Personnel Roundup

By now you’ve all doubtless heard about the most recent personnel changes:

  • Derrick Selph leaving BFA, and Chris Cooper joining GC. Selph never really seemed to have found or hit his stride as a vocalist or a stage presence, and if we’re talking about the most sustainable careers for a young person to be in, Selph’s decision to leave the road and get some job training for a technical profession seems wise (Ditto Eric Phillips).
  • As for Cooper, I asked around a bit about him, since I haven’t heard him, or don’t remember it if I did (Daniel Mount has some video). The general consensus seems to be that he’s a very good singer with excellent pitch placement (99 % of the time, one person told me). That same person suggested he didn’t have much “edge” to his voice. I’m not really sure what that means, but my contact wrote: “He’s got a raspy Sheri Easter voice. I like it but I like more bite to the voice that can really nail the note when a song calls for it.”

Blog chatter suggests more changes are coming, which may or may not involve Frank Seamans, given his son’s health situation (this seems to be what Daniel Mount was trying to say a few days ago).

Personnel changes always seem to get a lot of attention (perhaps because of the legend of the NQC personnel changes season), but the reaction to personnel never really made a lot of sense to me. I mean, I guess a sociologist might say change is always difficult for culturally conservative subgroups, but at an even most basic level, one doesn’t haven’t to be a trained observer to see that southern gospel is not a profession that breeds stability.

Except in a few very rare exceptions, gospel singers make next to a modern slave’s wage with little or no benefits. They sing to increasingly diminishing crowds in areas that may not be more far flung than they than ever were, but must surely seem more remote given the steady migration of the American population and zeitgeist to urban centers (where sg has, comparatively, virtually no presence). They have to be their own roadies and merchandisers in most cases, and only a certain subset of folks can consider all these deprivations of the road a ministerial pillow of stone for an entire career.

Given how many full time singers are at the height of their earning potential and/or spending the prime years of their careers in southern gospel, the real surprise is that there aren’t more personnel changes.

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  1. Oldtimer wrote:

    I have no behind the scenes information - but I do know both Cooper and Keeton and have traveled with them (only on a fill in basis with Cooper.) They are both remarkably talented singers who - in their younger days - could be challenging to travel with. I know that Keeton has changed for the better as he has grown up and I imagine Cooper has also. But here is the fact - Gold City will have to do some major rearranging for Cooper. He does not posses the ability to consistently hit the highs that Gold City has been known to require of their tenor. And was noted earlier GC fans are used to an edge - Cooper does not have that edge (though to be honest neither does Keeton.) But Keeton does have the chops to hit the highs requried night after night after night - he may be the highest tenor singing today. Keeton vocaly would have been a vastly better choice. I am afraid that this choice has been made from an image standpoint and I fear - though Cooper is a good guy likely and an above average tenor - GC has chosen poorly. Keeton with GC would have poised them for a new type of sound and a long continued run at the top. Cooper will make them another pretty good group. But I love the guys (even Cooper) and I pray that they will prove me wrong. As for Keeton - he will land somewhere. If I was going on the road tomorrow and needed to field a group his would be the first name I would call.

  2. Younger Timer wrote:

    If you look at the track record of Keeton I would think you’d change your mind. He has done more stuff and changed more times than the changing of the guards at the tomb of the unknowns. Professional groups look for (or at least should) stability. Keeton changes more than the seasons of the year. I think if he’d buckle down and stay somewhere for a couple years he may get looked at more seriously. Being with a professional group involves more than just singing ability…

  3. RavenT wrote:

    Gold City has never chosen poorly. Steve Ladd didn’t blow me away at the beginning but look at where he is now. He has come a long way from day one in the vocal department. They saw the potential in him and brought it out. I checked out Cooper and there is amazing talent there,and being with a top group like Gold City will only bring him to his highest potential.
    Gold City has always been top notch.
    Word was they was never going to be able to replace Jay Parrack but they did, and it got even better, so who knows where Chris Cooper will take them?

  4. Middletimer wrote:

    How long has Chris stayed with a group? If staying somewhere was most important in a decision like that, there would not be as many changes in SG as there are. The comment should be made, “walk a mile…” Danny, IMHO made the best choice all around. Being handed a responsibility like was handed to him when his father retired, has to be overwhelming. Then everyone has their opinion of what should be done and surely Danny has heard it from all sides.

    As far as Keeton goes, he was with Ed O Neal for almost 4 years from what I’ve heard. that’s not a short stint in SG. Steve was with Gold City almost 5 years and Derrick was with BFA longer. But according to Doug, “Selph never really seemed to have found or hit his stride as a vocalist or a stage presence”. So, even after years with BFA, nothing ever really became of Derrick, at least in Doug’s opinion.

    What are we looking for? Are we hoping these make SG more famous in today’s culture, “Good Luck”! I don’t have the answer either. I’m simply wishing for Gold City to be what they were, but that ain’t happening either. forward is the only direction we can go.

    To sum it all up. As far as I’m concerned, I wish Danny and Gold City all the success they can muster, I wish Chris Cooper and his family, health and happiness and many great years with Gold City, I wish Keeton success in his career and I wish Derrick a wonderful and fulfilling journey outside of SG.

  5. Wade wrote:

    MiddleTimer wrote: “I’m simply wishing for Gold City to be what they were, but that ain’t happening either.”

    Sincerely… ME TOO!! Pray for them!! But don’t be critical or you will GET IN TROUBLE!!

  6. No-Timer wrote:

    It has been said here that they are angling more towards a county Oak Ridge sound. If that is true, the tenor won’t be as sky high as they have had.

  7. Oven_Timer wrote:

    I’m anxious to see if they can still cook or not.

  8. Two_Timer wrote:

    I just hope that they stick together for a while.

  9. Oldtimer wrote:

    #2 - You simply are mistaken. Keeton has done well at all stops - his four plus years with Ed O Neal would rank him as one of O’Neal’s most tenured members. Also are you aware of Cooper’s track record? He has bolunced aound also. Again - it sounds like I am anti Cooper and I am not. He is an above average singer. All I was sayng is that I know for a fact he is unable to consistently hit the highs that GC’s current arrangements call for and that I am equalycertain Keeton can. Keeton has the edge on range and the edge on stability based on his tenure with O’Neal. I will say it again - GC has chosen poorly.

  10. quartet-man wrote:

    I’ll miss Steve, and wish him well and of course wish Cooper and Gold City well.

  11. Leadsinger wrote:

    Chris was one of the first names to pop in my head when I thought of a Tenor for GC… He fits their new sound and direction, he also fits in with their new image… Which in IMHO Dan Keeton did not on either hand… Dan is a Well Above average tenor who I think deserves a shot in a “Big” group… and If the rumors about Seamans leaving L5 are true Dan would be an absolute PERFECT fit for them… IMO

  12. youngartist wrote:

    Selph “never really hit his stride?” Give me a break.

    He may be a laid-back baritone, but he added a spark of humor to the group, and was one thing that so many other artists in SG are not - a person willing to consistently and solidly fill his position while building up those around him…for 6 years.

    He had a great voice that came a long way since he started, and was a key part of BF&A’s rise to the top. From “Greater Still,” to “Healed,” to “I Believe God,” he always delivered consistently.

    I hate to see him go, but it’s a wise financial decision to go to school. God bless you, man!

    p.s. I’m amazed that some people think if you don’t always perform like you’re on an ego trip you’re not a good singer…

  13. Derek wrote:

    #7 I’m with you! I remember hearing Chris once with N’Harmony, and was pretty impressed. As they say, the proof is in the pudding…so we’ll see what happens when they hit the stage!

  14. qualityseeker wrote:

    Youngartist, you speak a lot of truth. Selph did play his role. He did improve. He is a solid - though not flashy - singer. However, I will have to say that while it is a credit to just show up day after day and do your job, singing baritone for Brian Free and Assurance is not exactly a difficult thing to do based on most male vocal ranges. You’re singing most of your leads in a lead singer’s range (and both harmonies are often above the lead line). You don’t have to possess the biggest, fullest voice to sing baritone for Brian Free and Assurance. Regardless, Selph did it solidly. Best of luck to him. BF is about the total package, image included. So, it’ll be interesting to see who he might get to replace him. The options are endless vocally. I’d think they might go for another young guy to appeal to the younger audience. They already have Lile, and though Shivers has a few years on those guys, he’s a likable guy. BF&A is quality. I still don’t understand why they haven’t broken through as far as being considered in an elite status in Southern Gospel music. Maybe it’s because the front man - and he is the best tenor out there, though I’m not overly fond of his voice - isn’t quite as appealing as the groups that have made rapid rises in the industry in the 2000s. The Booth Brothers have been at the top, and people love Michael Booth. Greater Vision has been on top, and people love Gerald Wolfe. The Perrys have been on top, and people love Tracy Stuffle. They’re all quality emcees, for different reasons. I don’t get the same thing from Brian. I’m not implying that Free is bad. I’m just saying that to me, he’s not the emcee that some other elite guys are.

    Oldtimer, I agree with a lot of what you’re saying, but don’t pass judgement until you hear Cooper with Gold City. Based on the clips I heard, I have a difficult time envisioning him being able to sing the GC classics consistently. But we’ll see. I want GC to sound great and wish him and them nothing but the absolute best.

    Speaking of GC, I was fortunate enough to hear them recently with the band. I’m not a musician, but the band adds so much to what they do. By the way, I believe that Josh Simpson is one of the best pianists in the business. He knows where to place his fills to complement the group and song well. He’s not as showy and flashy like some others, but he’s quite good. The thing that I was most surprised by was the fact that Steve Ladd sounded better than ever. He sings so high on so much of what they do, but his voice held up. In My Robe of White was simply great with the band. It’s not one of my favorite GC songs, but it was great. Bruce Taliaferro is doing a much better job of enunciating. McCune’s tone is really good, and I think he has a great ear. However, it’s difficult to understand what he’s singing at times. He “plays” too much. Just sing. He’s too good to get too cute. I’m sure it’s a problem that most all bass singers face as far as being understood clearly. I am familiar with almost all of their material, but for the people who don’t know it all, I hate it that the lyric is not distinguishable at times. The bass player is solid but not flashy at all. I have a lot of respect for that though. There’s value in being a team player. The lead guitarist is solid as well. The drummer was a fill-in. I’m not sure who the normal drummer is.

  15. Brandon Coomer wrote:

    qualityseeker, GREAT POST! I agree with just about everything you said.

    Brian Free does leave a lot to be desired as an emcee. He used to talk WAY TOO MUCH, but was much better about that the last time I saw BF&A. Another thing about Brian’s emceeing that has always bugged me is introducing each member as “THE finest ______ in southern gospel music”. Not “one of the finest”, but “THE finest”. I’m 99.9% sure he’ll say that about Derrick on his final night and say the same thing about Derrick’s replacement the next night. Brag on your guys, but don’t go overboard.

    I also worry about Chris Cooper handling the highs of Gold City’s usual sound. However, I’m sure Chris had an audition. I’m sure Danny & Tim listened to Chris’ projects with other groups. They either feel Chris CAN handle it, or they have decided that they don’t want to scream forever and want to back off the super high stuff.

    Also agree with you about Aaron “playing” instead of singing… he’s actually better about it now than a couple of years ago. Great line: “He’s too good to get too cute.”

    Gold City’s regular drummer is Kevin Albertson. He was on vacation last week.

  16. NonInsider wrote:

    I for one like Cooper to Gold City… Daniel Riley made the right choice… You all will see Cooper will be Amazing everyone in no time at all… I am looking forward to hearing him with GC… I also agree with #11 on Dan Keeton and the L5 match IF the rumors about Seaman’s are true… I cannot think of anyone who would fit them better…

  17. Extra Ink wrote:

    #14, great comments about emcee work. Extraordinary emceeing will help electrify a crowd and cause upward mobility of a group in people’s eyes about as quickly as anything. There is an absence of emcee greatness in SG.

    Some of the greats were Younce with the Cats, Hamill with the Kingsmen, Lister with the Statesmen, and Wolfe with Greater Vision has to rank right up there.

  18. qualityseeker wrote:

    Dan Keeton is as high (with possibly the exception of Free) as anybody and just has been blessed with an unbelievable voice. Keeton seems like a good guy, but there’s just too many question marks there if you ask me. I’d love to see him with Legacy Five, but really…what’s the big benefit? It’s not like they’re going to be able to key stuff sky high, because Fowler can’t get up there and hit it the note underneath Keeton (and neither can Howard if he tries to jump Fowler). However, Keeton would be great as far as giving Legacy Five a marquee soloist back. I believe they had that with Jarman and Cobb, and Seamans is quality but not a showstopper. Frank seems like a great guy too. He’s a great personality on stage. For some reason, I just can’t see Keeton with Legacy Five. I’m not saying he’s not a good enough singer. He is. I’m just not sure he “fits” them. Soon we will see…why doesn’t Greater Vision sing that song very much?

  19. youngartist wrote:

    Qualityseeker, I appreciate your comments.

    However, there a few points I need to make:

    1. Brian Free & Assurance IS elite in SG (Brian holds the record [or maybe is tied] for the most Tenor of the Year awards in SG history)
    2. Brian Free & Assurance are Top 5 Quartet of the Year this year
    3. Brian Free & Assurance are Dove award-winning, and were nominated again this year (several other “elites” were not)
    4. Brian Free & Assurance have appeared on shows and programs with big name artists and are expanding and reaching a broader audience.

    Maybe some SN subscribers don’t like their new direction, but there’s no denying that BF&A rank among the very best in Southern Gospel music. They ARE elite.

    As far as Brian not being a great emcee, I’ll tell you this much: Brian is one of the most sincere, humble, genuine artists you will ever meet. He brags on the guys around him so much because he doesn’t want people to think it’s his show (some other artists could learn from that). His vision for going on the road is not entertainment - it’s ministry. He’ll preach the word of God in an effort to see souls saved.

    If you want a show, go to Branson.

  20. youngartist wrote:

    Oh, and I also digress that it’s not hard to sing baritone for BF&A. Vocally it’s in a lead range, sure, but the harmonies in the songs they sing are actually more complex and difficult than many other major quartets.

    Do you have “Worth It?” Have you sung baritone (on key) on all of the songs on that album? Try it - see if it’s easy.

  21. Scot Eaves wrote:

    Prepare for a lenghty response to qualityseeker (post #14) who said: “I still don’t understand why they (BF&A) haven’t broken through as far as being considered in an elite status in Southern Gospel music.”

    Okay, here is my opinion of why BF&A isn’t usually considered an elite group - and everyone else may think I’m totally off base. I think their last few projects are so pitch perfect and so sonically maximized that they leave the listener aurally tired after listening to an entire project. They electronically tweak the vocals to the point that they are pitch perfect and in some spots sound subtly robotic or mechanical. I realize most groups do this to some extent, but I’ve noticed it much more on BF&A’s albums starting with 2006’s “It’s So God”. Also, they mix and/or master the project with no headroom in the waveform so that there is very little or no difference between the “soft” and “loud” parts of the songs. Everything is pushed up to just before the point of distortion. There was a discussion about this a while back on either this or another message board with links to a YouTube video that demonstrated what I’m talking about using a pop song from the 80’s (I think).

    This next part is going to sound like I’m contradicting myself, but stay with me. After listening to this pitch-perfect, sonically-maximized recording, when people go see BF&A in concert they leave disappointed. Why? Because even with stacks, they can’t reproduce that exact pitch-perfect sound that is on the CD. And unless they have the sound system cranked WAY up, it’s not going to sound as “loud” as the sonically-maximized CD. The end result is that people subconsciously walk away thinking BF&A aren’t as good as they thought they would be.

    Now, please don’t get me wrong. I think BF&A is a very talented group that has what it takes to be an elite group, but I think they may be doing themselves a disservice by putting out projects that are so perfect that they can never recreate them in a live concert setting. I’m all for putting out high-quality, first rate projects. I’m not advocating recording every song in one take. Practice the song until you feel comfortable recording it. Do the best you can to sing it well in the studio. Punch in whatever needs to be fixed. Electronically tweak a few notes as necessary. Mix it so that my ears aren’t tired after I hear it. In other words, give yourself a chance to be able to reproduce in concert what you put on the CD. Then my wife (and others like her) won’t be disappointed when they see you at NQC this year because something doesn’t sound quite “right”.

  22. Qualityseeker wrote:

    I love BF&A, but the masses don’t agree. There’s no buzz when they go up on stage at Freedom Hall. There’s a buzz when the Perrys, Booth Brothers and Greater Vision take the stage. BF&A may be in the upper echelon, but the group is simply not elite. I hope they get there though. I enjoy them too much.
    We’ll just have to disagree somewhat about the baritone spot in BF&A. The harmonies may be a little more complex in spots, but the range is not difficult for most mid-range singers to deal with. Lots of baritones lose vocal quality if they have to go too low. That seldom was the case for Selph.
    Please don’t just pick apart what you perceive as the negative though man. You seemed to get really defensive in your post. I’m on your side. I like them too, but I’m not going to put my head in the sand and ignore what seems evident to me (though there are lots of sandy, blue-haired locks/wigs floating around Louisville in September). There were lots of positive comments about BF&A in what was said. I tried to be very objective in what was communicated. I said that Free is the best tenor out there, but he’s not the best emcee. I don’t know about his heart and genuineness. I’m more concerned with my own, as I know I have issues of my own.
    I pray for those guys though and wish them all of the best. I’ll go hear them whenever they happen to be in my neck of the woods…and I’ll enjoy them too. I’ll just leave my Stevie Wonder shades in the car. I suggest we all do the same. Who knows, that might just help the quality of this music that we all know and love (if we actually saw it for what it is instead of what we want to see).

  23. youngartist wrote:

    I do see your points, QS.

    I have actually wondered myself about why they don’t mop up SN Fan Awards. I’ll admit they’re not as “hot” at Freedom Hall as the Booth Brothers (right now), but even the Perrys and GV have cooled off since a few years ago. Fads come and go, but BF&A is always solid. And by the way, since when is there “no buzz” when they sing “For God So Loved,” or “King Jesus?”

    It is not objective to say that a mid-range baritone is easier (or less quality) than a low-range baritone. That is entirely subjective.

    Scott Howard and Rick Fair and low-range baritones. Doug Anderson and Jim Brady are mid-range baritones. Neither is necessarily better.

    And since Brian still soars through the rafters, the lead is more like tenor, and the baritone is more like lead. That’s not less quality, that’s just higher harmony (that actually makes them sound tighter than any of the aforementioned “elites” you mentioned). Good discussion, I just had some disagreements, nothing personal. ;)

  24. NonInsider wrote:

    Quality Seeker I see what you are saying about L5 needing a Marquee Voice… While Fowler is a solid leadsinger (I feel he is a better baritone)… But I still think they could Key stuff pretty high and Fowler could handle it maybe not as well as a Josh Feemster but he he could handle higher keys if needed for a Sky High Tenor… With all This said the last time I saw L5 they better than the time I saw them before… They are really starting to blend and mesh with the lineup they have now… Frank has improved IMO over the last 5 years he has been there… I would be saddened to see him leave… But IF that does happen I still feel Keeton would fit their sound and style… They have a new project coming out soon that I am hearing could be their best yet… Stay tuned and Pray for Frank’s son as he will be in the Hospital for about a month or so battling this cancer…

  25. soldier wrote:

    Scot Eaves, so there’s such a thing as a cd that is too good?

    “You know, honey, I just can’t listen to this cd because it is too well done.”


  26. Qualityseeker wrote:

    I enjoy the feedback youngartist. I don’t necessarily agree with all of your opinions, but I respect your opinion. When I say buzz, I’m talking about the buzz when the artist simply steps on stage. With the Perrys back about four years ago, when Loren Harris and Libbi Stuffle stepped on stage, people had their wheelchairs in fourth gear to get back in there for fear of missing “I Wish I Could Have Been There” or “I Rest My Case at the Cross” or “Calvary Answers For Me” or one of the Goodmans numbers. Same thing with the Greater Vision around the time of Live At First Baptist Atlanta and Quartets. Same thing with the Booth Brothers the past couple of years. It’s just an overall excitement about who they are in the industry and what they’re about to do, not about a song. Heck, for that matter, Shoutin Time still gets them going too, and it’s ancient.

    Rick Fair is a killer baritone. I wish he’d get a big-time gig with a traditional-sounding quartet (not BF&A though).

    Scot, I’m not buying your theory. You’re thinking of it from the standpoint of the more trained ear. Most of the SG music fans are not listening to the music with an unbeliveably-keen ear…and many of them don’t have the CD to start with. They get it at the product table after the concert. The intense processed vocals do get old on the BF&A projects though. Reduce it somewhat. The material is not bad, and neither are the arrangements. You’re with the best record company in the business, so resources are aplenty. Scot, you are obviously quite knowledgeable though and a good thinker. I’m just not buying your theory.

    Extra Ink, I agree completely. Emcee work is very important in terms of elevating a group’s popularity.

  27. Robert wrote:

    Chris Cooper is not the highest tenor but he is one of the best I’ve ever heard. This is still subjective. Someone else may not like his style. I would define him as being weak when it comes to glass breaking high notes, but strong when it comes to being able to just flat out sing. Which he can do very well. I think those that have any doubts will think differently after a few months. Of course, like someone else said, the longer he stays the better he will get and the better GC will be.
    Avery told it like it was in talking about the reasoning behind there being so many personnel changes in SG.

  28. Scot Eaves wrote:

    Soldier (#25) - I’m not saying a CD is too good. I’m saying that it is too processed and goes past the point of sounding good to sounding artificial.

    Qualityseeker (#26) - I see we agree that the vocals on BF&A’s projects are overly processed. I say my theory still holds even if people buy the CD after seeing BF&A at a concert. They take home the CD and listen to it for the next 3, 6, 12 months until they go see them again. After that second concert, they subconsciously aren’t quite as impressed because the live performance doesn’t match “quality” of the CD they’ve been listening to for the last several months.

    Again, I believe BF&A are very talented and enjoy hearing them (live more than on CD). They sing good songs and their music has encouraged, entertained, challenged and ministered to me. I just happen to have an opinion about the choices they and/or their producer make about how their product sounds.

  29. youngartist wrote:

    QualitySeeker said:

    “The intense processed vocals do get old on the BF&A projects though. Reduce it somewhat. The material is not bad, and neither are the arrangements. You’re with the best record company in the business, so resources are aplenty.”

    On that note, I do agree to a point. I thought “Real Faith” was overly-produced. Although for some reason, I liked “Worth It” better. “You Must’ve Met Him” is pretty much the best modern SG song I can think of right now.

    So either “Worth It” (a) has better song selection so I don’t mind the extra production, (b) has more musical creativity so I don’t mind the extra production, or (c) it’s actually produced better.

    Could be any of the above, but I for one (as a young person) hold BF&A’s cds (from “It’s So God” on) as the benchmark for a tight, quality recording. It just doesn’t get any better. That’s my subjective opinion.

    If I’m introducing young people to SG, they’re not going to like the Dixie Echoes, but I’ve actually had success with introducing them to groups like BF&A. I realize that old people aren’t as endeared with their musical direction as are the younger generation, but maybe that’s exactly why someone like me (and even some CCM-prone friends) like them!

  30. cynical one wrote:

    #29 youngartist — I especially liked your last paragraph. Maybe the s/g audiences isn’t really dying off. Maybe it’s just that certain artists’ audience is dying off.

    BF&A has recently received airplay on A/C radio. Their music will cross barriers groups like Dixie Echoes can’t. And that doesn’t mean DE’s aren’t good at what they do, just a different audience with different taste.

  31. Extra Ink wrote:

    BF&A’s projects are mixed by Joe Carrell. Trust me when I say Brian likes Joe’s mixing work. But I also know that if you think the songs are too….something, Brian listens to each and every song and gives feedback to Joe before the mix is finalized. So, blame Joe Carrell or blame Brian if you love or hate their mixes; the truth is that Joe does the work but Brian approves each song.

  32. youngartist wrote:

    Barry Weeks is the Producer. I don’t think their mixing engineer is the one responsible for the extra effects and wall of sound.

  33. Aaron Swain wrote:

    #24: With Lari Goss producing, it’s a safe bet that it will one of L5’s better projects. I talked to Tim Parton in February and he was super-excited about working with Lari.

    I’m just hoping they can get the mix right on this one. Their “Know So Salvation” and “God’s Been Good” albums were so poorly mixed that the voices sounded muffled behind the tracks. I mentioned something about that to Tim and he said that they were less than thrilled with the mix as well.

    It will be an interesting project, and I plan on getting it when it comes out.

  34. NonInsider wrote:

    33. I am hearing about a Greater Vision, L5 Booth Brothers album as well that I believe was produced by the Master Lari Goss… That sounds very interesting… As I enjoyed the joint project with EHSS and the GVB…

  35. Aaron Swain wrote:

    #34: You heard correctly, although I had no idea Lari had produced that as well. That’ll be another one worth hearing.

  36. Leadsinger wrote:

    Hmm a joint project with those three groups… Sounds like one I might have to pick up… Does anyone have a potential release date, I have not seen any advertising for this…

  37. Jim2 wrote:

    Not really a joint project - it is the next 3 releases in the “Oak Tree Live” series from Daywind Records - following the debut from Crabb Revival, Aaron and Amanda Crabb, and Austin’s Bridge. The 3 projects will be released September 1. There is some great interplay between the groups on the DVD portion, but I’m guessing only 1 song on each project will feature members from the other 2 groups, something like a Bonus Cut. I was privileged to see Greater Vision record their set, my first chance to hear the new tenor, and they were ON!

  38. Aaron Swain wrote:

    Randy Crawford has been announced as BFA’s new baritone.

  39. Aaron Swain wrote:

    #24: Just read the L5 newsletter, and it talked about the new CD. It’s title is “Just Stand” (which, from what I was told, is the same song that Liberty Quartet did on their latest CD, “Amazed”), and it should be out within the next couple of weeks.

  40. NonInsider wrote:

    Actually 37. They did do a project all together it will be called “Jubilee” its going to have some old classics on it with some new songs… It should be out in time for NQC… The Live At Oak Tree projects should be out soon as well..

  41. Joe Carrell wrote:

    Hey guys..a friend told me i needed to check out this thread. Yes i do mix for BFA, as well as, many other SoGo groups like the Perrys, Lesters, etc. However, i did not mix the last few records that were the source of all the “over” processed controversy.

    They have switched directions a bit though and are now using Brian’s son Ricky to produce and have returned to me for mixing. We did an accapella record earlier this year and finished their newest full project in September. You’ll find that it still leans a little more “pop” sounding than most of the more traditional SG groups, but definitely a different sound than the records from approx 07-09.

    Just didn’t want any prospective clients to get the wrong idea about my work. Oh yeah..and merry Christmas!

    Joe C

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