Biography

Dailey & Vincent , unprecedented winners of seven IBMA awards in 2008, including Gospel Recorded Performance, Vocal Group of the Year, and Album of the Year, have turned their attention to the fine tradition of a cappella gospel quartets with the making of – Singing From the Heart. The album features twelve spiritual songs that come from the heart and speak directly to the soul. Uplifting, indeed inspiring – gospel music from Darin Vincent and Jamie Dailey with special guests including Doyle Lawson and Shawn Lane, filling out the quartet sound.


Dailey & Vincent
Singing From The Heart

1. Joshua Fit The Battle of Jericho
(public domain)
2. Near the Cross – Lyrics: Fanny J. Crosby
(public domain)
3. Hide Me, Rock Of Ages – Brantley C. George © 1946 by O. A. Parris, in “Charming Refuge” Assigned 1947, to Stamps Quartet Music Co., Inc.
(Arr. J.R. Baxter/Bridge Building Music, BMI)
4. Farther Along – Lyrics: W. B. Stevens; © 1937 The Stamps-Baxter Music Company
(Stevens/Bridge Building Music, BMI)
5. I Am Resolved – Lyrics: Palmer Hartsough
(public domain)
6. The Old Rugged Cross – Lyrics: George Bennard; © 1913 Renewal 1941 The Rodeheaver Company
(public domain)
7. Moses Smote The Water (public domain)
8. Amazing Grace – Lyrics: John Newton
(public domain)
9. Jesus Is Coming Soon – Lyrics & Music: R. E. Winsett
(public domain)
10. O To Be Like Thee – Lyrics: T. O. Chisholm; © 1924 by Mrs. L. E. Sweeney Kirkpatrick, Haldor Lillenas, Owner.
(public domain)
11. ’Til I See You Face To Face
(Doyle Lawson & Jamie Dailey/Top O Holston Publishing, BMI)
12. Don’t You Wanna Go To Heaven - David Marshall/Four Iron Music and Isaacs Family Publishing, BMI)

Produced by Jamie Dailey & Darrin Vincent
Recorded by Ronny Light - Light House, Nashville, TN, Mike Latterell-Trinity Sound Nashville, TN, Adventure Studio, Nashville, TN
Mixed by Neal Cappellino @ The Bunker Nashville, TN
Mastered by Jim Demain - Yes Mastering, Nashville, TN
Vocal arrangements: Jamie Dailey, Ronny Light, Tony King, & Darrin Vincent

Church Photograph by Troy and Rusty Lilly, www.ForestWander.com


The development of this CD has a touching and (unusual) background. Jamie Dailey attended the church where I preach and where his grandparents attended. It was my pleasure to start (the) Tennessee Bible College in 1975 and, since its beginning, there has never been a worthy student turned away for the lack of funds. When I got to know Jamie as a dear friend, I told him about TBC. I told him that we were constantly in need of funds for worthy students. I asked Jamie if he could take the lead and develop a quartet CD of a cappella singing. He said he could and so he did. He picked up Darrin Vincent, who has been a tremendous helper and an untiring worker. We love Dailey & Vincent.
Why a cappella music? It is the music of the heart. "If any man is merry let him sing a song” So we have Singing From the Heart with Dailey & Vincent – a wonderful a cappella CD. Those who purchase this CD will bless their lives while helping young men and women who seek a college education for themselves .
May God bless,
Malcolm L. Hill, President, Tennessee Bible College
http://www.tn-biblecollege.edu





Seven years in the making

Jamie Dailey & Darrin Vincent lead one of the hottest and fastest building bluegrass acts in recent history. “Singing from the Heart,” their latest album, is actually their first and earliest project.

Begun in 2001, when Jamie was in his third year with Doyle Lawson & Quicksilver and Darrin in his fourth with Ricky Skaggs & Kentucky Thunder, Singing From the Heart quickly followed the young men’s realization that their voices, tastes, and aspirations were an unusual blend. An effort that might take six months under normal circumstances, the album required complicated scheduling of their two constantly touring bands, a number of studios, and guest singers, all without a budget or (at the time) label sponsorship.

Singing From the Heart is a labor of love that Jamie and Darrin were determined to pursue, even if their dream of forming a duo had not been realized. The idea was simple but novel: an album of a cappella spiritual songs that would honor the Church of Christ’s practice of singing without instruments and that would benefit the Tennessee Bible College, a Church of Christ institution.

“They never turn anyone down who doesn’t have the money to get a degree in Bible and that impressed us,” Darrin recalls. “The college president, Malcolm Hill, asked us to help and the idea emerged of an album the college could give in appreciation to its donors, and that we could sell on the road, with all the profits dedicated to the college.

Few churches emphasize singing more than the Church of Christ, a movement independent since 1906 that has since grown to more than 40,000 congregations and five million members worldwide. Seeking to follow first-century church traditions documented in the New Testament, the church aspires to be “filled with the Spirit, addressing one another in psalms and hymns and spiritual songs, singing and making melody to the Lord with all your heart” [Ephesians 5:18,19].

Jamie Dailey was born into the Church of Christ in Gainesboro, in north central Tennessee. Before moving to Nashville, Darrin Vincent attended for several years a Church of Christ in his hometown of Kirksville, in northeastern Missouri. They both came to love and treasure the singing style and repertoire of that movement, but they were also exposed to religious songs with string instrument accompaniment. Jamie’s father was a Baptist, and Jamie says, “I’d sneak out and sing with him onstage.” Darrin’s family attended and played in a non-denominational church a block from where they lived.

At concerts, you’ll hear Dailey & Vincent ask whether anyone is from the Church of Christ. “It helps to know,” Jamie jokes, “because, while they’ll tolerate singing with instruments outside of church, they won’t stand for dancing anywhere, and we’re known to cut up onstage. Now the Pentecostals, they’ll get the Holy Spirit and dance all over the place. They’ll do back flips up one side of the room and down the other!”

“I just want people to feel something from this album when they hear it, and to know more about the Lord,” says Jamie. Darrin adds, “I want the listeners to get a blessing from this music, and to know how special it is to take a song and blend voices a cappella. It moves me emotionally to hear how much of an impact singing without instruments gives to the lyrics.”

In choosing material for the album, “we wanted 95 percent of the people to know at least 70 percent of the songs well enough to sing along,” says Jamie. “The rest we wanted to be something new to most listeners, to generate interest in the project and to have some pieces that would be unique to Dailey & Vincent for our concert repertoire.”

The quartets recorded for Singing From the Heart achieve the peak of technical perfection, every note in tune and the blend so close that individual voices are often indistinguishable. When harmony is this tight, one can hear a kind of shimmering halo of sound, as if there are more than four vocalists. And yet the style of the album from beginning to end is relatively straightforward and plain. Perhaps that reflects Dailey & Vincent’s bluegrass sensibilities, as well as the way they have sung in church every Sunday of their lives. This isn’t fancy, “look at us” music. It is, indeed, “singing from the heart.”

A participatory tradition

There was a time, before television, and before the big-name Southern Gospel singers began to arrive in private motorcoaches and airplanes, when rural people would gather to sing gospel music for fun and fellowship. In the first half of the 20th century, publishers like James D. Vaughn, Stamps-Baxter, R.E. Winsett, and Hartford Music would come out with paperbound books every year. New gospel songs by Albert E. Brumley, Luther G. Presley, and the like were eagerly awaited in rural communities. Singing schools and conventions were ecumenical neighborhood affairs where average people could learn to read, sing with gusto, and lead the shape-note literature.

Gradually, the best of that repertoire began to move into the churches through the Church Hymnal, Favorite Songs and Hymns, Heavenly Highway Hymns, and other collections compiled specifically for congregational use. Some churches accompanied the singing with pianos, some with organs, some with string instruments, and others – like the Church of Christ – with no instrumental accompaniment.

Throughout the history of bluegrass – from the late 1930s to the present – generations of singers brought the harmonies, songs, and styles of the paperbound convention shape-note repertoire into bluegrass music. Bluegrass part-singing, both sacred and secular, reflects that origin far more than it does other vocal styles that filled American airwaves, classrooms, and mainstream churches: pop music, Broadway, opera, cowboy music, barbershop, doo-wop, or classical choral arrangements.

Even the original repertoire of songwriters like Bill Monroe, Flatt & Scruggs, the Stanley Brothers, the Louvin Brothers (or Jamie Dailey, Doyle Lawson, and David Marshall on this album) evoked the participatory community harmonies of the singing convention days. Those days, in fact, have never ended. They also moved into Sunday morning and evening services of evangelical Protestant churches. That’s where Jamie Dailey and Darrin Vincent learned to sing, and the repertoire from which they draw on this album. Thanks to the proliferation of recordings, printed materials, broadcast media, and the internet, non-evangelicals throughout the world also have ready access to these singing styles.

Southern Gospel and bluegrass music

Famous Southern Gospel groups, charts, and awards co-exist with the amateur singing that goes on in churches and homes. For the most part, bluegrass has drawn more from the community and congregational gospel singing styles than it has from the professionals. But exceptions are worth noting. Starting in the 1950s, Bill Monroe would occasionally call Culley Holt, bass singer from the Jordanaires, to participate in his gospel quartet sessions. For five decades, the Lewis Family has appeared on both the bluegrass and professional Southern Gospel circuit.

Doyle Lawson has an encyclopedic knowledge of generations of professional gospel performance styles, both white and African-American. Through his recordings, bluegrass fans have learned about sources as diverse as the Golden Gate Gospel Quartet, the Chuck Wagon Gang, the Masters Family, the Chestnut Grove Quartet, and the Brown’s Ferry Four. Lately, Doyle has been as likely to find members of Quicksilver in the farm teams of Southern Gospel as he has in those of bluegrass.

In recent years, largely through Bill and Gloria Gaither’s interest in bluegrass, ties have been forged between Doyle Lawson & Quicksilver, the Isaacs, Ricky Skaggs & Kentucky Thunder, and the Whites, and the professional Southern Gospel world. And who can forget J.D. Sumner’s subterranean “Country rocks, but bluegrass rules!” opening for the 1997 album in which Ricky Skaggs returned to bluegrass.

For Singing From the Heart sessions, Dailey & Vincent called vocalists from three worlds: bluegrass, Southern Gospel, and country. Tenor Andy Ball recorded and toured with Mark Newton before joining the Lonesome River Band. Bass Glenn Dustin, a former member of Crossroads, now appears with the Legacy Five. Baritone Anthony Facello tours with Crossroad, following stints with Heavenbound, The Down East Boys, Journeymen and Mercy’s Mark. Baritone Tony King played with J.D. Crowe before joining Brooks & Dunn. Tenor Shawn Lane, a graduate of the Quicksilver “school of bluegrass,” holds the mandolin and tenor chairs with Blue Highway. Doyle Lawson, singing baritone on “Near the Cross,” served apprenticeships with the Kentucky Mountain Boys, Jimmy Martin, and the Country Gentlemen before founding Quicksilver in 1979. Bass Jeff Pearles was with the Old Time Gospel Hour before joining the venerable King’s Heralds. Molly Skaggs, a bluegrass “double legacy” – daughter of Sharon White and Ricky Skaggs – earned a Bachelor of Music degree with a double major in classical composition and music theory before joining the staff of MorningStar Fellowship Church in Pineville, NC.

Fred Bartenstein

A bluegrass historian and journalist, Fred Bartenstein was founding host of the weekly “Banks of the Ohio: Music From the Homeplace of Bluegrass” program for the International Bluegrass Music Museum. He acknowledges valuable information and advice from Kevin Kehrberg, a doctoral candidate in musicology at the University of Kentucky, and the hospitality and spirited singing he experienced in a visit to the Central Avenue Church of Christ in Fairborn, Ohio.

The Songs

1. Joshua Fit the Battle of Jericho (Traditional)
Lead & Harmony: Jamie Dailey
Lead & Harmony: Darrin Vincent
Lead & Bass Vocal: Glenn Dustin
Dailey & Vincent trace their arrangement to the Golden Gate Gospel Quartet, who recorded this familiar spiritual in 1946 and performed it in the 1948 Danny Kaye film, A Song Is Born. The Golden Gates, an all-Black ensemble, were organized in Norfolk, Virginia. They made their first Bluebird records in August of 1937, just four days after the Monroe Brothers’ fourth session in Charlotte, NC. Even in segregation days, they often shared stages with leading white gospel groups. Their syncopated style, hugely popular and influential, came to Dailey & Vincent’s attention through Doyle Lawson.

2. Near the Cross (Words: Fanny J. Crosby. Music: William H. Doane. 1869)
Lead Vocal: Darrin Vincent
Tenor Vocal: Jamie Dailey
Baritone Vocal: Doyle Lawson
Bass Vocal: Glenn Dustin
“That’s a big Church of Christ song, which we sing almost every Sunday,” says Jamie. Putnam County, New York, native Fanny Crosby, blinded in infancy, wrote words to more than 8,000 hymns, including “Blessed Assurance” and “Pass Me Not.”

3. Hide Me, Rock Of Ages (Brantley C. George, 1946)
Lead Vocal: Jamie Dailey
Tenor Vocal: Darrin Vincent
Baritone Vocal: Tony King
Bass Vocal: Glenn Dustin
Dailey & Vincent’s arrangement is more straightforward than dramatic early renditions by the Statesmen, Blackwoods, Rebels, and other Southern Gospel quartets. The Osborne Brothers recorded a bluegrass/country trio version in 1968 (before either Jamie or Darrin were born). On the internet, the author’s great-grandson Taylor states, “The man who wrote it was just a poor, southwest Georgia farmer. He went to all the church sings, revivals and gatherings that he could get to. The song was written on a brown paper bag while he was sitting under an oak tree in the corner of his field. He sold the rights to this song for the small sum of $25.00.”

4. Farther Along (Attributed to W.B. Stevens, 1911. Arranged by J.R. Baxter, 1937)
Lead Vocal: Darrin Vincent
Tenor Vocal: Jamie Dailey
Baritone Vocal: Tony King
Bass Vocal: Glenn Dustin
“We’ve sung this in church all our lives and most everyone knows it,” says Darrin. “It was the first song we ever recorded together. The baritone and bass parts were added later.” Together with V.O. Stamps, arranger J.R. Baxter organized the Stamps-Baxter Publishing Company, the Stamps-Baxter School of Music, and numerous touring quartets – of which the Stamps Quartet is still in operation more than 80 years later. Commercial recordings by Charlie Monroe (1938), Roy Acuff (1940), Bill Monroe (1962), the Stanley Brothers (1965), and the Byrds (1971) also helped to popularize the song.

5. I Am Resolved (Words: Palmer Hartsough. Music: James H. Filmore. 1896)
Lead Vocal: Darrin Vincent
Tenor Vocal: Shawn Lane
Baritone Vocal: Jamie Dailey
Bass Vocal: Glenn Dustin
“Not a lot of people would remember this one, although we sang it in one church I went to for years,” says Darrin. Country music patriarch Ernest “Pop” Stoneman recorded it at the famous Bristol sessions in July of 1927. This may be the first recording of “I Am Resolved” by bluegrass artists.

6. The Old Rugged Cross (George Bennard, 1913)
Lead Vocal: Jamie Dailey
Tenor Vocal: Shawn Lane
Baritone Vocal: Darrin Vincent
Bass Vocal: Glenn Dustin
Recitation: Malcolm Hill
“We knew everyone would know this one, and we wanted (Tennessee Bible College president) Malcolm Hill to do a little recitation, placing it in Biblical perspective,” recalls Jamie. Moments of hilarity ensued in the studio as a preacher’s notion of brevity clashed with the 30 seconds of humming set aside in the pre-recorded vocal tracks. In his first take, Dr. Hill was still talking, several minutes after the entire song had ended. “I started giving him hand signals,” says Jamie, “like the guy that guides a plane into the gate. Darrin about burst the window of the studio, screaming with laughter!”

7. Moses Smote the Water (Traditional)
Lead Vocal: Jamie Dailey
Tenor Vocal: Andy Ball
Baritone Vocal: Darrin Vincent
Bass Vocal: Glenn Dustin
This is another African-American spiritual, learned from a 1941 recording of the Golden Gate Gospel Quartet, by way of Doyle Lawson. The Golden Gates were known for their vocal imitations of percussion, trumpets, and string basses. “We asked Dr. Hill if it would be O.K. to do that on the album and he said we’d better not,” says Darrin. “People might think we were using real instruments.”

8 Amazing Grace (Words: John Newton, 1779. Tune: New Britain, 1829)
Lead Vocal: Jamie Dailey
Tenor Vocal: Molly Skaggs
Baritone Vocal: Darrin Vincent
Bass Vocal: Glenn Dustin
When the sound crew would check microphone levels before Doyle Lawson & Quicksilver concerts, Jamie often sang a short vocal solo of “Amazing Grace.” That arrangement, during which he modulates on each verse, is embellished here, with Molly Skaggs’ soprano and Glenn Dustin’s true second bass adding still more vocal range.

9. Jesus Is Coming Soon (R.E. Winsett, 1942)
Lead Vocal: Jamie Dailey
Tenor Vocal: Darrin Vincent
Baritone Vocal: Darrin Vincent
Bass Vocal: Jeff Pearles
“Jesus Is Coming Soon” was the first #1 Southern Gospel record for the Oak Ridge Boys, and helped to bring the song to national prominence in 1970. Dailey & Vincent’s ornate ending employs a style familiar to audiences of touring Southern Gospel quartets. The lyrics become more poignant when one notes their origin in the early part of World War II, long before the war’s outcome could be known. The R.E. Winsett Company, based in Dayton, Tennessee, was one of the most prominent publishers of shape-note convention songbooks.

10. O To Be Like Thee (Words: Thomas O. Chisholm. Music: William J. Kirkpatrick. 1897)
Lead Vocal: Jamie Dailey
Tenor Vocal: Anthony Facello
Baritone Vocal: Darrin Vincent
Bass Vocal: Glenn Dustin
The author of these lyrics and “Great Is Thy Faithfulness” was born in a Kentucky log cabin in 1866. At the age of 16, with only an eighth-grade education, he became a schoolteacher. Later a minister, he was forced by ill health to leave that career. The composer was a Pennsylvania-born schoolteacher, musician, and choirmaster, who also wrote “Lord I’m Coming Home.” Jamie found “O To Be Like Thee” in a songbook and thought it would be “a good one for us.” Darrin recalls singing it in church.

11. ’Til I See You Face To Face (Doyle Lawson & Jamie Dailey)
Lead Vocal: Jamie Dailey
Tenor Vocal: Darrin Vincent
Baritone Vocal: Tony King
Bass Vocal: Glenn Dustin
“Doyle Lawson and I have written 34 songs together,” Jamie says. “He was in the front of the bus and said, ‘Come up here and help me finish this.’ Darrin and I were the first to record it for Singing From the Heart, but before we could get it out, I also recorded it with Doyle on the 2006 album, He Lives In Me.” The style of the song is so classic that it could have been composed during any decade of the last century.

12. Don’t You Want To Go To Heaven (by David Marshall)
Lead Vocal: Darrin Vincent
Tenor Vocal: Jamie Dailey
Baritone Vocal: Tony King
Bass Vocal: Glenn Dustin
David Marshall, a member of the bluegrass gospel group, the Marshall Family, helped to popularize the a cappella style in that genre during the 1970s. He has since pursued a dual career as a songwriter and musician. This composition was popularized by the Isaacs, who recorded it in 1995, 1996 (live), and 2005. It is a perfect closer for “Singing From the Heart,” merging elements of both white and African-American gospel singing traditions.

Thank yous:

Thank you for purchasing this CD; you are giving young men and women the opportunity to pursue their life goals. Serving the Lord is why I jumped on board to help the Bible College & Brother Hill. I’d like to thank all the voices on this CD who gave of their talents, and time, Ronny Light, and Rhonda Vincent for their studio’s and gifts. My parents Johnny & Carolyn Vincent for raising me in Church, Julie, Zachary, Victoria, Chandler Vincent for all the sacrifice they go through when husband and father work on a recording. To my many brothers in Christ whom I respect and love for telling me the truth even when it’s not popular to speak up, and to Jesus Christ the one and only Son of God who Died for my Sins on Calvary, who so ever believeth in Him should not perish but have everlasting Life (John 3:16)

- Darrin
Jamie would like to thank:

My Lord and Savior Jesus Christ who has blessed me more than I deserve. My Mom Judith, my Dad JB, my brother and my step dad Jimmy. Johnny and sis n law Alison and my nepwhew Cade. My grandparents Fred and Willene Heady. My sister Candy and brother n law Eddie and my nieces Brooklyn and Breanna. To Julie Huffines and Josh Nicholson. To Malcolm Hill and David you guys are blessings.

To all of the singers who helped out on this project we really appreciate you. Also, to all of our fans for being so loyal and supportive, God bless you all. We love you!

To Ken Irwin, Brad Paul and our wonderful friends at Rounder you guys are the best and we could not do this without all of you.

To Jeff, Adam and Joe we love you boys, Don Light, Karen Byrd, David Crowe, Thomas Bates, Jan Spencer and Julie Pennell. You guys are the greatest team anyone could ask for!

Also to Hugh Howell our bus driver.


Booking And Management:
Don Light Talent
P.O. Box 120308
Nashville, TN 37212
Donlighttalent@Comcast.Net
615-298-9944

Publicity:
Karen Byrd/Karen Byrd Public Relations
Karen.Byrd@Gmail.Com
615-595-1500

Tennessee Bible College:
Malcolm Hill
1616 Mcculley Rd
Cookeville, TN 38506
Tbc@tn-Biblecollege.Edu
931-526-2616
Www.tn-Biblecollege.Edu

www.daileyvincent.com
www.myspace.com/thedaileyvincentband

Also Available:
Rounder 11661-0604-2 – Dailey & Vincent
Rounder 11661-0617-2 – Brothers from Different Mothers

CD label:

Dailey & Vincent
Singing From The Heart

Rounder 11661-0610-2
p & © 2009 Rounder Records Corp.
Manufactured in the U.S.A.