I started this series a while [read, two years] ago. For those who can’t remember when or why I started it up, I started it to honor those tenors who measure up to my pretty strict standards of what a great tenor should sound like. When done right, the tenor is my favorite part. In this series, I choose a performance where I can’t think of ANYTHING I would change—not one little nit-pick. And that’s saying a lot.
Previous installments have featured Brian Free, Terry Franklin, and David Phelps. For today’s installment, here is, in my opinion, one of the most naturally gifted and pleasing tenors in SG right now—ladies and gentlemen give it up for CHRIS ALLMAN!
Here are some clips from the most recent Gaither DVD, the GVB’s Pure and Simple, live. I’ve been really enjoying these sneak peeks. I was especially glad to see “Road to Emmaus,” since I had not heard that song in the version of the album that I listened to:
Here’s one of my favorites, “Winds of This World”:
Here’s “The Love of God”:
Here’s “Cup of Sorrow,” for which I especially enjoyed seeing the live instrumentation:
I just uploaded some Signature Sound videos to Godtube for your viewing pleasure, captured from the livestream at FCC on Saturday. These are shared by permission from Ernie Haase. Happy viewing!
[Update: FCC has asked me to remove the videos from Godtube. I believe there's a misunderstanding about the arrangement I had with Ernie's team, but I've honored the request. FCC itself has uploaded "Glory to God in the Highest" on their channel.]
Lauren at View From the Pew has posted a call for Perrys fans to send her any letters, e-mails, or encouraging notes that they would like to share with the Perrys. She will then put them together in a book for the family. This is a sweet idea. Please check out her post and share if you know any other Perrys fans. If you’d like to send an e-mail message, she has provided her address.
Libbi’s latest update was marked “urgent.” Tracy has a fever, and they are trying to diagnose the source of the temperature. Doctors think there is an infection, but their highest antibiotics have been ineffective. That was this morning. Future updates will be posted here.
Update from Libbi, Saturday morning, January 26th:
Tracy done good through the night. Was off the blood pressure medicine all night! And his blood pressure stayed in area of 117 / 64. They turned it back on just now because it went up while they were changing his sheets and bathing him. Temp is 101. Praise God, Praise God, Thank You Jesus!!!
Waiting on blood culture results to come back on infection. Chest X-ray showed chest congestion & fluid. Gave him lasiks to remove fluid. They have him almost fully sedated in order to let his body and brain rest from yesterday morning being so bad.
And I was able to sleep 4 hrs!!! Plan on slipping in some cat naps through out the day!!!
Thank you to TaRanda Greene for being there for me yesterday!!
Please know I cherish every prayer you pray for us!!!!!!!!!!
Almost three years ago, southern gospel fans were introduced to a young tenor named Riley Harrison Clark, who took Brian Alvey’s place in Tribute Quartet. A few things have changed since then. (For one thing, Brian married Lauren Talley and joined the Talleys!) But something else has changed—Riley’s voice. As a teenager, he already showed great promise. But he’s only gotten better since then. His technique has been polished. His range has expanded. At this time, I would say he legitimately deserves a place among the best tenor singers in the business.
As we wave goodbye to the Christmas season, let’s look at two performances of “Mary Did You Know?” by Riley—one from when he was 17, one from a recent concert. To watch his first performance on Godtube, click here. Here is the second. Thanks to Lynn’s Chronicles for posting it and to Josh at MN SG Fan for bringing it to my attention:
Notice that while he was singing the first cover in a baritone range (echoing Mark Lowry), this performance is more like a David Phelps key. I think that’s a high C he’s hitting. Somebody correct me if they think I’m wrong.
I’m relenting because it IS December now. Matt Fouch recently sent me a generous sampler of all three songs on his newly released Christmas EP. Listen here on my Godtube page and check out legacyfive.com to download the entire EP!
I found this an interesting read even though I’ve read and seen a lot of interviews with Ernie. He finds something different to say every time. I’m looking forward to part two, though I’m somewhat curious as to exactly what they mean by “rumors” when they say he’ll address some of the rumors about Signature Sound. I guess we’ll find out [I just fixed this from "found out." I must be really exhausted.] Meanwhile, here’s a good quote from Part 1:
So do you think it leans more towards trying to get the younger, the teens and the youth? “No, that’s never been, I know that’s what people keep saying but I know what caught my attention at age 15 and it was the harmony and the professionalism of George and Glen. I don’t get on the TV, and there’s not enough time to get on interviews, so I always just kind of concede that yeah we want to reach the youth, because we do, but I don’t set down and record a record saying ‘Okay, how can we reach the youth?’ “
About a year ago, I asked Ernie Haase who his picks would be if he were putting together a young all-stars male quartet. He chose Andrew Goldman for baritone, a kid who’s grown up in Ernie’s own town and “has really caught my attention.”
I made a mental note to keep an eye on young Andrew, and coincidentally he has been making recent waves with Ryan Seaton’s new group Union Street. It didn’t take more than a few Youtube clips to convince me that Andrew is a very, very serious talent. People are already comparing him to the young Doug Anderson, and he does have a similar smooth quality. But his more power-house stylings actually recall a young Ryan Seaton for me, though with a lighter timbre—at the moment I’m leaning towards a comparison to Riley Clarke. And Riley’s a tenor. Although Andrew sings baritone with Union Street, he can and has sung lead (for the Conquerors Quartet). His range is astonishing. There are virtually no baritones in southern gospel who can hit the notes he hits, and only a handful of leads. And through it all, he maintains an immensely satisfying purity and cleanness of tone. He’s just plain easy to listen to.
This young man has the complete package. He should already be numbered among the top ten baritones in the genre, at least. I’m going to go a step further and say he should be in the top five. Here are a couple samples of what he can do. First, watch him take a turn at the tenor part for the key change on “The Love of God”:
Now, watch him own the classic “Who Am I.” (HT to Josh on this one):
Andrew Goldman, ladies and gentlemen! What do you think? I say all he needs to do is lose the dorky retro glasses and he’s good as gold.
This quartet is called the Alborada Quartet, and they recorded some music in the 1980s. I’ve been able to find out virtually nothing about them. But they sing acapella quartet music, in Korean, like you’ve never heard it sung before.
Close your eyes and just listen to this blend:
Now take a listen to this arrangement of the black spiritual “No More Sorrow.” I know they are borrowing it from another incredible and little-known quartet called Breath of Life who had a television and radio ministry in the 1970s.
