Are You Listening? Question 2

Several weeks ago I started a series where I provided my readers a way to express their view/thoughts on Southern Gospel music.  Let artists/industry folk know how you feel about certain aspects of Southern Gospel music.

The second question in the series is this; If you had to choose only ten artists (current) to represent Southern Gospel music; who would they be?

Ask Me Anything…

Have you ever wondered what my thoughts were on a specific subject as it relates to Southern Gospel music.

Now is your chance to find out.  In the comments section, leave any question as it relates to all things Southern Gospel music and I will give you my unequivocal, unfiltered response.

**No question is off-limits**

Are You Listening?

Periodically, I want to provide my readers a way to express their view/thoughts on Southern Gospel music.  In this ‘are you listening’ feature, it will be a way for you to let artists/industry folk know how you feel about certain aspects of Southern Gospel music.

The first question to mull over is this; If you could immediately change one thing about today’s Southern Gospel, what would it be?  Your answer can cover anything as it relates to the music, artists and industry.

What If?

Back in October, I started a series titled ‘What If?’.  I began the series discussing the what if scenario of the Oak Ridge Boys never leaving the Gospel music industry for mainstream Country music.  In today’s what if scenario, I wanted to offer this little gem.

What if Bill Gaither never started the Homecoming phenomenon in the 1990’s?  How would the Southern Gospel music industry be different?  How much impact do you believe the Homecoming videos had on Southern Gospel music during the 1990’s?

I’ll open up the floor.  What are your thoughts on this what if scenario?

*Video Credit (GaitherVEVO)

What If?

ORBWhat if the Oak Ridge Boys never left Gospel Music?  Sometimes I think about certain scenarios as I look over the history of Southern Gospel music.  That caused me to create this new feature titled; What If.  Every so often, I will generate a ‘what if’ scenario and allow, you, the readers to hash out how Southern Gospel music may be different as a result of the ‘what if’ scenario.

So, lets examine the, what if the Oak Ridge Boys never left Gospel Music.  Let’s throw out a few talking points.

  1. The Oak Ridge Boys would be celebrating 56 years in Southern Gospel music (if we’re using 1958 as the beginning).
  2. The group has had the same vocal line-up for 41 years, unheard of for any Southern Gospel quartet.
  3. If they would’ve remained in Southern Gospel music, would there have been personnel changes over that 41 year period?
  4. With such a rich legacy, would they be regarded among fans as one of the most popular groups in SG history (like the Cathedrals)?
  5. Would they have stayed cutting edge and may even drifted in to the CCM market?

So what do you think?  Talk among yourselves about how Southern Gospel would be different if the Oak Ridge Boys had never left the industry.

Conversations: Dianne Wilkinson

WilkinsonI trust you’re enjoying Music Scribe’s conversations feature.  We have been attempting to talk with as many of our choices for the best of 2013.  Today, our choice for best songwriter of 2013 sits in our interview chair; Dianne Wilkinson.

Dianne has been a Southern Gospel industry songwriter now for 40 years.  She gives some insight on those early years, how songwriting has changed over the course of her career and the song in her catalog that she considers the most personal.

Sit back, relax and enjoy our conversation with Dianne Wilkinson, who just so happens to be celebrating a birthday today.  So, Dianne, Happy Birthday!

Eaton:  What was your first song to get cut in Southern Gospel Music?

Wilkinson:  ““Behold the Lamb” by the Song Masters from Milan, TN, in 1976.  Debbie Spragues (now Debra Talley) and Dale Shipley…one of our premier lead singers…were in the group at that time.  (NOTE:  My “Behold the Lamb” predates Dottie’s of the same title).”

Eaton:  How did you initially go about pitching songs?  Who was the first person in the Southern Gospel industry to really take notice of your writing?

Wilkinson:  “I am a shameless song pitcher now…enjoy that almost as much as writing!  But when I first started writing back in the early 1970s, I don’t think I would have had the courage to pitch one of my songs.  The late Joel Kelsey of the Song Masters came to me and asked about recording “Behold the Lamb”.  Our family group had sung a lot with the Song Masters in our area.  During the Cathedrals years, I sent Roger Bennett cassette tapes of me singing and playing into my boom box, with instructions for arrangements, etc.  That sweet boy managed to get across to Glen and George what the potential was in those songs.  Every one of my 16 Cathedrals’ cuts were pitched just that way.”

“The first person after Joe Kelsey to advance my writing career was Kirk Talley.  He was singing with the Cathedrals in 1981 when my late husband and I borrowed the money to get a recording done of what we thought were my best songs at the time.  Eddie Crook produced it.  I took those cassettes to NQC that year and gave one to Kirk.  When I told him who I was, he said, “Didn’t you write “Behold the Lamb”, and I told him I did.  I believe that’s why he listened to that tape.  By the grace of God, “Turn Your Back” was on it (my first Cathedrals cut), and also “Boundless Love”.”

Eaton:  Your songwriting career has spanned several decades.  What are some of the biggest changes you have seen in Southern Gospel music over the course of your songwriting career?

Wilkinson:  “The rise and impact of the radio charting system (which led to hardly any artists recording a song which had been recorded and singled before); the growth of mixed groups, soloists, etc. where once quartets dominated the business; probably the biggest change is the technology we have now for recording and performing live, and for those of us who write the songs, we now pitch a songs over e-mail with an MP3.  A sad change is the loss of the frequent “all night singings”, and fewer and fewer of the huge venues.  Finally, there are more Gospel songwriters than ever…both artists and non-performers.  The competition is keen.  No one wants a good song…they want an album full of GREAT songs.  And that is as it should be.”

Eaton:  Has your songwriting changed over the course of your career?

Wilkinson:  “The biggest change for me was when the Lord called me into co-writing some years ago.  For probably the first 25 years or so of my career, I wrote on my own as God gave the ideas.  I always worked full-time and never lived close to Nashville…and we didn’t have the technology for writing long distance that we have now.  These days, probably 2/3 of the songs I turn in are co-writes.  A great benefit of co-writing is that you are constantly under the influence of the talented folks you write with, and it broadens your writing style.  Also, from a business standpoint, there are lots more songs out there with your name on them!”

Eaton:  Of all the songs you’ve written/co-written, which one is the most personal?  Which one is your favorite?

Wilkinson:  “Probably the most personal for me is “When You Look At Me”, recorded by the Kingdom Heirs a few years back, featuring Arthur Rice.  It is a personal testimony for me of what God sees…and does not see…when He looks at me, His born again child.  I can never name a favorite among my songs.  It’s like choosing among your children.  I love all the songs of mine that the Cathedrals recorded.  There are some I find myself playing over and over because the recorded version came out so great (“He Said”, “Keep Me on the Wheel” by Gold City; “Pray for Me”, both the Kingdom Heirs’ and the Signature Sound versions; “God Did It All” by the Booth Brothers”; “What We Needed”, “Jesus Made a Believer Out of me”, and so many others by the Kingdom Heirs (they have recorded over 60 of mine since about 2000); “Strike Up the Band” by Legacy Five; and “Good News from Jerusalem”, just to name a few!”

Eaton:  Has there been a time when you heard one of your songs recorded by an artist and it turned out totally different (in terms of arrangement/song delivery/tempo) than your initial vision of the song?

Wilkinson:  “I’ve been blessed for the most part in that 99% of the time, Tim Parton and Terry Franklin do my demos, and they are amazing; so groups find little or nothing they want to change.  But back in the 1980s, after the Cathedrals’ version came out, a noted T.V. evangelist recorded “We Shall See Jesus”, and kept the chorus as I had written it but re-wrote the verses completely.  He tossed out my trilogy thing of the times when Jesus was with a group of people on a hillside.  I was still new at getting songs cut and thought surely Roger Bennett could do something about it (the Cathedrals had publishing on it), but he said there wasn’t.  It still smarts, Rick!”

Eaton:  Who are some of your songwriter heroes/mentors?

Wilkinson:  “I never had any mentoring when I started writing; but some of my favorite writers back then include Rusty Goodman, Gordon Jensen, and Andrae Crouch.  I also loved our great convention songwriters like Dad Speer, LeRoy Abernathy, and Mosie Lister.  In the late 1970s my writing was strongly influenced by a young man named Larry Gatlin.  I’m still a huge fan.”

Eaton:  If you could give a brief bit of advice to an aspiring songwriter, what would it be?

Wilkinson:  “If the person wants to be a Gospel songwriter and wants the anointing of God on his writing, he needs a close relationship with the Lord…lots of prayer, lots of obedience.  The most important tool for the Gospel songwriter is the Word of God.  He or she should be a lifelong, avid student of it.  The lyrics we write must be doctrinally sound.  Artists tell me often these days that they receive songs with no real spiritual, Scriptural significance.  So fledgling songwriter, follow the Apostle Paul’s admonition to study the Bible like a workman for hire…one who does not need to be ashamed before God.  As to the writing itself, reach for lyrics and melodies that have not been overdone.  Listen to a song you consider a pretty good Gospel song…then listen to one you consider great.  Then list the things that make them different.”

Eaton:  How about a fun question.  I know you love quartet music.  If you could assemble a quartet with your favorite singers at each position, what would the quartet look like?

Wilkinson:  “Left to right:  Terry Franklin on tenor, Arthur Rice on lead, Mark Trammell on baritone, Gene McDonald on bass, and Tim Parton on piano.  Oh, my GOODNESS!”

Eaton:  In closing, tell us a little bit about Dianne Wilkinson, outside of songwriting.

Wilkinson:  “I grew up in a musical family and started playing and singing the high part in a trio with my mother and aunt as the Ross Sisters when I was 12 years old.  We sang all around Northeast Arkansas, South Missouri, and West Tennessee.  I sang with them all my growing up years.  My husband, Tim, and I had 19 years together, all spent doing church music together.  He led the choirs where we went to church and I played piano.  I have been a church musician since the age of 12, and still am by the grace of God.  Most important, I was saved in 1974…a lost church member who thought that my childhood profession which was really a hand-shake with the preacher was the real thing until God spoke to my heart and brought the conviction of the Holy Spirit.  I am a Southern Baptist by conviction and by choice.”

“I am semi-retired from a 40+ year healthcare career which I have always loved, and I still work a few hours a week as a Compliance Educator/Auditor for a large hospital system in West Tennessee.  I don’t have children of my own, but I have countless adopted sons and daughters…mostly in the Gospel Music business, and am blessed with a very close immediate and extended family and a host of loving, supportive friends.  As a sixty-something (!), I’m writing more than ever, by the grace of God.  God has blessed me beyond measure.  There’s an old Frank Capra movie I love, and the title is “It’s a Wonderful Life”.  Looking back on mine, starting out by being raised in a Christian home and learning to love the things of God…all the way to seeing God’s plan fulfilled in my life, that’s what I’d say about mine…it’s been a wonderful life!”

I want to thank the incomparable Dianne Wilkinson for stopping by for our conversations feature.  I have always had a special place for songwriters, for without them we wouldn’t have Southern Gospel music (it wouldn’t matter how great the singers were).  I’m also of the mindset that individuals should be given roses while they are still around to enjoy them.  Dianne, your songs have brought JOY to so many people over the course of the last 30+ years.  Thanks for your contribution!

Here is a YouTube clip (published by thekingdomheirs), of the Kingdom Heirs performing the song Dianne chose to be the most personal to her; “When You Look At Me”.  Enjoy!

Conversations: Amber Thompson (Nelons)

Amber ThompsonMusic Scribe has been announcing our choices for the best of 2013.  We thought it would be nice to get to know those individuals a little better.  Today we open up our interview chair for a new conversations feature with our choice for female vocalist of 2013, Amber Thompson.

Amber has been performing full-time with Nelons since the age of 13.  In the interview I asked Amber her thoughts on her family’s legacy, her upcoming solo album and a question about the real celebrity in the family.

Sit back, relax and enjoy our conversation with Amber Thompson.

Eaton:  You come from a great legacy in Southern Gospel music with your grandfather (Rex) and mother (Kelly).  What are your thoughts on the Nelons legacy in Southern Gospel music and now your part in that legacy?

Thompson:  “I’ve always been proud of my family’s legacy.  My grandfather paved a way so that it would be easier for my mother and eventually myself one day.  I am so thankful that God allowed me to be born into a family that was not just talented but a godly family as well.  I’m also thankful that He allowed me to be able to share the talent with them so that I could be a part of it.”

Eaton:  Is singing something you always wanted to do?  How long did you have to hound mom before she let you take the stage with the group on a full-time basis?

Thompson:  “I’ve always wanted to sing.  I actually don’t ever remember a time when I didn’t want to sing.  When I was little I used to set up my dolls and sing to them on the bus while my family was singing on stage.  I actually filled in for the Nelons when our soprano singer came off of the road to get married.  My mom felt like it fit because we were a family and we found out my range was actually the range of a soprano.  So God had a plan the whole time.”

Eaton:  You may not realize how much of a role model you are to young girls and even young people in general regarding Gospel music.  Do you ever think about that?

Thompson:  “I think about that all the time.  It’s what motivates me to be the best that I can be to know that young girls or teenagers are watching me and learning from me.  I know how blessed I was to have such great role models and because of the example they set for me it helped me become who I am today.  So I strive to do the best I can not only for them but to please God as well.”

Eaton:  Your family has been a part of many large Southern Gospel events (including Gaither events).  What has been your all-time favorite place to sing?

Thompson:  “That’s a tough one.  I’ve enjoyed and seen so much.  I think definitely the Gaither Homecoming Concerts would rank to the top of my list.  That was always a dream for me that I wasn’t sure would ever happen.  But when God allowed us to be a part of it I was thrilled.  I love Bill and Gloria so much and they never cease to teach me something new each time I’m around them.  They are like family to us and to be able to be on that stage with them because of who they are is an honor and a privilege.  I would also say that anywhere outside the U.S. has been pretty cool too.  I’ve been to Scotland, Ireland, London, Sweden, Guatemala, Mexico, etc. but probably my favorite was Paris.  That was another dream of mine.  To see the Eiffel Tower in real life is surreal.  So cool.”

Eaton:  Southern Gospel fans can be an interesting bunch.  What is the most unusual/funniest thing said to you at the product table by a fan?

Thompson:  “Well I had a lady come up to me and ask me, “Do you know who I am?” and i couldn’t recall her name so I said “I’m not good with names but I know who you are” and smiled.  She then replied “Ok, well then how do you know me?”  I could feel my face get red and panicked and I replied, “Well refresh my memory, I see so many people a day” and she said “Well I gave you a very important gift that you still have”.  Now I was in trouble because I just could not remember.  So finally I told her, “I’m sorry I just don’t remember”.  She laughed and said “When you were born I made you a blanket and gave it to you as a gift”.  We both just laughed and I said “Well no wonder I don’t remember!”

Eaton:  The Nelons are working on 40 years in Southern Gospel music.  Do you have an all-time favorite Nelons song?  Does the group still stage the song?

Thompson:  “There are so many Nelon songs that are so good.  It’s hard to pick just one.  But if I had to pick it would be “Oh For A Thousand Tongues”.  Not a night goes by where we don’t sing that song.  What an incredible lyric.”

Eaton:  Is there a particular song in the group’s current set that you would be happy to stop singing, because you’ve grown tired of performing it?

Thompson:  “Oh Yes!  “Walk Right Out Of This Valley”!  If you know my grandfather and are a fan of The Nelons, then you know why this song is not a favorite of any soprano of the Nelons.  They make you sing it 4x and each time speeding up the tempo until you eventually sound like a chipmunk.  I still sing it and I am very close to deleting the file, hahaha.”

Eaton:  I understand you are working on a new solo recording.  Can you tell us a little bit about the recording and when listeners can expect it at retail?

Thompson:  “I am so excited!  I just signed with Daywind Music Group to do a brand new solo project that should release in the Summer of 2014.  I wasn’t sure about doing one and my family kept telling me to do it and they would help me get everything together.  So here we are!  We are in the process now of writing and picking songs still and then once that’s done we will go forward with everything else.  I can’t wait to get it done and out for everyone to hear.”

Eaton:  Your family’s dog (Sam) has become quite the celebrity.  Whose initial idea was it to begin making videos with your vocal work (and your voice bringing Sam to life)?

Thompson:  “My family is crazy.  We are who we are no matter where we are haha.  Sam has a personality all on his own.  My mom and I share the same sense of humor so we would start telling each other what we thought Sam would say if he could say it.  So that turned into me making this cute but sarcastic little voice and making everyone laugh.  Which eventually turned into filming it so we could share it with everyone else and he became a hit.  We couldn’t believe our dog became famous.”

Eaton:  In closing, let our readers know a little about the Amber Thompson outside of Southern Gospel music?

Thompson:  “Well most of you know I just recently got engaged to my fiancé John Risk.  We met in college and dated for almost 4 years.  We are getting married in June and could not be any happier or excited.  I also just filmed a TV show for TLC called “Say Yes To The Dress”.  It will air some time after the wedding.  So be watching.  I also just graduated from Bethany Divinity College with a Bachelor’s Degree in Christian Counseling for Marriage and Family.  I really wanted to work with kids who have been treated bad or are in broken homes and need help.  I love kids and they really do have my heart so God allowed me to go to school so that I could use this on the road or at home.  God has truly blessed me and especially this year.  I’m overwhelmed and undeserving of his grace and love but I’m thankful that He cares about me and chooses to bless me.”

I want to thank Amber for stopping by for our conversations feature.  I believe our staff choosing Amber as best female vocalist of 2013 is the first in many honors that will come her way in the years to come.  Here is a YouTube clip (published by SouthernGospelVideos.com) of Amber and the Nelons performing “I Stand Amazed”.  Enjoy!

Conversations: Lee Black (Songwriter)

Black, LeeThis week we open up our interview chair again to allow another conversations feature with Southern Gospel industry songwriter, Lee Black.

Lee Black has risen to prominence over the course of the last several years co-writing many stand out tracks on artist albums.  Several include:  “Applause” (Talleys, co-writer Ben Storie), “Call Is Still The Same” (Dixie Melody Boys, co-writer Rodney Griffin), “Even In The Sorrow” (Mercy’s Well, co-writer Kenna Turner West), “Here Comes Sunday” (Wilburn & Wilburn, co-writer Jason Cox), “I Want To Be That Man” (Brian Free & Assurance, co-writer Ricky Free), “Voice In The Desert” (Freemans, co-writers Jason Cox and Kenna Turner West) among countless others.

Congratulations goes out to Lee for picking up two Dove Award nominations this week for co-writing Aaron & Amanda Crabb’s performance of “I’m Learning”.  It was nominated for song of the year and country song of the year.

Eaton:  Were you familiar with Southern Gospel music before having your songs pitched to Southern Gospel artists?

Black:  “Yes, I was.  It was definitely something I grew up on.  I would have to say I guess I have always been a fan of more progressive Southern Gospel than traditional.  Although I do like and appreciate traditional, I would lean toward the more inspo sounding southern.  I would still love to write a convention style song at some point – there’s not a single one in my catalog.  That sound fascinates me.”

Eaton:  If so, what were your earliest memories of Southern Gospel music?

Black:  “I grew up in southwest Alabama, and our ABC affiliate was out of Pensacola, Florida.  Every Sunday morning they aired the Gospel Singing Jubilee.  So my earliest memories of Southern Gospel are from that program – The Florida Boys, Dixie Echoes, The Happy Goodmans, Blackwood Brothers, groups like that.  I always wanted to get ready for Sunday School early to have time to watch that show.”

Eaton:  I noticed you do a lot of co-writing.  Is there any one songwriter you enjoy getting together with and crafting a song?

Black:  “I feel so blessed to write with the folks I regularly do – Kenna West, Jason Cox, Gina Boe, Sue Smith, Ricky Free, Tony Wood, Joel Lindsey, Belinda Smith, David Moffitt, Ben Storie.  I’m sure there’s somebody I’m not thinking of right now… but that group of folks… wow, I love getting together with each one of them.  Each one of them is so talented; and I count it a privilege every time I can write a song with one of them.  I think I wrote over a hundred songs last year and only one of those did I write by myself.  Every other song was a co-write.  I love that process of getting together with someone and tossing out ideas and lines and melodies and leaving a room with something that everybody is happy with.”

Eaton:  Where do you draw your creativity in determining a song’s message/direction?

Black:  “It comes from everywhere.  I feel like my songwriter antennae are always up.  I hear ideas in sermons at church, reading the Bible, conversations with people…. Everywhere.  My wife says she can always tell when I have checked out and started writing a song in my head… that I get that glazed look in my eyes and she knows…. that I’m there, but not really. 🙂  But I think songwriters are always listening for ideas, maybe not on purpose, just can’t help it.  I have a songwriting folder on my phone that I can get to quickly and type phrases into notepad and sing melody ideas into the voice recorder.”

Eaton:  Of all the songs you have written/co-written, which one is the most personal?  Which one is your favorite?

Black:  “I think every song I have written is personal.  At some point I think it has to be personal for you or your heart isn’t in it.  When we’re sitting in a co-write and begin tossing out ideas, of course I have a personal connection to the ideas I’m tossing out because the initial seed of the idea was something that tugged at my heart enough to write down.  But if we write my co-writer’s idea, it’s got to be personal for me in some way to want to spend the time chasing it.  I want everything I write to be honest for me.”

continued:  “As far as favorites go… I was talking to Ricky Free about this the other day.  We wrote a song a couple of years ago for a CCM artist.  That artist didn’t record it.  I can’t imagine any other artist recording it, but I absolutely love it.  I will listen to the demo every few weeks and just enjoy it myself!  Ha ha!  Sue Smith, Kenna West, and I wrote a song called I’ve Seen What He Can Do that Marty Raybon recorded.  It was just one of those times when there was a bunch of stuff going on in all of our lives and that song just felt like a gift given to us.  It’s still really special to me.  I wrote a hymn with Ross King last year called Because He Loved Me First.  I grew up on hymns and love the rich theology, lofty language, and structure.  And, again, it was just one of those days when I felt like we had been given a gift.  I wrote a song with Twila Labar called Backwoods Lullaby that was about where I grew up.  I can’t imagine anyone cutting it, but it’s important to me.  I’ve written songs for my wife and kids that will probably never be recorded by anyone, but I love them because I know where they came from.”

Eaton:  Has there been a time when you heard one of your songs recorded by an artist and it turned out totally different (in terms of arrangement/song delivery/tempo) than your initial vision of the song?

Black:  “Until a few weeks ago I would’ve said, “No… people usually stick pretty close to the demo.”  But Kenna, Jason Cox, and I wrote a song that Gordon Mote just recorded for his new record.  I really like our demo – it’s this fun shuffle thing.  But Gordon straightened it out and drove it.  And I LOVE it!!  It was the right call.”

Eaton:  Who are some of your songwriter heroes/mentors?

Black:  “Wow… I have so many.  The hymn writers – Fanny Crosby and the Wesley’s come to mind immediately.  The great American songbook writers like Harold Arlen, the Gershwins, Hoagy Carmichael, Irving Berlin and so many more.  I grew up playing the piano and loving Billy Joel and Lionel Richie.  David Foster.  The Gaithers.  When I really got into writing, I started studying the lyrics of Dave Clark, who was actually my first publisher and has opened so many doors for me.”

Eaton:  Do you do any songwriting outside the Christian music industry?

Black:  “I do.  I write some country music.  And just recently, I have branched out into some instrumental writing – the kind of production music that’s used in TV, film, and commercial underscoring.”

Eaton:  If you could give a brief bit of advice to an aspiring songwriter, what would it be?

Black:  “It would be to write and write and then write some more.  Don’t wait for inspiration; write until you find the inspiration.  I would say really study great songs and the songs that move you and analyze their lyrics and melodies.  You’ll typically find common patterns and themes that might help you in your own writing.  Read books on lyric writing.  Listen to beautiful melodies.  Feed your creative soul with poetry, great books, movies, sermons, and, etc.  Have a place and time set aside to write consistently.  Find people who will give you HONEST feedback and then have the guts to hear it.  You really do have to have a poet’s soul and a rhino’s hide if you’re gonna survive, because there will be a LOT of rejection.  Maybe that’s what makes the cuts SO sweet.  Sometimes I think people may see a writer’s name on ten songs and think those are the only ten they’ve written.  Chances are it took writing a hundred songs to get those ten cut.”

Eaton:  In closing, tell us a little bit about Lee Black, outside of songwriting.

Black:  “I am married to my best friend, Melissa.  We have four great kids – a 15-year-old girl, 14-year-old twin boys, and an 11-year-old girl.  I LOVE my family.  A great night for us is goofing off with a board game or sitting around watching something like Duck Dynasty on TV.  I’m a worship leader.  I love sitting at a piano and leading people in worship.  I’m a University of Alabama graduate and a Crimson Tide football fanatic – can’t wait for football season to start and hoping for another national championship.  Roll Tide!  And I read WAY too many southern gospel blogs.”  🙂

I want to thank Lee for stopping by for our conversations feature this week.  Here is a video of a Singing News song of the year nominee penned by Lee Black and Ricky Free of Brian Free and Assurance performing “I Want To Be That Man”.  Enjoy!