all the way through. From the Kingsmen on, it has been standard practice to hand the high chorus to a tenor singer. But Mark hits the highest recorded notes of his career, singing all the way to a C5 (C above middle C) by the end. This is also notable for being Joel Wood’s final recorded performance with the group.

4 (bonus). “I’ve Got a Reservation”: This features an all-star quartet of Chris Allman, Jim Brady, Mark Trammell, and Glenn Dustin, with Glenn on the solo. It’s as strong as you would expect from a quartet with this level of vocal talent!

5 (bonus). “The Broken Rose”: Ivan Parker turns in a new rendition so strong that it will stand as a highlight, even in this august company. Even if you’re not a fan of Ivan’s typical style, give this one a chance. You won’t be sorry.

6 (bonus). New vocals for Kingsmen, Kingdom Heirs: Rather than simply pulling a track from an old recording, the Kingsmen and Kingdom Heirs both went to the time and trouble to record new vocals with their current vocal configurations.

:1. One thing I would change: Songs pulled from previous recordings: This point must be made in a nuanced fashion, since it’s easily understandable why Jim Brady chose the route he went. There are eight new songs, and two more (mentioned in #6) with new vocals. But the remaining eight are pulled from old projects. Among the most notable are the Booth Brothers’ Song of the Year-winning “Look for Me at Jesus’ Feet,” Brian Free & Assurance’s “The Greatest of All Miracles,” and Gold City’s two songs. Gold City’s are the oldest, from 1992 and 1995; mixing and mastering techniques are so different now that it’s obvious on a casual listen that they are from twenty years ago.

Now, the nuanced point: If Jim Brady wanted to produce a five-star recording, he should have released the ten tracks that are all-new or have new vocals. But, understandably, that wasn’t the point here. He wanted to involve as many groups as possible. So it’s completely understandable why he went the route he did.

Even if there may be a few tracks you skip—a decent chance, with eighteen tracks!—there are so many strong performances on this CD that it is a must-purchase for fans of any of the participating groups. 

Traditional or Progressive

Largely traditional to middle of the road.

Album Rating: 4.5 stars.


Producer: Jim Brady. • Review copy not provided.  • Song list: He Came to Me (Booth Brothers); I Go to the Rock (Legacy Five); The Greatest of All Miracles (Brian Free & Assurance); I Call it Home (Karen Peck, Jim and Melissa Brady); I’m Not Giving Up (Gold City); The Broken Rose (Ivan Parker); I’ve Got a Reservation (Glen Dustin, Mark Trammell, Jim Brady, Chris Allman); I Sing Because (Mark Trammell Quartet); I Know the Lord (Triumphant Quartet); Hello Mama (Jim Brady); Master of the Sea (Whisnants); You’re Not Alone (Kingsmen); Always In My Hand (Debra Talley); Ever Since That Wonderful Day (Kingdom Heirs); Look For Me at Jesus’ Feet (Booth Brothers); I Stand Amazed (Arthur Rice, Jim Brady, Greater Vision); If God Be For Us (Gold City); Sweet Beulah Land (all artists).

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3:1 CD Review: Modern Pioneers (Song of David)

Modern Pioneers (Song of David)3:1 Reviews offer three highlights of an album and one area that could have been improved.

1. “Love Comes to Town”: This catchy uptempo song with a modern country twist should play well on Southern Gospel radio. Song of David, despite the group-sounding artist name, is actually the solo ministry of singer/songwriter David Bryan.

2. “The Holy Hills of Heaven”: Yet another cover of the Dottie Rambo classic by an artist you’ve never heard of before? Well, think again. Yes, it is the Dottie Rambo song, and yes, this might be an artist you’ve never heard before, but . . . have you ever heard the song turned into a modern country song, driven by electric guitars? You might love it, you might hate it, but you won’t forget it.

3. “Peace (When I Leave it In Your Hands)”: You might remember this from Legacy Five’s 2006 Live in Music City project. It’s quite a shift from a ballad anchored by Frank Seamans to a modern country song—but that makes it even more interesting to hear the songwriter’s original vision for the song.

:1. One thing I would change: Twangs. If you don’t like soloists with a twang backed by electric guitar-driven country tracks, this CD is not for you. But if that is your cup of tea, you might enjoy this project.

Traditional or Progressive

Progressive with a country influence.

Radio Single Picks

“Love Comes to Town,” “Peace (When I Leave it In Your Hands),” “Water in the Wilderness”


Producer: Danny Crawford, Brian Beatty. • Group members: David Bryant. • Review copy provided.  • Song list: Love Comes to Town; The Holy Hills; Water in the Wilderness; Modern Pioneers; The Sound of the Sun; One Step (at a time); When I Leave it in Your Hands; Angels Watching; This Storm; Power in His Name.

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3:1 CD Review: Sweet Hour of Prayer: Hymns of the Faith Vol. 2 (Blackwood Brothers)

3:1 Reviews offer three highlights of an album and one area that could have been improved.

1. Simplicity: If piano and four voices is your cup of tea, and not, as Gerald Wolfe likes to say, “all that racket,” this is your sort of hymn project. Side bonus: Now that the group has a full-time piano player, there is very little on this project which they couldn’t do live. (An organ does make an appearance on the final track.)

2. Sweet Hour of Prayer: Tenor Wayne Little and bass Randy Byrd trade off at the solo microphone. It’s one of Little’s most pleasant solos, and Byrd’s bass tones are as warm, rich, and confident as always.

3. Softly and Tenderly: A tasteful piano solo from Mike Hammontree is expertly woven into group and solo vocal segments. I have heard so many monotonous renditions of this hymn that I am tempted to hit the skip button when it comes up. This rendition makes me like the song again.

:1. One thing I would change: Song Selection: Yes, table projects need to have some of the hymns that everyone knows and requests. The project would have been stronger with several less ubiquitous hymns.

Traditional or Progressive?


Song Selection Creativity Meter: 30%

In place of radio single picks and an album rating, table projects featured in a 3:1 review are measured by a different metric—what percent of the songs on the album are pulled from outside of the 200 Most Frequently Recorded Southern Gospel songs.


Group members: Wayne Little (tenor), Jimmy Blackwood (lead), Billy Blackwood (baritone), Randy Byrd (bass), Mike Hammontree (pianist). • Produced by: Billy Blackwood. • Review copy provided.  • Song list: I Need Thee Every Hour; Blessed Assurance; Cleanse Me (Search Me, O God); Sweet Hour of Prayer; My Jesus, I Love Thee; Softly and Tenderly; I Surrender All; What a Friend We Have in Jesus; Near the Cross; Fairest Lord Jesus.

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3:1 CD Review: Now (The Browns)

3:1 Reviews offer three highlights of an album and one area that could have been improved.

1. “My Child is Coming Home”: This is a great song and a great performance. A few years have done wonders for Nick Trammell’s voice; his increased vocal richness and maturity call to mind a mid-1980s Mark Trammell (his father). He’s well on his way to being Jimmy Blackwood to his father’s James Blackwood. But even more impressive than the vocal delivery is the song, which Nick co-wrote with his father: If he’d written this when he was with the Perrys, this song would have been nominated for “Song of the Year.” It’s the best song the Browns have recorded to date.

2. “Worth of It All”: This song about the events leading up to and following the Crucifixion fuses a Classical-influenced track with a soaring 6/8 melody that bursts with the energy of a Keith & Kristyn Getty Celtic song. Michaela Brown delivers the chorus with vocal runs reminiscent of yodeling. The song, co-written by Nick and Jessica Trammell, joins “My Child is Coming Home” as stronger than any previous song the Browns have recorded.

3. Nick Trammell as a songwriter: Before I saw songwriter credits, I listened through the project and noted the six strongest songs: “Now and Forevermore” (written by Michaela Brown and Nick Trammell), “Good Enough” (Nick Trammell), “My Child is Coming Home” (Nick & Mark Trammell); “Silent for Me” (Michaela Brown, Dianne Wilkinson); “Worth of It All” (Nick & Jessica Trammell); “Still My Child” (Nick Trammell). With one exception, each of these songs have a common thread: Nick Trammell as a co-writer. His writing is taking the Browns to the next level.

:1. One thing I would change: Length. If the set list had been whittled down to the ten strongest songs (there are fourteen), this would have been a five-star recording. But even as it is, this is not just the Browns’ strongest project yet—it’s one of the ten strongest Southern Gospel CDs of 2011. If you enjoy great songs and family harmonies, add this album to your must-buy list.

Traditional or Progressive

Middle-of-the-road, more so than their last one.

Radio Single Picks

“My Child is Coming Home,” “Worth of it All,” “Still My Child.”

Album Rating: 4.5 Stars


Producer: Tim James, The Browns. • Group members: Nick Trammell, Jessica Brown Trammell, Shelly Brown, Adam Brown, Michaela Brown, Andrew Brown. • Review copy provided.  • Song list: Now and Forevermore; Good Enough; Nothing is Impossible; My Child is Coming Home; Everywhere I Go; Beautiful Day; Silent For Me; Joyful Medley (instrumental); When Grace Became Amazing; Rained Out; God of a Second Chance; Worth of it All; Put Your Hand in the Hand; Still My Child.

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3:1 CD Review: Everything Christmas (Greater Vision)

Everything Christmas3:1 Reviews offer three highlights of an album and one area that could have been improved.

1. Grace Has a Face: Several previous artists have cut this Phil Cross song, including the Hoppers, Triumphant Quartet, and Cross himself. But this rendition brings out the richness and power of the lyric. This is the rendition that will define the song.

2. A Cradle in Bethlehem: Though this song has been cut by several noted secular artists, this appears to be the first Southern Gospel rendition. Rodney Griffin’s rendition is so heartfelt that a casual listener might assume he had written the song.

3. Orchestrations: The orchestrations and instrumental arrangements for this album are consistently rich and lush. Care is evident down to the tiniest detail—like a brief, passing quote from “Away in a Manger” in the song “Grace Has a Face.” Gerald Wolfe described this project by saying, “This is how Christmas is supposed to sound.” He’s right.

:1. One thing I would change: Hymn Bridges: Hymn bridges don’t work if they prove the new song to be nowhere near as strong as the hymn. It’s the opposite story on “Grace Has a Face.” Its hymn bridge, “There’s Something About That Name,” doesn’t work because the classic song is nowhere near as good as the new one. Yes, I am serious.

Traditional or Progressive

Middle-of-the-road; classic orchestrated Christmas sound.

Explanation of Review Guidelines Exception

Yes, I know the review guidelines state that only reviews all-Gospel Christmas recordings. When Gerald Wolfe asked if I would review this project, I explained the policy, but told him that I would make an exception for him. Two reasons led to this exception: First, after deconstructing the best fast song from his last mainline, here, I owed him one! Second, the remainder of the project is so strong that, were it not for the secular songs, this would be a five-star review.


Group members: Chris Allman (tenor), Gerald Wolfe (lead), Rodney Griffin (baritone). • Review copy provided.  • Song list: Everything Christmas (overture); God Rest Ye Merry Gentlemen; Do You Hear What I Hear; A Cradle in Bethlehem; It’s The Most Wonderful Time of the Year; O Holy Night; Sleigh Ride; I Heard the Bells; Grace Has a Face (Hope Has Hands); There’s No Place Like Home for Christmas / I’ll Be Home for Christmas.

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3:1 Review: Recharged (Ball Brothers)

3:1 Reviews offer three highlights of an album and one area that could have been improved.

1. Distinctive Style: The Ball Brothers sing some of the tightest modern harmonies found anywhere in our genre. When they are selecting material for an album, they don’t adapt their style to the best songs they can find. They know exactly what they want to sound like, and they look until they find songs to fit it.

They pull from the Statesmen (“Sweeter as the Days Go By”) and Francesca Battistelli (“Blue Sky.”) They pull from the Gaither Vocal Band (“Not Gonna Worry” and “Can’t Stop Talking About Him”) and NewSong (“I’ll Rise.”) They pull from the Talley Trio (“Forever In His Care”) and 4Him (“Basics of Life.”) And they pull from songwriters as diverse as Ira Stanphill (“Happiness Is” in the “Happy Am I Medley”) and Caleb Collins (“My Life,” “Healer of My Heart.”)

Oh, and at least when it comes to the vocals, their versions improve on the CCM originals. Compare their take on Francesca Battistelli’s “Blue Sky” to, well … this.

They manage to take this menagerie of songs and, with the possible exception of “My Love,” make each song sound like it was written for their voices. Perhaps no other group in any genre could accomplish that with selections from both Ira Stanphill and Francesca Battistelli!

2. Daniel Ball: Each member of the Ball Brothers—four blood brothers, tenor Andrew, lead singer Daniel, baritone Stephen, and bass Josh—is a good vocalist. But Daniel shows growth as a vocalist with every new release. Recharged is no exception. Even if he is not acclaimed as one yet, from an ability standpoint, he is easily among our genre’s top ten lead singers.

3. Cover Art: When was the last time you saw a design this incredible on a table project? It’s classy, innovative, and exciting, all at the same time.

:1. One thing I would change: Song Selection. Audiences will welcome these songs with nods, smiles, receptive applause, and murmurs of “That’s a great point” or “Exquisite harmonies.” But the album would have been stronger with one or two standing-ovation anthems.

Traditional or Progressive

Rather Progressive

Song Selection Creativity Meter: 100%

In place of radio single picks and an album rating, table projects featured in a 3:1 review are measured by a different metric—what percent of the songs on the album are pulled from outside of the 200 Most Frequently Recorded Southern Gospel songs.


Group members: Andrew Ball (tenor), Daniel Ball (lead), Stephen Ball (baritone), Josh Ball (bass). • Produced by: The Ball Brothers. • Review copy provided.  • Song list: Happy am I Medley (Happy am I / Happiness Is); My Love; Basics of Life; Not Gonna Worry; Blue Sky; Healer of My Heart; Can’t Stop Talkin’ About Him; I’ll Rise; Sweeter As the Days Go By; Forever In His Care.

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3:1 Review: Promise (Promise)

Promise Trio3:1 Reviews offer three highlights of an album and one area that could have been improved.

1. Blend: If you read the one-sentence album summaries – that this is a table project with ten Greater Vision songs (to the original Greater Vision soundtracks) – you might be expecting that their blend sounds like a young Chris Allman, Gerald Wolfe, and Mark Trammell. It doesn’t – though David Mann can sound remarkably like Mark Trammell when he’s so inclined. These delightfully tight harmonies can be more accurately compared to Paid in Full, Voices Won, or – dare I say – the Booth Brothers.

2. He is Mine: Baritone David Mann tackles Mark Trammell’s most recognizable solo from his three years on the Greater Vision bus. He does this Dianne Wilkinson-penned song justice. It is about time that this song be brought back, and he is clearly the one to do it.

3. Land of Living: This largely-forgotten Cathedrals gem, originally featuring Gerald Wolfe, is another that was overdue to be remade. Lead singer T.J. Evans turns in a strong enough rendition that it wouldn’t be surprising to see him keep staging this song even after the group has an ample supply of new material.

:1. One thing I would change: New Wine: Novelty songs, and songs that lean toward a novelty-song feel, are like jokes: They’re strongest the first time around. We’ve already heard this one from Greater Vision and the Gaither Vocal Band.

Bonus thing I would change: Song Order: The opening-track pairing of songs titled “Don’t Try to Tell Me” and “Tell Me the Story of Jesus” is incongruous!

Traditional or Progressive?

Leans traditional

Song Selection Creativity Meter: 80%

In place of radio single picks and an album rating, table projects featured in a 3:1 review are measured by a different metric—what percent of the songs on the album are pulled from outside of the 200 Most Frequently Recorded Southern Gospel songs.


Group members: James Bell (tenor), T.J. Evans (lead), David Mann (baritone). • Produced by: Gerald Wolfe. • Review copy provided.  • Song list: Don’t Try to Tell Me; Tell Me the Story of Jesus; New Wine; Land of Living; Whosoever Will; I’ve Got a Love; He is Mine; On a Journey; There is a River; Happy Tracks.

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3:1 Review: Part of the Family (Collingsworth Family)

Part of the Family - Collingsworth Family3:1 Reviews offer three highlights of an album and one area that could have been improved. (This album has so many highlights, though, that the list is expanded to five.) 

1. Resurrection Morn: Bill & Gloria Gaither wrote this song in 1972, cutting it on My Faith Still Holds. Other than a Blackwood Brothers cut the same year, the song has been largely forgotten since. This new rendition is so strong as to prompt the listener to wonder, “What on earth took so long?”

It’s significantly slower than the original, about 92 beats per minute versus 144 beats per minute. But it works. In fact, it works so well that, retrospectively, the original Bill Gaither Trio rendition sounds oddly rushed—as rushed as “The King is Coming” would sound at 144 beats per minute!

Anyone can re-record a familiar Gaither classic, and pretty much everyone does. The Collingsworth Family digs deeper into the Gaither archives. First with “Free to Go Home” and now with “Resurrection Morn,” their research has paid off in a big way. This song is as good as new. In fact, it’s better than when it was new. 

2. At Calvary: This hymn lends itself both to a mellow interpretation and a big-ballad treatment. Here, remarkably, the Collingsworth family pulls off both. It starts mellow, but keeps building throughout the song. After the family ensemble starts the song, Kim Collingsworth sings a verse with Brooklyn and Courtney singing harmonies above her melody line, and Phil Jr. sings a verse solo. The whole family comes back in for the big ending.

3. That’s The Place I’m Longing to Go: Though the Collingsworth Family can easily pull off uptempo songs and big ballads, they are particularly adept at mellow songs. If you noted “Oh, the Thought That Jesus Loves Me” as a highlight from The Answer, this song will top your favorites list for this album. 

4. Vocal Growth: The Collingsworth Family releases a major-label CD once every two years. Between the longer release cycle and the increasing maturity of the children’s voices, they have shown growth as vocalists with every album release. Part of the Family is no exception; Phil Jr., in particular, has shown significant growth this time around. In fact, this is the first Collingsworth Family mainline release with no instrumental tracks; their voices are now strong enough to carry the entire project.

5. Vision: Most Southern Gospel mixed groups draw inspiration from the likes of the Happy Goodmans, Hinsons, and Hoppers. The Collingsworth Family aims for a different target. Their strongest influences are the Inspirational groups of the 1960s and 1970s, like the Bill Gaither Trio, Lanny Wolfe Trio, and Henry & Hazel Slaughter. Slowly but steadily, they have honed their skills and focus, and they have now hit this target. The Collingsworth Family has become this generation’s Bill Gaither Trio.

:1. One thing I would change: Selection of fast songs: The mellow songs and big ballads are consistently exceptional. The fast songs are consistently decent.

Traditional or Progressive

Middle-of-the-road, with a few tracks which lean progressive and several which lean traditional.

Radio Single Picks

“Resurrection Morn,” “That’s The Place I’m Longing For,” “I Found it All.”

Album Rating

Average song rating: 4.1 stars. CD rating: 4.5 stars.


Group members: Brooklyn Collingsworth (soprano), Olivia Collingsworth (soprano/alto), Courtney Collingsworth (alto), Kim Collingsworth (alto), Phil Collingsworth Jr. (tenor/lead), Phil Collingsworth Sr. (lead/baritone). • Produced by: Wayne Haun. • Review copy provided.  • Song list: God’s Family; Tell the Mountain; Joy Unspeakable; Jesus Is All I Need; Nothing’s Worrying Me; I Pray; At Calvary; I Found it All; Just Another Rainy Day; Praise You; That’s the Place I’m Longing to Go; The Resurrection Morn.

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3:1 Review: Bass-ic Training (Gerald Williams)

3:1 Reviews offer three highlights of an album and one area that could have been improved.

1. Technique: The video is a one-hour introduction to the basics of proper voice technique, both generally and as specifically applied to bass singers. Gerald Williams explains this technique in an easy-to-understand way, with memorable metaphors and illustrations.

2. Delivery style: Williams strikes the perfect balance of authority and a friendly delivery. He comes across as warm and likable without making it seem unnatural or forced.

3. Pithy quotes: Williams’ memorable metaphors and warm delivery are enhanced by numerous pithy and well-put quotes. Case in point: “If you’re not real low, wait till you are before you try to sing low.” Another: “There’s an old saying: ‘The show has to go on.’ Well, yes it does, but you don’t have to abuse yourself to get it done!”

:1. One thing I would change: The live concert footage of the Melody Boys in concert, demonstrating the techniques Williams explains, is at a significantly lower resolution than the rest of the film. The final result would have been stronger had the Melody Boys recorded new footage, even a simple one-camera shot, in a living room around a piano.



That minor quibble aside, this video is highly recommended for any Southern Gospel vocalist. Beginners on a tight budget could not make a better investment than spending $20 on this DVD (available here).

Review copy provided.

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