Happy birthday, Neil!

Life again has been busy here, but I decided to take a few minutes out of my usually hectic morning to acknowledge a special occasion.

Neil Enloe is not only one of my most loyal readers here and friends to boot, but he is truly a living gospel music legend. And today, the former Couriers' lead singer turned 70 years young.

Neil acknowledged my 50th birthday this past May 16th in this very corner of the web...so it's only fair that I return the favor on his big day!

By any standards, Neil is a man truly blessed. Most people who visit here know of his numerous accomplishments in gospel music...his Dove awards, and his many years singing and writing with one of gospel music's finest and most acclaimed groups, but ask Neil, and he'll tell you that's all well and good, but there are many other things that are more important to him than even personal recognition for his many talents.

Their names are Ruth, Beth, Heidi, and Tim. And he is justly grateful for people such as Don Baldwin, Duane Nicholson, Dave Kyllonen, Eddie Reece, Jerry Evans, L.David Young, and Eddie Hawks...treasured colleagues, mentors, and friends in his long ministerial service.

And he is equally thankful for his parents, who molded and shaped his values and instilled a love for God and others into him. Likewise, his siblings(all still with us!)...Charlotte, Dave, Bob, Phil, and Dan...all Godly people like him, and people who have enriched his life and many others.

And finally, he is grateful to God for good health and good friends that he has made here, there, and everywhere in a long life of service to Jesus Christ.

So happy birthday, Neil....and here's to many more years of service and blessings. Thanks for what you've shown and given me.

Reflections on “watershed” albums

First of all, I want to thank all of you who responded either privately or publicly to my posts on "watershed" gospel albums.

Enough time has passed by now after I posted my own list to look back a bit and wrap up my observations on the subject.

I know some of you who have yet to officially weigh in on the subject surely have your own lists...maybe even other criteria I overlooked in such a discussion. If so, please don't hesitate to post your own lists. All I ask is that if you do so, please justify your selections as best you can.

I ask this in part because most of the readers to my blog enjoy the fact that not only do I state my own opinions, but that I invariably cite reasons why I think as I do. For the benefit of those readers who enjoy that, I hope you will respond in similar fashion.

The other reason I ask that is that when I see such threads myself on other blogs or message boards, and input is sought, invariably such threads are deluged not with reasoned commentary, but reflexive one-word Pavlovian answers such as "George Younce" or "the Cathedrals" without any justification as to why those answers are being posted. It becomes nothing more than a simple regurgitation of one's favorites, and nothing else. My readers can do better than that. Besides, this whole exercise was not at all about one's favorites or the "best" of anything.

The operative word/words in this exercise were "Sgt. Pepper" and "Pet Sounds". For those of you either too young to remember those epic albums or not interested in them when they were popular, those two albums are considered two of the most influential and important albums in the history of rock music.

My friend Wes Burke, on his "Burke's Brainwork" blog, stated categorically that in his opinion, Gold City's album "Pillars of Faith" was an album that was for gospel music what those albums were to rock music. That inspired the exercise that I posted. My last post was my list of albums that could conceivably be considered the "Sgt. Pepper"s of gospel music, since I disagreed with Wes' conclusion regarding "Pillars". OK?

Now saying all that, that is NOT to advocate that my list consisted of what I felt to be the "best" albums in all of gospel music history. Even many rock fans don't feel that "Pepper" was the best Beatles album. However, the consensus is that "Pepper" was probably the most pivotal album release in rock history, because it effectively drew the line between the rock music that came before it, and that came after it.

In other words, was "The Blackwood Brothers In Concert" that group's best album? I don't think so. But the reason I put that album on my list is because of its' significance in the overall picture of gospel music history...being the first live gospel album ever released. It set the stage for a whole new type of gospel record album...and many great albums followed in its footsteps. Hence, it had(IMO)a "Pepper" like impact on gospel music.

THAT was the operative criterion for inclusion in my list. When I saw some of the albums listed in the comments to my list, I shook my head at some. Given the criteria I listed in my post, and the reasoning I offered above, how could anyone think that the Cathedrals' "Campmeeting Live" was such an album? It was not even their most noteworthy live recording. Or "Quartets" by Greater Vision(an album I enjoy very much)? Even though conceptually it was unique, how many other groups did similar albums? It's not as though the Booth Brothers rounded up a bunch of bass singers and made a quartet album of their own...they didn't. And nobody else has done something similar in that album's aftermath.

In fact, NO album made by Greater Vision, or the Crabb Family, or even the Perrys would qualify under the criteria I used for my post...mostly because the histories of those artists are still being written...and enough time has not yet elapsed for their impact to be fully felt on gospel music history.

My post was not simply a list of good albums, and certainly not a polemic for the "best" albums in gospel history. That's a different kettle of fish entirely...to be evaluated by a different set of criteria. And I'm not sure it's fully possible to be that objective all by one's self to make that kind of pronouncement.

Favorites? Well, my friend Daniel Mount has proposed that each of us post on our favorite gospel albums. Two things preclude me from jumping right on board with that one, however.

One is that my favorites tend to change over periods of time. In other words, what might be my top ten today might not be by next week. Like most of you, I'm constantly evaluating and reevaluating my favorites. So such a list might become dated really quickly.

The other is the one I mentioned above. Almost always such posts inspire Pavlovian responses as to why I'm wrong, and why my favorites should be their favorites(which they'll helpfully list for me...ALL of them!). Since everyone is entitled to his or her favorites for whatever reason, I make it a policy never to comment on anyone else's favorites...and I hope for similar consideration regarding mine.

It might not make for the most entertaining reading.

Now if someone asks me, I'll be happy to share such things with them...either privately, or here(depending on what I'm asked).

Anyway, those are my initial reactions to your reactions. Thanks again for sharing your thoughts here in my little corner of the web.

Finally…my list of “watershed” albums

I know, I know...it's been a LOOOOOOOONNNNNNNNNNNG time since I've been here.

I'm beginning to wonder if this is a post that God doesn't want me to make! Twice in the past week I've tried to do this, and the first time I tried posting this when the site was down for maintenance. Then I was hit hard by a flu bug, and after a week, I've finally got enough energy to try again. Once I did, I had to leave for work before I could finish it...when I tried to save it, my computer would not allow me to.

So here I go once more....if THIS fails, I know I'm fighting a losing battle.

In a post that seems to have been a year ago that I posted it, I was responding to Wes Burke about his contention that Gold City's "Pillars of Faith" was an album that impacted gospel music in the way that the Beatles' "Sgt. Pepper's Lonely Hearts Club Band" or the Beach Boys' "Pet Sounds" affected rock music in the mid-1960s.

Whilw taking nothing away from "Pillars", I opined that it was not on that level...I followed that conclusion with a challenge to all my readers to offer suggestions on what albums, if any, would have been that type of album in gospel music.

Some of you had some interesting choices of your own...for my part, I withdrew from debate, giving time(plenty, as it turned out!)for as many of you to respond as possible before I offered candidates of my own.

Here now, are my choices...I'll justify them on the basis of the criteria I used in my initial post...which were...

1) Was it popular? Do most fans know of it?

2)Did it change gospel music? Surely a "Pepper" type album would be hugely influential on the genre, to the point of other artists trying to emulate it(or it's impact).

3)Can you draw a line in the artist's career from it? As in "before" that album, and "after" that album?

4)Did it forever change that artist's career?

Some of you tried to use that criteria as well...some of you didn't. Anyway, here are my choices for possible gospel music "Peppers"...as always, feel free to respond with your own comments.

The first album...THE BLACKWOOD BROTHERS IN CONCERT(1959, RCA 2137)

This was gospel music's first live album...and as such, set the stage(no pun intended)for the many classic live albums to follow down the years. This was one of the 7 albums Cliff Cerce suggested in his comment, but since it really wouldn't be accurate to cite 7 "Pepper" type albums, I opted to choose which of Cliff's "Magnificent Seven" would be the best example of what I was trying to talk about.

Going down the criteria, then...here's how that album rates.

1)I would imagine it was quite popular, considering that it stayed in RCA's catalogue for nearly 13 years...and almost everyone familiar with gospel music of that time either has it, or is VERY familiar with the album.

2)As Cliff said, this album(and the other albums he cited)proved that you could package a gospel concert for the people, rather than have to go to a concert yourself(easy for Southerners, but hard for people in the West, and nearly impossible for people in the Northwest and Mountain states)to experience the excitement of a live gospel concert. This album was certainly groundbreaking in that respect...especially since it was the first.

3)Well, just five years prior to the release of this album, the Blackwoods had experienced the most traumatic turning point of any gospel artist's career...losing two of their key members in the famous 1954 plane crash. While the quartet had already released five albums with the new members(Cecil Blackwood and JD Sumner), it was arguably this album that firmly established the new direction the Blackwoods were headed in. With several Sumner original songs("I Wouldn't Trade", "Never", "He's All That I Need", and "What A Morning"), the kind of arrangements they began doing with this album, it's arguable that this album can be used to a degree to draw the line between the "pre-crash" and "post-crash" Blackwoods...and that line helped define what was to become "the" gospel quartet sound for the next decade and a half.

4)Well, it certainly helped rejuvenate them...and keep them atop the quartet world for a while longer.

My second pick...The Couriers...NOTHING...BUT THE GOSPEL TRUTH(1963, Warner Bros. 1514)

Cliff also makes a case for the Couriers' 1970 album "Sweet and Shouting Spirituals", but I think this album had more impact on the gospel music world overall. I know some of you are going to accuse me of extreme prejudice on this one...but hear me out...let me explain why I chose it.

1)Like my first pick, there were no real gospel charts at that time to really demonstrate how popular the album was...but the fact that as late as late 1964(a year and a half after its' recording), Billboard Magazine indicated it was one of the top selling gospel albums that they were aware of tends to suggest that it circulated fairly widely...and other artists certainly spoke of it and liked it.

2)Not that much at first...but it DID directly influence an Akron, Ohio quartet called the Cathedral Quartet to issue albums featuring string and brass sections(which this album had...combined!)...and other artists hearing it were inspired to combine pop(read "contemporary" for the day)stylings with the basic gospel quartet sound to create a different sound that would have a stronger appeal to young people. This album's influence was certainly felt by the end of the decade.

3)In the Couriers' case...most definitely! Prior to this album, they were known as a good young regional quartet...because of the stir that this album caused, they vaulted into national prominence...going from an "up and coming" quartet to one that had definitely arrived.

4)Obviously, it did...the Couriers' image changed from a "regional" quartet to an innovative, talented player on the gospel scene.

Now, my third pick..The Imperials-NEW DIMENSIONS(1968, Impact 1962)

Always intended to be a "different" quartet, this album firmly established this extremely talented quartet as one of the top artists in the genre...and proved there was life for them after Jake Hess!

Going down the criteria...

1)I don't know that this album was a BIG seller...but it certainly did well for them down the years, and fans still remember a number of songs from it.

2)Did the sun rise at all this year? The revolution that this album helped cause not only propelled the Imperials to gospel stardom, but it inspired groups like the Oak Ridge Boys, the Stamps, the Downings, and even more established groups like the Blackwoods, Statesmen, and Rebels to modernize their sound and try to gain some younger fans. It started a trend that was only reversed in the late 1970s by a "counter-revolution" led by artists who didn't choose to point their careers in the same direction. But boy, what great music came from this trend!

3)Again, this is obvious. The Imperials proved with this album that they would still be a vital force in gospel music even without their founder...and even now, there is a "pre-Jake" and "post-Jake" period discussed in connection with the Imperials.

4)It certainly did change the Imperials' career...they quickly morphed from traditional gospel quartet to(within ten years)a "contemporary Christian" industry trendsetter.

Finally, there's...The Kingsmen-LIVE, NATURALLY(1981, Heartwarming 3534)

Daniel Mount may wonder why I chose this live album of theirs over their Dove-award winning 1973 album, "Big And Live". Well, because it sold a lot more records...and because I believe it had more influence on gospel artists that B&L did.

Again, my criteria...

1)Not only was this album one of the biggest sellers of all time, it had the most popular #1 hit ever, "Excuses".

2)In the sense that it established the Kingsmen and their performance style as the definitive live sound for a gospel quartet, and even today has influenced a number of younger live performers, it set a standard that is still sought for by gospel artists today. Many artists today still WISH they could command an audience in the way flamboyant group MC Jim Hamill could.

3)One can make a case that this album did draw a line between the "pre-LN" and "post-LN" Kingsmen....before, they mostly released studio albums...after, they released almost nothing BUT live albums...trying time after time to cash in on their rep as gospel's top live act. It DID change the direction of their career.

4. See #3 above.

OK, have at it. I'm still not sure even those albums are "Pepper"-type albums, but they certainly were "watershed" albums in the careers of those artists, and of gospel music in general.

But I'd love to get your input, and hope it was worth the wait to finally get mine.

Sorry, folks…

...for being so quiet here over the past several days.

I DID attempt to post my own nominees for southern gospel "watershed" albums. I finished that post, but unfortunately when I tried to enter it, this site was down for maintenance...so that post remains somewhere off in the internet void, and I do plan on trying again as soon as I feel up to it.

But for now, I seem to be engaged in a prolonged battle with a flu bug...which is really unusual. For one, I'm rarely sick, and for two, when I am, it's usually just a 24-hour thing...but not this time. Even tonight, I'm unable to sit at my computer chair for an extended period of time. My stomach has really felt unstable during the past week...so it'll at least be another day before I resume any kind of regular posting here.

In the meantime, I DO want to thank those of you who sent me happy birthday wishes(it was Friday)...I appreciate the thoughts and the feelings behind them very much.

But I'm on the mend, and I shall return!

Watershed albums…an interactive exercise

For the idea behind this post, I want to give thanks and credit to Wes Burke, whose Burke's Brainwork is one of the more fun gospel music blogs to read.

Recently Wes posted on the old Gold City album "Pillars of Faith", a much-acclaimed recording that erased forever any doubts as to whether the Alabama-based quartet was the top quartet at that time in gospel music. It was an excellent album with many of the group's most well-remembered songs, including "One More Time Will Do It", "Beneath This Armor", "If God Be For Us", and their Easter season classic, "There Rose A Lamb".

A great album indeed...but Wes got a little carried away in his praise of it, IMHO. He described it as the "Sgt. Pepper" or "Pet Sounds" of gospel music, after the Beatles' and Beach Boys' mid 60s rock classics respectively.

I confess...I'm old enough to remember the impact those two classic albums had on the pop music world. So influential were they that subsequent rock albums were never the same as before. Instead of 10-12 songs thrown together on an album, albums became the main creative concentrations of rock artists...the era of the big top 40 single had ended.

Sure, there were still huge singles. But what pop music fans looked forward to from their favorite artist was no longer their big single, but their new album. The popular and critical acclaim both those albums received changed the world of rock music forever. Even today, fans still draw lines in both the Beatles' and Beach Boys" careers, denoting their "pre" and "post" Pepper and Pet Sounds eras.

Was "Pillars" the same kind of album? Not really. It didn't really change how gospel albums were marketed or made. "Pillars" was not new musical ground for Gold City...if anything, it was a culmination of everything the quartet had been heading towards for the decade since they became a headline gospel quartet.

That's not to take anything away from "Pillars"...it was a great album. But a "Sgt. Pepper" or a "Pet Sounds" it was not, at least by the criteria I used.

So what gospel albums would be that kind of classic, I wondered? Hence this post.

Everyone has his or her own idea of what would make a "Pepper"-type album in gospel music. I do, you do, and so do your gospel-loving friends.

So, since there are no right or wrong answers really in this kind of exercise, I'd like you to help me come to a consensus as to which gospel albums in the southern genre's history would be a "Sgt. Pepper" or a "Pet Sounds" type of defining album.

Suggested criteria(you can add some of your own)...

1) Was it popular? Do most fans know of it?

2)Did it change gospel music? Surely a "Pepper" type album would be hugely influential on the genre, to the point of other artists trying to emulate it(or it's impact).

3)Can you draw a line in the artist's career from it? As in "before" that album, and "after" that album?

4)Did it forever change that artist's career?

You get the idea. I have candidates in my head already, but I want to know what yours are(maybe you have better ones than I do)...then, sometime next week, I'll tally it all up(and so some thinking on it myself)and post a list of possible "Sgt. Pepper" or "Pet Sounds" gospel albums.

I'm looking forward to your input on all of this.

Once more with the Liberty Quartet

I guess I'd better hurry up and finally post this...some very nice people have been waiting at least two days for me to do so!

This past Sunday, I was still basking in the reflections of spending three days amidst some of the best music and artists creating it that I could experience, when my always restless mind got to thinking.

"Surely some of those people are still around here", I thought. "Why don't I check out one of them tonight wherever they might be while they're still here?" After all, southern gospel artists aren't constantly singing everywhere they're able to out here as they are in the Southeast!

But where could that be? Fortunately, our radio show aired that morning, and as is our custom, we mentioned to all our listeners where these artists would be that day...so I could plan. Everyone else was out in places like Modesto or Bakersfield, close enough to drive to in a day, but since I only had the evening to spend, they were too far to go to to be able to get home in time to get a good night's sleep(I had to work the next morning, after all!). So who would I see, and where would I go?

Fortunately, the Liberty Quartet(one of my favorite groups from the event)was singing at a church service at the Riverdale Assembly of God church, just a half hour from work. And it was a 6 PM evening church service, so I'd have plenty of time to get there(I get off at 4P on Sundays normally). So that was that...Riverdale Assembly, here I come!

Besides, when I left the Save Mart Center Saturday night and said goodbye to Liberty manager and bass singer Royce Mitchell, I breezily told him "See you next year!" to which he responded, "I hope it won't be that long!" What a great way to surprise Royce as well as satisfy my appetite further for great gospel singing!

Little did even I know what I was in for!

Once inside the Riverdale Assembly of God church, I knew I was in a special place.

For openers, in the temporary facility they were using while their brand new sanctuary is being built, there were fans EVERYWHERE...on the ceiling, on the walls, you name it. It made me think of those old country churches you hear sung about so often in gospel songs.

For another, each seat was fully equipped with old fashioned "redback" hymnals! I have been so used to seeing lyrics of P&W songs being shown on church walls of late, and hymnals tossed aside in favor of them, that I could not help but feel as though I were in some sort of "retro" dream, and I had landed in a church that still did things the way I liked them done! For if it's true that you can tell a lot about a person by his book or record collection(something I've long maintained), then you can tell a lot about a church by its music!

And boy, would I find THAT out Sunday night!

When the service opened, it started with special music...led by church staffer, musician and regular gospel blog reader Jim E. Davis, who has TWO groups(his family group and the Riverboys, a local male group)and is an accomplished gospel songwriter, his best known song to national gospel fans the excellent "Preach The Word", made popular by Gold City on a recent project of theirs.

Jim is quite a piano player, too...and he led the church BAND(yes, they had one)...a guitar, a bass, and a horn section as well...in spirited song...not only did his family group sing, but so did the Riverboys, and their Ambassador Youth Choir, the very same choir that came out on stage Thursday night at the GWSGFF to back up the Hoppers on "Jerusalem"!

They are a touring choir that is GOOD...almost every singer I saw from that church is of professional caliber and could have sung at the GWSGFF! I have heard a lot about churches like that, but I had never been in one like this! And EVERYONE...young and old...knew all the words to all the songs being sung...and was singing along...and didn't need any books or director to lead them! I could tell by looking at the guys in the Liberty Quartet that they, too were in awe of this incredibly musical church!

One aside about this choir...when I entered the church, one of them greeted me. His name is Jordan, and I've known of him since he was a kid. Many years ago when I hosted a call-in sports talk show following Fresno State sports broadcasts on KMJ, Jordan, though a mere youngster, would call in and talk to me. He remains a loyal KMJ listener(and still a fan of talk shows), and it's as though he has grown up before my ears! I am so proud of Jordan for what he's become in these years, serving and honoring the Lord and his family...and I was proud to see him up there singing in that talented choir.

When it finally came time for Liberty to sing, they quickly fit right in. This was the first time I had seen them in a full concert situation, and their program is expertly divided into sections, a traditional quartet portion, a partriotic section, a section where original and current sounding songs are sung, and a section that is designed to move the audience into a spirit of worship(this WAS a church service, after all!). And all of those sections were sprinkled with moments of reflection and humor. Liberty really DOES know how to relate to an audience, as well as how to sing all types of gospel songs. And MC Royce Mitchell allows each member of the group to have significant time on the mike, addressing the audience and introducing songs.

But the outstanding facet of this service to me was, when the quartet got into that part of the concert that encouraged worship, when the pastor of the church joined in and began conducting a prayer service within the main one, the Liberty Quartet, while still on the church stage providing musical backdrop, faded into the background while the pastor led the prayer portion. It was John 3:30 being carried out into real life...and it was extremely moving. The Liberty Quartet had been quite entertaining, and had captured the hearts of the congregation...but they knew why they were there, and assumed their proper place at the proper time.

When the pastor had finished his prayer "sub"service, the Liberty Quartet concluded the service with a pair of requests that put an exclamation point on the end of a great evening of singing...and church! I could tell the quartet was genuinely moved by the service, and the feeling was mutual among the worshippers.

Heck, the Liberty Quartet is genuine, period! They are the real deal, and once again showed me why that I liken them so to the old Couriers, who they resemble not only musically but in their countenance as well. I once again had quality fellowship with them, and I am very glad to call them friends as well as great modern gospel music artists.

But the Riverdale Assembly of God church was as big a "star" that evening as was Liberty. I was greeted warmly by many members of the congregation, some of whom knew me from here, and even more who knew me for many years due to me being a local radio personality. It was a wonderful feeling. I have never seen a more "musical" church in my life, and I may never again.

I have a feeling that I'll be back at that church again for more great music. And I KNOW I'll be around for more great eveings of singing and fellowship with the Liberty Quartet, true ministers of music and the top gospel group in the Western part of the United States(at least IMHO, anyway!).

Great Western Southern Gospel Fan Festival, Day 3

"To thine own self be true."

If the theme of Thursday's opening night at this year's GWSGFF was West Coast Night, and last night's was the Battle of Songs revisited, tonight's grand finale at the West's largest gospel music event would have to be summarized in the above old quote.

Of course, I'll explain what I mean when I go into my detailed report of the evening. But first, just a couple of housekeeping items.

First, my apologies to Bob Hughes, who posted a comment on my report last night. He stated that he'd wished he were there, and I agreed that I wished he were as well....even though he's not the person I was thinking of when I responded to him.

I'm familiar with Bob Hughes, and he is a very perceptive and passionate man who truly appreciates good gospel music, and I would have loved to have him here tonight. But when I was responding to him, I was thinking of another Bob who I saw in past FFs...and even sang at them.

I was thinking of Bob Oliver(original tenor for Gold City)who lives in California these days, and I miss seeing him sing and chatting with him. So Bob Hughes, I apologize for the confusion...but do know that I appreciate you, too.

Second, I might as well mention the miscellaneous asides on tonight's program that I noticed, but don't really fit being mentioned anywhere else. Roy Webb again accompanied the Hoppers, the Pfeifers, and any other artist not having a regular pianist. I hope he was able to move his product this weekend...he did a good job.

And tonight's Gaither classic video clips consisted of the Statesmen of Crumpler/Hess/Ott/Wetherington/Lister doing "Get Away Jordan"(mid 1950s), the Florida Boys of Tommy Atwood, Les Beasley, Glen Allred, Billy Todd, and a toupee-clad Derrell Stewart doing "I Feel Like Traveling On"(I'm guessing 1967), and an old Gospel Singing Jubilee clip of Vestal Goodman with the Jubilee Choir doing "Down By The Riverside"...good classic stuff.

And no Cliff, I never got to see Les Beasley personally tonight, so I couldn't ask him yet about those tapes.

OK...now for openers, I came a few minutes late...I had to go directly from work, so there must have been 20 minutes of singing before I settled in...when I did, the California Melody Boys were just finishing their set. They got a nice reaction from the 3/4 full arena.

The first group I saw was the Revised Standard Version quartet(aka RSV)from Bakersfield, and since they have a good following in Fresno, they got a nice hand for their set. They are not a noteworthy recording group, but they do have a good live performing style.

Next came Poet Voices, who(like everybody during the evening)didn't do anything out of the ordinary musically or stage wise, but they kept pretty much to their normal routine, and sang some very good songs(but of course). They too were well received...Phil Cross comes out here often, so they've developed a San Joaquin Valley following. They were responsible for the best line of the night(IMHO)...when Cross happened to call attention to the other singers' black suits, he remarked that they looked like "hit men"...to which one replied, "We are. We're here to help get you more hits.":-)

So far, so good. Things were going at a pleasant, but not too startling pace. Then came the Liberty Quartet.

I know I have gone on and on about how good the Liberty Quartet is, but tonight they even outdid my expectations. When it comes to a gospel quartet, they have everything you could want...good material(some of it original), a great blend, good arrangements(another of Royce Mitchell's supreme talents), and good individual voices. Lead singer Dan Gilbert has a strong voice and a winning stage manner, as does baritone/pianist Doran Ritchey. Although Keith Waggoner has been battling illness of late, this Phil Cross lookalike sings a good quartet tenor and writes good songs for the group.

Then there's Mitchell. For a while now, I've contended that he is as good a bass singer as you'll find...capable of both George Younce type bass leads as well as hitting those trademark low notes when needed. But Royce is not a gratuitous bass singer, always singing lower than necessary to "prove" himself. He sings the right notes, in the right way. I have said in the past that he resembles a younger Gerald Williams vocally, and he is a tremendous soloist when called upon to be featured. I mentioned his arranging skills...did I add that he is a personable MC as well? Well, now I did!:-)Royce is the lone original member of the quartet still there, and his vocals virtually define the Liberty Quartet's sound.

And the quartet's material ranges from high-church hymns to toe tapping gospel quartet standards, to songs with a bit of a contemporary feel as well. You name it, they can do it all. The rest of the country NEEDS to be exposed to the Liberty Quartet...if you're a gospel fan, you're almost sure to love this group.

But the thing I like about them the most is their commitment to ministry in song. That aspect as well as their ability to be very entertaining on stage remins me of the old Couriers Quartet during the time that "Little" David Young was with them. They will give you plenty of what you want, and on top of that, they will bless you as well.

Tonight they had the crowd eating out of their hands by their third song. After a rousing patriotic medley, they got the crowd off their seats with a lively original song penned by Waggoner("There's Gonna Be A Great Day"). They finished with a great cover of the old Speers hit, "City Coming Down", where they were joined on stage by the members of Greater Vision. When Royce hit those bottom notes, the look on Gerald Wolfe's face almost said, "Next time we do another "Quartets" project, you're going to be one of my basses!" Liberty's set thrilled me and pumped me up...and rocked the house!

Yet there really was nothing unusual about what they did...again, they just did what they do best, and it worked!

I had barely returned to earth when once again, the King's Heralds did an a cappella number from the audience. Their kind of quartet singing is my very favorite...I take to it like some people take to ice cream!

After their song, Les Beasley came down and asked them why they weren't doing a set from the main stage...he then proceeded to almost drag the quartet onstage! Finally, the King's Heralds would do their own set!

Well, not exactly...they sang two songs a cappella...the last one, an old hymn, in a EXTREMELY sophisticated barbershop style arrangement. It was so enthralling, I needed a napkin to catch my drool!:-)

When they were done, the crowd was almost silent with awe...I meanwhile was giving them a standing ovation from my suite!

The King's Heralds are REAL progressive gospel music. No one in any other genre sings that way anymore. They have taken an extremely difficult and complicated musical style, and are furthering it in their application to gospel quartet singing. They are in a class by themselves....and the gospel world is blessed to have musicians like this in it.

I commented aloud to my co-host in our suite, "I feel sorry for anyone coming after them!" I was about to be re-taught a lesson I have given to many others.

The Dixie Melody Boys were next...how would they top all of that? They started by singing one of their biggest hits, "The Antioch Church Choir", which most of the audience knew and liked. That was a good start. But Ed O'Neal hasn't lasted 50 years in gospel music because he didn't know what he was doing. He simply followed that with more typical Dixie Melody Boys music, well-sung and introduced flawlessly.

The Dixie Melody Boys didn't do anything special to counteract what had been done earlier. They just did what they do best very well...and their set was quite enjoyable. Afterward, I sought out Ed to confess that he had proved me wrong, and that his group did a great job. When in doubt(or when not), stick to what you know how to do, and do it to the best of your ability, and it will pay off...I should have known that before they started singing. Ed, thanks for the lesson...will I get credit from Ed O'Neal University?:-)

Then came a group that I cannot be impartial about...I've known them since they began, and their leader is one of my best friends. The Herb Henry Family did another great set of almost any type of song you can think of. Not many can go from contemporary to Stamps-Baxter in a 15-minute set, and pull it all off so well. They really have matured tremendously as entertainers and as people...and I couldn't be prouder of them if they were blood relatives! They are good enough to go national, and be successful. And they ended their set with the same version of "His Hand In Mine" that they did Thursday, with Herb Henry's piano solo getting another round of applause. For those familiar with what I mean, Herb's solo was reminiscent of the recently departed Danny Koker...a thing of beauty.

The Hoppers closed the first half doing what they've been doing well of late, scoring with video effects and grandiose, big arrangements. If you're a Hoppers' fan, it was exactly what you've come to expect...and it was good.

Again, my small complaint(and only mine AND small)is showing location videos of them performing their big hits while they're singing the very same songs on stage. Exactly how does this add to the song they're singing, to watch them singing it while they're on stage doing it already for me!? I know there are those who like it, but evidently I'm missing the connection.

Intermission came, and I got to socialize with Jeff Pearles(a fine man), and get my picture taken with Royce and Keith from the Liberty Quartet...from of all people, a fan of this blog! Can you believe this blog has fans?? I was very touched by what Ellen Gerig told me...and I'm glad she's out there reading what I have to say. Ellen, meeting you was definitely a highlight of this year's event fo me. Thank you so much.

The Beene Family opened the second half...and again did what they do well VERY well...they'll always be Fresno people, no matter if they HAVE moved to Nashville...and we'll always love to see them.

The Pfiefers have always gone over super well in Fresno, and I'm glad they came back this year. They opened the next set with their instrumental version of "How Great Thou Art", featuring Mary Jane and Candy on saxophones, and John Pfeifer on trumpet. The first time I heard them do this three years ago, I teared up...and I did it again this year! John's trumpet is very powerful and moving.

The Watchmen came out for a "farewell" set...this longtime California quartet is finally coming off the road at the end of this year. They have been true West Coast troupers for gospel music...and they mean to Southern California gospel fans what Don Smith's Gospelaires did to fans in this area.

I also will confess to being wrong about another group. I know that Greater Vision has been a popular gospel attraction for many years...due in no small part to their song quality, and Gerald Wolfe's tremendous MC ability and lead singing. But I could never get into them, because straightforward trio arrangements never did much for this quartet guy.

But this year, they finally won me over...Wolfe ran a great set, and it was touching to see him announce Jason Waldroup's imminent departure from the group and have him featured on an a cappella version of "Victory In Jesus". And their rendition of "A Mighty Fortress Is Our God" was extremely moving as well. Then they brought the house down with "My Name Is Lazarus".

The night ended with the Hoppers and Greater Vision joining forces on "Shoutin' Time".

Highlights of the night? Well, obviously the Liberty Quartet's set...plus the King's Heralds a cappella prowess. I might throw in Jeff Pearles' joining Poet Voices on their final song. And of course the Dixie Melody Boys for their lesson on just doing what you do best and how it pays off. It was so refreshing just to see all the artists tonight just sticking to what comes naturally, and doing it so well.

My thanks go out to Keith Waggoner, Royce Mitchell, Hugo Shirley, Herb Heny, and Ellen Gerig for not only being great people, but being my friends as well. I could not have enjoyed this event as much as I did(and I enjoyed it immensely)without any of you. Also thanks to Earline Starnes, for making it possible to be there as I was...she is a great friend, too. And of course, all the artists, what could the GWSGFF be without all of you?

And thanks galore to Daniel Mount, for pointing the way to this series of posts. Daniel, I hope you enjoyed my version of the event.

And that goes triple for all the rest of you...thank you all for stopping by...hope you enjoyed this look at this year's GWSGFF through my multiple sets of eyes and ears.

Great Western Southern Gospel Fan Festival, Day 2

Well...I just got back from the second night of the three day Great Western Battle of Songs....uh...I mean Great Western Southern Gospel Fan Festival. Sorry...a Freudian slip of sorts. I'll explain what that means in the paragraphs below.

This was a wild, hectic day. First, at work, I met two of our leading national talk show personalities. Sean Hannity and Mark Levin were both here...for they were doing a show of their own in downtown Fresno this evening.

And although Sean and Mark are both nice guys, I'm sure glad I had a previous engagement, and thus could not attend their evening of political posturing. Yawn.

I have a feeling that if either Hannity or Levin would have attended tonight's singing at the Save Mart Center, they too would have been more impressed at that than their own program. Just a hunch.

Tonight, as last night, there was slightly more than half the arena in attendance. And once again, Roy Webb accompanied the Booth Brothers and Hoppers on stage.

Although Webb was outshone at the keyboard by Legacy Five's Tim Parton, it was the only portion of the program where both the Booths and the Hoppers did NOT have the standout performances.

Which gives you a tease of sorts as to how the evening went. Allow me to elaborate.

At exactly 5:59 PM, John Pfeifer opened the festivities with the national anthem on his trumpet. It was the only subpar performance by Pfeifer this evening....he missed a few notes, and some members of the audience visibly winced.

Then Gerald Wolfe came out to lead some singing. Evidently there was a singalong in one of the day's earlier festivities, and the singalong portion went over very well. It did again tonight...Wolfe let us do most of the singing, since most of the audience knew all the songs, and their enthusiasm was apparent(even then).

The Johnson Family from Grass Valley led off the singers, and once more they provided a solid if not spectacular beginning to the evening.

Things livened up considerably when the next group, the Dixie Melody Boys appeared. Like the Palmetto State Quartet the night before, the Dixie Melody Boys have completely new personnel since I saw them last in person, with the exception(of course)of their Hall of Fame legendary bass singer and manager Ed O'Neal. Like the last time I saw them, though, they primarily sang old-fashioned quartet music and arrangements. Which poses a question...

I realize we're only one market, and a quite different one demographically than the Dixie Melody Boys ordinarily sing to. Nonetheless, Fresno has always been considered one of the nation's best test markets for new products, considering its' size and demographic makeup. Having said that, it was obvious that tonight's audience preferred traditional stylings and songs. We read all the time on gospel music internet sites how southern gospel needs to change with the times, that it doesn't appeal to a broad enough fan base, and it needs to adopt more modern marketing techniques to better reach not only a broader audience, but its' core audience. I'd like to ask those people who push that agenda to explain why the music thus far at this event only received polite, respectable applause...while the first song at this year's GWSGFF to receive a standing ovation was the Dixie Melody Boys' rendition of "Happy Rhythm", sung much the same way it was in the late 1940s when the Statesmen introduced it to the gospel music world. Hm?

For the first time this week, audience members stood and clapped along with a song. One elderly gentleman was even dancing in the aisles to it!

I'll concede that the response to that song...and the Dixie Melody Boys set overall...was probably due in large part to the group's fine performance of the song, and maybe...just maybe...we had an unusual audience tonight. But although there were more than a token number of younger people(ages 18-34)in attendance, again(as is almost always the case)the majority of the audience was over 50 years of age. To which I say...so???

Look, one thing we'll have to admit sooner or later is that this kind of music is always going to have a core audience base of over 50s...and is that so bad? For it's always been the case that that generation has always had the most economic clout of any demographic. Yes, I know what they say about younger people being more receptive "impulse" buyers, but when you're discussing a consumer product(which gospel music is, admittedly)dealing with eternal satisfaction, why would you so heavily target the "impulse" buyers? Just some food for thought. Now back to the review.

Next on the program came Phil Cross and Poet Voices. Now their music is a little more A/C oriented than traditional gospel music, but it was still well received by the audience. One reason for that is that Poet Voices, since it sings almost all Phil Cross-written material, always has good songs to sing...and Poet Voices does a good job presenting those fine songs. They managed to simultaneously bless and calm the audience.

Next came a big surprise for me...Greater Vision made their first event appearance. Now I know that Greater Vision is one of the more popular and well-liked groups in today's gospel music...but their live performances always seemed to lack energy(to me, at least)....well, not tonight. They sang some of their newest material, and got the audience to respond to a hymn medley. Then Gerald Wolfe absolutely slayed the audience with a powerful rendition of "Till The Storm Passes By". It earned the evening's second standing ovation. Rodney Griffin and Jason Waldroup were in good form as well, but Wolfe pulled out all the stops, and I'm glad to say that for the first time, I was truly moved by a live Greater Vision set.

Did I forget to mention that in between the Dixie Melody Boys and Poet Voices, that they played another vintage gospel video...of the Blackwood Brothers from about 1959 singing "Never"(a JD Sumner penned song)? Oh, I didn't? Sorry. I'm beginning to look forward to those video cut-ins.

After Greater Vision, the King's Heralds again did one a cappella song out in the crowd...their version of "Good News...Chariot's Comin'" dazzled the audience(as their performance last night did), marred only by the premature applause from the crowd unfamiliar with the false ending they put on the song.

Greater Vision would be a hard act to follow...but I had reason to believe that the next group, the Pfeifers, could do it. After all, they have been among the most positively received groups in Fresno since they began coming out here. One reason for this is their instrumental facility...when Candy Pfeifer and Mary Jane Carter accompany John Pfeifer's trumpet with their saxophones, they have an unusual big-band sound that is even more refreshing in this age of vocal stacks and predictable canned instrumental tracks. Plus, they have an engaging stage manner as well.

The Pfeifers did not match Greater Vision's set with the same power and finesse, but they were good once again...and John Pfeifer atoned for his earlier performance on the national anthem with a stirring rendition of what he introduced as "Danny Boy" but the group sang as the Dottie Rambo classic, "He Looked Beyond My Fault"(it's the same tune, you know). Again, the Pfeifers were no slouches...and again captivated the Fresno fans.

But then, the battle of songs really began.

The Booth Brothers followed, and they were on all cylinders, just firing off one dazzling performance after another, and on their next-to-last song, actually had audience members in the upper seats standing and clapping along. When they finished that song, they realized they still had five minutes on their time clock. Then the fun began...

They closed with a rousing(even for them)version of "I'm Feelin' Fine" that soon had the entire arena standing and rocking along to the beat. Even other suite holders were standing in their luxury boxes! Then, with their encore, they called every other group on the program to join them on stage for the song. It was extremely moving to see 15-20 singers on stage all joining the Booths on this gospel classic. The audience meanwhile, was coming unglued...in the suite next to ours, my friend Hugo Shirley(of the group Chosen Vision)and his friends were shouting "Amens" and "Glorys" and "Hallelujahs" as if they were in a church healing service. It was reminiscent of the days when the Blackwoods and Statesmen would join each other on stage in the old "Battles of Song" that the "team" promoted in the 1950s and 1960s(hence my Freudian slip at the top of this post). People were rocking in their seats and in the aisles...I haven't seen that in at least three years at a gospel concert!

Fortunately, it was intermission...a chance for all of us to catch our breath!:-)

I tried to circulate and socialize during the intermission, but I found it hard to make my way through the crowds of people flooding the aisles. This was a pleasant problem to have at a gospel concert...not being able to go where you wanted to go because of all the enthusiastic fans wanting to do the same thing!:-)

It was almost anticlimactic to have a second half after the Booths' set...how could you top that?

A new energy seemed to fill the Save Mart Center...everyone on the second half sang with emotion and added feeling...and there was plenty of testifying as well(not always appreciated during that kind of concert, I'm afraid).

The Pfeifers opened the second half with a swingy version of "Goodbye, World, Goodbye"....then Les Beasley and Claude Hopper came out to tell us that they'd be back again next year(YAY!).

Then came the Palmetto State Quartet to do a very emotion-filled and competent(if not spectacular)set. They were well-received, as they were last night.

Legacy Five was next...this would be their last night at the event. They're headed for San Diego in the morning, and based on how they performed duing the first two nights, I'll miss them tomorrow. Again, they seemed to turn up the temperature on their singing, as did everyone following the Booths. New pianist Tim Parton was spectacular on his keyboard work, he was even featured on a solo. The quartet wound up its' inspired final set joined by Jim Brady(of the Booth Brothers)on their hit "Truth Is Marching On".

On "Truth", Legacy Five was also joined by the Hoppers on their encore. Immediately after the song, video of Ronnie Hinson writing and singing his song "I'm Just Waiting For My Ride" with the Hoppers came on the big screen, and the Hoppers sang along with themselves. Connie Hopper(the classiest woman in gospel music)was then featured on the Nancy Harmon classic "I've Come Too Far", which the traditional loving crowd enjoyed immensely.

The Booths fired their grenade at the end of the first set, now it was up to the Hoppers to fire back.

And that they did...putting the video of "Shoutin' Time" on the screen...and singing along with it.

This kind of multimedia play baffles me...why do I want to watch the Hoppers sing on a video when they're right there in front of me, singing the exact same song? I'm not trying to be critical, I just think there's some unnecessary sensory overload at work here. In any case, the Hoppers did "Shoutin' Time" the way they always do...and you guessed it, soon the entire arena was standing and clapping along with them.

And like the Booths, the Hoppers encored the song again and again, and then called everyone who sang on the program to join them onstage to close the program...it was if they were saying, "Take that, Booth Brothers!"

There might be some that think that kind of thing is just a spectacle, but I didn't see anyone who didn't enjoy themselves and the singing as well. The singers seemed to really enjoy themselves, and fed off each other's energy all night.

There was not as much local or regional singing as there was Thursday, but from what I could gather, both fan and singer alike had the time of their lives tonight. I know I did.

Oh, almost forgot to mention, after the Palmetto State set, another vintage video was presented. This time it was the Statesmen with Jake Hess singing "I Believe In The Old-Time Way"(another JD Sumner song).

My highlights tonight? The incredibly warm reception for traditional quartet-style singing, the old fellow dancing to "Happy Rhythm", the Booth Brothers and Hoppers sets, and naturally, the King's Heralds a cappella wizardry.

I can hardly wait for tomorrow night's grand finale. Wish you could all be there with me.

Back with more then.

Great Western Southern Gospel Fan Festival 2008, Day 1

Well, another GWSGFF has kicked off with a bang.

I got there a little later than I'd planned, but once at the Save Mart Center I immediately felt at home. I met several singers and old friends prior to the singing, among them Royce Mitchell of the Liberty Quartet, Jim Weatherford of the Orange County quartet Evidence, Herb Henry, and even Les Beasley! I was surprised that Les would come out since his Florida Boys are longer part of the event, but there he was(no, Cliff, I didn't ask him about the tapes yet...I plan to, though!). It was great to see old and new friends so quickly.

Just before the program started, I helped out at our KMJ booth there, relieving Earline Starnes for a while so she could also circulate about. I was amazed to notice how many of the people that happened by our booth were from Oregon or Washington...but the GWSGFF is the closest major event to them, so I shouldn't be too stunned.

I settled into our suite just as Legacy Five concluded "Boundless Love". Then to my great delight, the Liberty Quartet from Boise was the first official set. I've said for some time that they are the outstanding gospel quartet in the Western United States, and they proceeded to demonstrate that once again. Their set consisted primarily of songs from their latest CD, the most noteworthy of them being a rewrite of the Mills Brothers classic "Cab Driver", retitled "Bus Driver" to make it apply to gospel music. The outstanding musical characteristic of the Liberty Quartet is their almost flawless facility in going from old time quartet singing to semi contemporary and from great hymns of faith to lighter, fun material such as "Bus Driver". Bass singer and manager Royce Mitchell was in typical fine form(IMHO, he is one of the very top bass singers on the road today), as was the rest of the quartet, and they never fail to leave GWSGFF crowds wanting more.

Next was Grass Valley(CA)'s Johnson Family Quartet, a father who plays guitar and his three daughters who sing, and their nice set was dampened only by their announcement that they would be leaving the road by the end of this calendar year.

The Beene Family was next, a group originally from Fresno that has now made it in Nashville on a national level. This friendly and engaging family always enjoys singing before the old home folks, and their set was well received. It is amazing what an "umbrella" genre that "southern" gospel has become in recent years, ranging among different artists from traditional quartet stylings to bluegrass to country to what we radio people like to call A/C(Adult Contemporary)...modern sounding but not nearly Christian rock. The Beenes' material would mostly fall under that "A/C" classification, but they concluded their set with the old Kingsmen standard "Beautiful Home" that got the people in the closest seats to the stage standing and clapping. Tonight's program had that "something for everybody" feel to it among all the participating artists.

Then came one of the major highlights of the night for me...the King's Heralds Quartet was there, and they did an a cappella number from the crowd that so captured their attention that they were hushed as the Heralds(a cappella specialists)elecrtified the crowd with their many chord and key changes in their difficult(to sing along with)arrangement. The Heralds are such fine quartet singers that their style transcends mere southern gospel and is reminiscent of both barbershop harmony and great past quartets like the Hi-Los(IMHO, THE greatest quartet ever...bar none!).

I could have heard more, but they were done for tonight...next came a video credited to the Gaither organization of the Oak Ridge Boys(ca. 1967)singing "Sweeter Gets The Journey". It was nice to look back at Little Willie, Duane, Bill, Herman, and Tommy Fairchild once more.

The next live group was the Palmetto State Quartet. This is the first that I've heard of them since adding Larry Strickland(Mr. Naomi Judd and ex-of the Stamps)on bass and their new pianist. Their style hasn't chsnged much since Aaron McCune was still with them, meaning(for me)that they did a solid, professional set...and the crowd(about half the arena capacity)was responsive to their fine singing.

Then the group that I regard to be the finest currently based in California came on stage...the Herb Henry Family. Dispensing with their usual backing tracks, they came out with Herb at the piano accompanying his children(Chris, Amanda, and Angela). I've admitted in the past to having almost a paternal feeling about them, since I've been hearing them often since Herb first put the group together. When they started, the kids were hard to listen to at tiems vocally. But what a difference a few years made. All three are now seasoned, talented singers with stage presence and depth.

The majority of their songs tonight were old quartet standards done to simple piano accompaniment. Herb got applause for a piano solo during "His Hand In Mine", not that it was flashy and filled with Anthony Burger-like piano pyrotechincs...it was direct, dignified, and tasteful. The arrangements reminded me of the old Speer Family back when Ann Downing sang with them. Picture Brock playing piano(Herb sings the bass part for them)and you might get an idea of how the Henry Family sounded on stage tonight.

They finished with their version of "Looking For A City" where they outGoodman the Goodmans. It is always a crowd pleaser for GWSGFF fans...and symbolically, during their second refrain they were joined on stage by the Hoppers(who were next). It seemed appropriate to me that two of the very best mixed gospel groups in the country would be singing together on stage...to me, it was reminiscent of all the times the Blackwoods and Statesmen joined each other on stage during the heyday of "the team".But it wasn't just the Hoppers that joined the Henrys on stage...Roy Webb also came out to play piano, and a youth choir from an area church also joined in the festivities.

Webb and the choir remained on stage to back up the Hoppers, who did a strong set of some of their favorites, and got their usual large amount of applause.

The first half closed with Legacy Five, a group that doesn't get all the attention and fanfare of...let's say...EHSSQ. But they've consistently plugged away all these years, and today are a very polished and solid top-tier quartet.

It was intermission, so I did a little more circulating. I collared Jeff Pearles to tell him not only what a fantastic bass singer he is, but that his King's Heralds is one of the best sounding vocal groups I have ever heard. Typically, Pearles shrugged off any superlatives...he is a gospel music treasure. I also hooked up briefly with Liberty Quartet tenor Keith Waggoner...who has become quite a good friend. If you haven't read the interview he did with Daniel Mount at southerngospelblog.com...you owe it to yourself to read it. It is a good portrait of an outstanding young music minister(Waggoner).

The second half threatened to become an all-California show...with Tulare's California Melody Boys followed by Southern California's retiring Watchmen Quartet, and then by Bakersfield's Revised Standard Version(aka RSV), who always come off better in concert than on recording, and tonight was no exception.

The Watchmen set deserves mention if nothing else for having Les Beasley join them on stage for their final song. It is good to see Les on stage singing, and enjoying himself. He deserves to at this point in his life.

The evening wrapped up with perhaps the best pure musical group in today's gospel music...the Booth Brothers. They have phenomenal stage presence and melt your ears almost with their letter-perfect harmony. In fact, they encored on one song a cappella and the crowd didn't utter a single peep...so powerful their stage presence is The Booths could close a concert any night...they're that good.

I didn't leave out Jamey Ragle on purpose...he was there and did stuff from stage. He was in the Dixie Melody Boys back in the 1970s...I put him here in my review because he didn't sing. He mostly did comedy with just a little bit of testifying. We're told we'll see even more of Jamey in the next couple of days.

All in all, it was a good first night...I got to talk to some old friends, some new ones and some singers as well...and heard enough good singing for that to linger in my mind for at least until tomorrow night's program.

My highlights were..the Liberty Quartet's "Bus Driver" song...the Herb Henry Family's set(and them being joined by the Hoppers), the King's Heralds' dazzling a cappella number, the Booth Brothers' closing set,and another old video shown in the second half of the Speer Family from probably the very early 1960s(w/Mom, Dad, Brock and Ben).

Back tomorrow night with more. Any thoughts on my thoughts?:-)

It’s worth it all

Many times when I sit here typing out an entry, I wonder if anyone besides me is getting anything out of what I have to say.

Tonight, I don't feel that so much. I received quite a reward from God(I don't look at such things any other way, and perhaps you'll understand what I mean when I explain a little more).

Last Friday at the radio station, when I was in the midst of producing our afternoon talk show, I got a call from a man that I did not expect in the least to hear from.

Unlike most of my friends, he doesn't know me from the radio. One reason for that is that he hails from a small town in the Midwest, Bethalto, Illinois.

How then, does Bill Flack know of me, and consider me a friend, even though he can't hear my work...and he'd never spoken directly to me in my life?

I'm almost embarrassed to say why...he knows me from the articles I write for Southen Gospel News, and from this blog!

Mr. Flack lives in a rural area, and has no access to a computer. But he told me today that he has friends who read what I write, and make copies for him. For you see, Mr. Flack is quite a gospel music fan.

In just the past six months, he has sent me a number of cassette tapes of vintage gospel music, and even a videotape of Don Smith(ex-Blackwood Brothers bass and whose radio show I co-host now)on a Chicago TV program with James Blackwood, Alden Toney, and Hilton Griswold(all members of the BBQ when Don was with them). These are quite generous gifts, and priceless to me because I love classic gospel quartet music, as does Mr. Flack.

Unbeknownst to me, after reading my writing and becoming a fan, he tracked me down at my "day job", and promptly "adopted" me as a good friend, something I'm now most grateful for.

All these things he decided to send me at KMJ, and he also revealed one other bit of information about himself that I found quite interesting.

Mr. Flack grew up in the same town as did my good friend(and ex-Courier)Neil Enloe. He remembers Neil from his youth and the barbershop that Neil's father had for many years in Wood River, Illinois...not far from St. Louis.

Not only that, but Mr. Flack remembers attending high school with Neil's younger brother, Phil...and them being good friends. Mr. Flack told me that his father and Clifton Enloe sang in a gospel quartet back then as well...and that the Enloes' oldest son, Dave(Neil and Phil's oldest brother)attends his church now. As you might expect, I found Mr. Flack to be a delight, and we had a great phone chat today while I was working at the station!

Mr. Flack wanted me to state for the record that however many good things I could say about the Enloe family, they wouldn't be enough! I couldn't help but agree with him on that score.

But even more than that, I was genuinely touched that a man like Mr. Flack, who has no computer, decided that he wanted to be my friend for no other reason that he liked what I wrote.

I'm well aware that what I write here, even though it represents me at a given point in time, is of varying quality. Some of my stuff is good, others of it bad, and maybe even more somewhere in between, with no meaning to anyone except to those who are interested in what I have to say. And knowing who reads what I write here and for SGN, I wonder if it really does my readers any good at all, as I said at the outset of this post.

And to know that there is a man in rural Illinois, who has to depend on friends to be able to even have the remotest familiarity with me and/or what I write, who genuinely appreciates me and what I do...is truly humbling and renders me practically speechless(quite a feat, I know, say folks who know me best).

It makes me feel truly blessed...to know that SOMEBODY is out there listening(or reading), and gets a blessing from what I do.

So in a real sense, my writing is as much for the Bill Flacks of this world as it is for me.

As the old poem reads, I am, among all men, most richly blessed.

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