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Produced by Barry Weeks & Phil Johnson
Label:  Spring Hill Music Group
Website:  http://boothbrothers.com

The Booth Brothers have always been known for their solid roots in traditional Southern Gospel, mostly due in part to their close work and familial ties to Mosie Lister as well as many years working with Nick Bruno.  They've been known for their lively performances, especially on songs like "Still Feelin' Fine" or "The River Keeps A-Rollin'."  (The Booth Brothers won Best Live Performer at this year's SGN Music Awards.)  Their last album, and first for Spring Hill Music Group, saw the Booth Brothers stretching themselves slightly, at times recalling the sounds of Phillips, Craig and Dean or the Eagles in addition to their trademark traditional based harmonies.  Their sophomore outing for Spring Hill, The Blind Man Saw It All, finds the group firmly planted in the progressive sounds the label is known for.

The difference between this album and The Booth Brothers is that instead of formulating their vocal moves around what the tracks are doing, the Booth Brothers recorded vocals first and the band had to work around and accent what the guys were doing melodically.  The approach is new for Southern Gospel, and it works to the benefit of both the session players and the Booth Brothers on this recording.

The album opens with the rousing country-tinged "Testify" which has a slight nod to earlier favorites like "Still Feelin'" fine, but wouldn't be at all out of place on an album by country favorites Nickel Creek.  The album then moves into the most traditional song on the album – the hit "He Saw It All."  Lyrically, it's an album highlight with juxtaposing themes laced throughout:

"I was trying to catch the cripple man
Did he run past this way?
He was rushing home to tell everyone
What Jesus Did today
And the mute man was telling myself and the deaf girl
He's leaving to answer God's call
It's hard to believe
But if you trust me
Ask the blind man, he saw it all"

"He Saw It All" was written by Daryl Mosley and features the right kind of lyrical contrast to set itself apart from the rest of the typical songs being played on Southern Gospel radio. 

For the most part, the album pushes through up-tempo progressive numbers that find the guys recalling early Phillips, Craig and Dean (at a time when their music had a much more pop-country feel).  "Eyes of Heaven" and "Through the Eyes of Faith" feature atypical vocal arrangements for a Southern Gospel based album, and the Booth Brothers seem to tackle the arrangements with much ease.  "The Blood" (which has already been shipped to Inspirational radio formats) finds Jim Brady leading the guys behind a beautiful lyrical piece. 

Of most notable interest is "Father," a Michael Booth feature that showcases a different side of the brother.  Gone are his traditional quartet-tenor sounds as he has embraced a softer, more melodic sound.  It's a wonderful sound that will surely have fans eating out of his hands during concert settings.

The Blind Man Saw It All is a career record for the Booth Brothers, featuring songs written by industry leaders like Patti Hawkins, Tony Wood, Phil Johnson, Chaz Bosarge, and more.  While they've always been a fan favorite, with these new songs and vocal arrangements under their belt, they have no problem remaining a dominant force in this industry – as well as branching out and gaining new fans in the process.

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