Home > Uncategorized > Interview with Tim Parton and Glenn Dustin

Interview with Tim Parton and Glenn Dustin

I am so excited to present to you my very first interview on my blog. I have been waiting a long time to post this and finally it is finalized and ready to show all of you! I did this interview with Glenn and Tim back at NQC. So it has been awhile since I have actually sat down with the guys, and asked them these questions. Since it is my first interview of this nature of any kind, it is a little rough but I believe you will enjoy this interview. There are some funny and touching moments in this interview. I believe it goes into the heart of these two  talented guys, that have a love for Southern Gospel music and they both want to see it thrive. And the most important thing to these guys is reaching souls. That is what being in the business should be all about.

*I would like to credit Daniel Mount of SouthernGospelBlog.com for helping me out in a big way. With the transcription of this interview.

Nate: Tim could you give me some background – where you started playing the piano in a professional sense?

Tim: I started playing piano when I was 8. For several years, my family had a singing group back in Kansas City. Then I went on to a local quartet. Then when I was 18, I graduated from high school and went on the road with Lesters from Saint Louis, Missouri.

Then I actually went back home to be a music minister at my church. I was there for two or three months and received a call from Brock Speer. Ben Speer was leaving his family, so I moved to Nashville. I was with the Speers for about three years. Then I went with Janet Paschal for about four months. I went with Mike Speck Trio.

Nate: OK.

Tim: I was with them for a year. Then I went to Gold City.

Nate: I remember those days:

Tim: I had gotten married just before I joined Gold City. So after about three years with them, why, we had a baby, and I decided to get off the road. Then I filled in and did a little bit of Homecoming stuff. Then I started traveling with Vestal Goodman the last year she was alive.

Nate: OK, wow.

Tim: And then Greater Vision – I mean, Legacy Five called.

Glenn: Hey, Glenn Dustin’s my name – glad to meet you! [Laughs]

Tim: Legacy Five called, and that’s when Roger was going through his bone marrow transplants, and all those things. He went through two of those, hundred-day spans. Of course, on the second one is when I joined full-time, after he passed.

And that brings us up to 2009.

Nate: This is for you, Glenn. I noticed you was a welder before you joined Legacy Five. Did you have any experience singing? Had you ever met Scott and Roger before you actually auditioned?

Glenn: In 1997, the local quartet that I was with wanted to record an album. So we’re thumbing through the Singing News Magazine to find out where to go, who even does producing. We knew nobody. And we come across Square 1 Studios, which was owned by Roger Bennett and Scott Fowler. We called them up, and that was in 1997. We met with them, we came to Nashville, and we did—to the people out there that don’t record, this may not mean anything to you, but to people who do record, you’re gonna go “wow”—we did an entire album in one day.

Nate: I know. I sing in a local quartet and we did that in a few months ago.

Glenn: It is crazy. It gets wild. I met Roger and Scott there – that was in ’97. I must have must have made a little bit of an impression! When I found out the Cathedrals were gonna retire, I called Roger. And I got Roger’s number—you should know this—Scott Howard, our baritone singer, lived in West Monroe, where I lived. And we knew each other through the guy that sang lead in our quartet—Scott was his first cousin. So there was a connection there. That’s how I got in touch with Roger. I called Terry, our lead singer, to get in touch with Scott, to get in touch with Roger. But it was kind of a long way around.

I got in touch with Roger. He goes, “Yeah, yeah.” He goes, “I was thinking about calling you!”

And I was like, “Really?”

He was like, “Yeah, I remember you. You sang with so and so group.”

He was like, “Yeah, I remember you. I wanted to call you and ask for a demo”—course, I didn’t have a demo, barely knew what a demo was! I thought he was calling me dumbo or something—what?

Anyway, to make a long story short, after two auditions and speaking with them for a while, they offered me the job.

Nate: Tim, you have kids, right?

Tim: Two boys.

Nate: What’s their names?

Tim: Grae Chandler is ten; Elijah Christopher—we call him Eli—is seven.

Nate: Are they being homeschooled?

Tim: They’re being homeschooled, sure enough.

Nate: What are you most proud of in your career, so far?

Tim: I don’t know what I’m really proud of. In terms of self, I realize every good and perfect gift is from God, so I know that I’m very, very blessed to have been making a career out of this industry, whether it be on the road or in the studio.

I guess I’m proud of the past twelve years I’ve been married. I’m proud of my wife for putting up with me being on the road, because I see a lot of piano players and (this is a long answer) I see the fact that there are a lot of groups that don’t have piano players now. It’s just canned music. So I feel blessed that God has given me the gift to be able to add not only just piano playing to a group, but arranging and all the things that I bring to the table, that kind of make me sought after, to a point, that it’s not just a piano playing gig. So that’s probably what I’m most proud of.

Nate: What are some of the goals you have going forward?

Tim: Right—that’s great. I want to learn to orchestrate. Our latest album, Just Stand, was produced and orchestrated by Lari Goss. I want to be able to do that. In fact, the first day we were doing vocals, Lari presented me with a copy of a book that he learned how to orchestrate from. So I’m trying to learn what that’s all about. That’s a goal of mine.

I guess to be a better producer, a better musician, and to be a better businessman. Being a musician, I’m kind of . . . I’m not focused. I’m a procrastinator. So those are goals.

And God has given me (with Legacy Five) a great opportunity to learn from Scott Fowler.

Nate: Great businessman.

Tim: And Scott Howard, I think, is a real wise man. He’s got a real balance in him. He’s the one who—he doesn’t stomp out ideas, necessarily, but he’s the one that teaches me to weigh them. So God’s always put me in places where I could learn and help develop my goals, whatever they may be. Kind of develop them as God lays them out for me.

Nate: Exactly, good.

Nate: Glenn, this is going to be a big question here.

Glenn: Hey, you’ve got it.

Nate: This is something I’ve never known. If this has been said on any of your videos, I forgot it. Why do they call you Cuz?

Glenn: Yeah, I get asked that a lot, actually.

And I say that a lot. Especially if I don’t know your name, or just real quickly, I want to get your attention, I’ll be like, “Hey, cuz, come here!”

The very first time Legacy Five was in the studio (it was actually in 1999), we were sitting in there, and the engineer had no idea who I was. Apparently he had heard me a couple times call Roger, Scott, or somebody Cuz. “Hey, cuz!” He didn’t know my name, so as he’s labeling the faders, he just wrote down Cuz. He didn’t know my name, but he’d heard me say that a lot, so he just wrote Cuz. Somebody noticed it. They were like, “Roger, Scott, Scott, Cuz. Who’s Cuz?”

It just stuck. That’s literally how it got started.

Nate: That’s great. Either one of you can answer this: Do either of you have a pre-concert ritual, that you will do before each concert?

Glenn: I don’t have one. Well, I try to warm up the voice a little, and at the same time I try to calm my nerves a little. You know, maybe taking some deep breaths, and just do a little bit of vocal thing. But I’ve watched Tim—nobody can see this, but he’ll set there, and I’ve seen him, what do you call this?

Tim: Clawing?

Glenn: He’s just like a little cat. He’s just sitting there clawing. He’ll stop and shake his hands out.

Tim: And I don’t know that I do that before every concert.

Glenn: No, not every time.

Tim: A lot of that may be just nervous energy. Of course, I’ve noticed Gerald Wolfe is rolling his hands—I think maybe he has a little arthritis, and he’s just keeping his fingers limber.

I don’t know that I have anything that I intentionally do, other than putting a suit on. I think that’s always my pre-concert ritual.

Glenn: He’s got another little tick. It’s my curse, if you will, in life, is that I notice ticks on people. If somebody does a weird thing with their mouth, or eyes, or fingers, I notice it. Tim, one of his little things – he’ll put his hands flat on the table. To teach his hands—I guess it’s kind of a brain exercise, too—he’ll teach his brain to move two fingers at a time. That way he learns to use every finger that he has. He’ll be going “Pointer finger, ring finger.” I can’t even do it!

Tim: Somebody’s not a piano player! Now I have seen Cuz do his Elvis imitation . . . [laughter]

Nate: I can’t imagine!

Nate: Tim, back to you. I know you’ve played and produced for a lot of different groups. How do you juggle that—between Legacy Five, producing for other groups, family?

Tim: You know, a lot of times being on the road—unlike the quartet convention, which this year especially has just been—I brought a stack of CDs and a couple of books that I haven’t even gotten to look at, in hopes that I would have some spare time, but I haven’t been able to! The majority of time on the road, we have at least the morning up until noon, till lunch, and then we go set up about 2:00 and do a sound check, and then we have maybe 45-50 minutes where I could take a nap or something. But whenever I know I have a project, I try to get all the charts done, anything I can. I do a lot of Daywind demos. I do a lot of that stuff on the road, as much as I can, so when I go home, I can be a family man.

But even though I don’t consider it work, I could easily be a workaholic, because I enjoy music so much that I don’t even think about what I’m doing as taking time away from my family. It’s doing what I love, and I’m getting paid for it, so I figure I can justify it to my wife. She doesn’t always agree with that!

Nate: Glen, this is a little more serious for you. I was watching that Cathedrals reunion—Tim was noticing how I was into it. How did it feel for you to—George, nobody’s ever gonna be George, but how did it feel to being the bass singer since George wasn’t here? I can’t imagine the feelings that was going through you at the time.

Glenn: Absolutely, if you . . . .if you . . . it was sheer terror, until I stepped up there. Once I get up there, I’m like, “Okay.”

Nate: Kind of go into a comfort zone.

Glenn: I’m really concentrating on words, because we don’t sing the songs all the time.

It starts off with nerves. I get nervous. But – man, when it starts goin’, and when you hear Danny start hitting those notes, and Mark . . . it’s absolutely humbling for me to be up there. I shared with somebody today, and this is why: Because I didn’t even like Southern Gospel music at all until I heard the Cathedrals. And I heard Gerald, Danny, and Mark, George, and Glen. That was my first Cathedrals . . . that was life changing that might, in Monroe Civic Center, Monroe, Louisiana. When I went and heard that, it was either winter of ’87 or . . . it was in the winter. It was in December of ’87 or January of ’88.

Those guys came out and did “Plan of Salvation,” “Master Builder,” then they started doing some acapella stuff.

Nate: And you never dreamed that twenty years later . . .

Glen: No! And to be standing beside the men that I first heard do . . . it was just humbling, very humbling, and a big, big thrill.

Nate: Have either one of you written a song?

Glenn: I’ve written.

Nate: I think I saw on video that you wrote a song, and showed them to Roger.

Glenn: Roger was very encouraging to me, when it came to writing, because Roger . . . a lot of people don’t know how great of a writer Roger was. Brilliant, brilliant writer. And I’ve dabbled in writing. I’ve tried. Me and Jim Brady’s got stuff going right now. Rodney’s helped me with stuff.

Nate: You never know when you might get one cut!

Glenn: Maybe bribe Fowler into cutting one . . . .that would be cool!

Everything I end up writing ends up real country, or bluegrass. Maybe for the Inspirations, they always sing that style real well. Who knows—maybe one day.

Nate: Tim?

Tim: I’m not deep enough to actually write.

Nate: It takes inspiration.

Tim: It also takes attention, focus—which I don’t have. There’s a couple of Daywind writers that just had lyrics, and I was able to put music to them. In fact, Kingdom Heirs, I think, just put a hold on a song that I wrote the music to, one of Dianne Wilkinson’s lyrics. So that should be a good opportunity.

Nate: This will, I think, be basically a closing question, maybe a fun question, maybe serious to. Who are your favorite musicians, currently, in Southern Gospel music?

Tim. In Southern Gospel music.

Nate: Or it could be general.

Tim: I’ll start with Southern Gospel. Unfortunately, when I was a boy, we were raised on country music. My family sang Gospel music, but my dad was a big guitar Chet Atkins fan. My dad always wanted to be on the Grand Ole Opry. We always followed Dad’s music. And I didn’t realize that there were other styles of music—we never listened to it.

Being on Legacy Five’s bus, when Cuz is driving down the road, he’ll turn it to a rock station, and he can tell you the names of the artist, and where he was when he heard that song. Scott Howard will be driving, and can turn on country, and he can tell you every artist, and all this. And I’ll think, how did you guys learn that? And they’ll be like, “We were listening to it when we were working in the factories,” or whatever they were doing.

So I like more styles than any specific musicians. I’m a big jazz fan, love jazz. In Southern Gospel, I enjoy Gerald Wolfe’s playing. I hear things that different piano players throughout the field play, little licks that they play. I’m not necessarily a fan of everything they do, but more than anything, I’m a fan of good musicianship. So . . . there are books and books that have licks, we call them, piano licks and moves and runs that you can learn, and if you know where to put them in, why, you can really wow the crowd. But if you’re not a real musician in the other 64 bars of the song, why, you know, it just . . . it won’t keep my attention—which doesn’t mean anything, it’s just my preference. I enjoy good musicianship, and Gerald Wolfe is a great musician.

Nate: Glenn, what are some of your favorites—styles you prefer, style of group, style of song to sing?

Glenn: As far as my favorite style of song to sing, I like Inspirational quartet music. Now I love to the classics. I love the Jericho Roads, because they feature the bass singer. Love that! And I do my best to deliver. Love that!

But when we do those really big ballads, “Truth is Marching Ons,”

Nate: “When They Found Nothing” – new one.

Glenn: “When They Found Nothing.” “Hello After Goodbye.” Those are my favorite to sing, because I can see that people are being moved by that song.

Now as far as listening . . . when I’m playing, let me just say, if I’m playing, I end up playing everything bluegrass.

Tim: On guitar.

Nate: So you play guitar?

Glenn: Well, I try. I think I can think I can play until I hear others . . .

Nate: Brad Paisley.

Glenn: I wish! Brad Paisley is tremendous. Do you call ’em book-chucks? What would be – “Oh, Say but I’m Glad,” that groove?

Tim: Swing.

Glenn: Swing, that little groove. I love to play them, I love to sing them. So when I hear that, naturally, that’s the kind of groove that I like.

And I gotta tell you, going back to the ’80s, if I’ve got the radio on, it’s on Rock and Roll.

Nate: Boston?

Glenn: Yeah, dude!

You know, ’cause I probably posted something on Facebook. That was Creed – Creed has gotten back together.

Nate: But you said you prefer Boston.

Glenn: Boston, of course. But any genre of music—you take Rock and Roll, you take country, you take opera—if the vocalist has that something, as they say in Lousisana, that old Creole word they call Lanya, if he has that Lanya, that little something special in his voice, that draws me. So when I hear guys from Boston, from Journey, Brad Dill—those kinda guys, they’ve got somethin’ in their voice. It’s a gift, and I’m just amazed at their talent.

Tim: And this, I think, is an interesting point. I don’t think you’ve ever really told this. If you were raised in a Southern Gospel music home, where it was playing…

Glenn: No. Like I said, the only Southern Gospel I heard when I was a kid was, you know, Tom Thumb and the Fingers that came to our church. They were horrible! Horrible! You know, even as a kid I can remember sitting there, ten years old, thinking, “That dude cannot sing! That is horrible!” I remember thinking, “Man, all those guys are all pigs!” Real hokey, real cheesy. And I remember thinking, “If that’s Southern Gospel, I want no part of it.”

And I’m telling you, my friend, who I saw this week—hadn’t seen in probably about fifteen years—he was the guy that took me to the Cathedrals concert. I was singing along with George. I’ve always had a deep voice. So as best I could, singing along with George. My buddy heard me, and he was like “Dude? Are you singing that?”

I was like, “Yeah.”

He was like, “Dude, we’re starting a group tomorrow.”

Tim: That’s funny!

Glenn: I was like, “Okay, we can do that.”

And it’s that way, and I don’t mean to badmouth Southern Gospel. That’s not what I’m doing. My point that I’m trying to make is in any genre of music, there’s always those groups out there that are gonna give that style a black eye.

Tim: Yeah.

Glenn: That may sound harsh, but. . .

Tim: Lack of musicianship, lack of quality. I’ll turn on a Southern Gospel station, and be like, “This is why people don’t like it!” You’ll hear some good songs, but you’ll hear songs where they can’t be on pitch. You’ll hear where the producer has to use auto-tune, you’ll hear where they can’t seem to keep on pitch. You’ll hear the auto-tuning that the producer has to use.

I ain’t badmouthing, but like Glenn said, there’s got to be more standards for releasing stuff to radio.

Glenn: One of my pet peeves—I don’t know if I’ve ever shared this—it’s all in this vein. The reason why I want everybody in Southern Gospel to do well, to be good, good musicianship, good singers, know their limits, stay within those limits, is this: A buddy of mine that lived right across the street from me—same age, same Sunday School class at church, played a lot of golf together—he was flipping through the channels one night, and he saw a Southern Gospel show.

He called me and was like, “Oh, man, check this out! Go to channel so-and-so! This is the funniest thing I have ever seen!”

It was a Southern Gospel concert. He honestly thought it was a joke. It was like a bad Saturday Night Live skit. And I have to admit, it was horrible. And he was laughing. Of course, I didn’t have the nerve at the time to tell him, “Dude, that’s one of the well-known groups in our industry.” I didn’t say anything at the time. So that is a story that I’ve never shared. So I guess the point I’m trying to make is that I always want Southern Gospel to be held in the best light possible.

Tim: I agree with that. Make it the best genre out there.

Glenn: As far as a story that I’ve never shared, as far as I know has never been shared in an interview, it was in probably maybe—it was either in 2000 or 2001. It was the very beginning of Legacy Five. People were coming from a long way off, first of all to support Roger and Scott, and they was kinda curious. They wanted to hear the knew group, you know. There was a lot of hype about us in the very beginning. So there was a lot of people that were driving to come check us out.

We were in this little bitty church in South Carolina. People had driven for hundreds of miles. It was so full in there that you could not put one more person in that building. It was impossible to put one more person in it. So they’re telling all these people to leave!

Scott and Roger were like, “No, no, no, you can’t tell them people to leave! Tell them we’ll do another concert.”

So as people were leaving, we said, “Y’all come back in an hour and a half, and they’ll do another concert.”

The first concert was tremendous. People were just going crazy, it was just a great, great, concert. So, when it got time for the next concert to start, there were eight people there. So we went from this packed house, couldn’t put another person in there, to eight people. Now, two of the people got up and left! So that leaves us with six people that we’re singing to. Everybody’s just letting them have it . . . course, you know, it was very humbling.

After the concert, we just immediately started breaking the sound system down. A little thirteen-year-old boy—I take that back, he was younger than that, he was about nine. He came up to me, and goes, “I just wanted you to know, tonight, during the concert, I prayed and asked Christ into my life.”

I had been aggravated. Here we are, singing to eight people, two of which got up and left during the middle of our concert, then God just places that in front of you.

So fast forward. About a year ago, we were somewhere, can’t remember where, and goes, “Hey, remember that concert in South Carolina?”

He described it to me and said, “Yeah, I remember that.”

He goes, “I was that little boy that asked Christ into my life that night.”

So it was the best and the worst all in one concert. It was the fewest people we ever sang to, but one of the people asked Christ into their life.

Nate: How about you, Tim?

Tim: I have no story . . .

Nate: Just something general . . .

Tim: I’m trying to think . . .

Glenn: A lot of people may not know this about Tim, but he has never had a piano lesson in his life.

Tim: They tell that at every concert. But I don’t think it’s ever been published.

Nate: That is awesome.

Tim: It is awesome, and to God be the glory, but now it’s become a joke.

But I was thinking of something: I don’t know if anybody’s ever told the story of me jumping out of Scott Fowler’s closet.

Glenn: That was probably was one of the most surprised I’ve ever been in the bus.

Nate: I think I heard that story at a concert—no, on your Facebook. That’s something I just forgot. Go ahead!

Tim: We were in Montgomery, Alabama, I think it was, at some theater with Greater Vision. We were ready to go. I don’t even know what possessed me to do it, but we have a center aisle down our bus, and so toward the back of the bus is where the closets are. So I just hopped up in Scott’s closet. I guess I thought he would come in and change, but I . . . I guess I was just being stupid, one of those stupid moods.

Gary, the bus driver, came back, and opened the door. I just kind of looked at him. He had apparently seen me get in there. Really, Frank’s bunk is underneath the closets, and then the closets are on the wall. So I had to literally climb up in it to get in it, and then it’s kind of deep. So I just sat there and waited, and figured, “Well, this will be good when it happens, but it may be tomorrow morning before he opens his closet!”

Glenn: Yeah, he almost starved to death!

Tim: Yeah, exactly! I felt like a stowaway or something! But anyhow . . . so later on I hear that Rodney Griffin had come up on the bus, and somebody had told him that I had gotten in the closet, and so I guess Rodney was just standing there, really taking his time . . .

Glenn: Saying goodbye.

Tim: Saying goodbye, and then Scott says that he thought it was weird that Rodney was just taking so long to say goodbye.

Then Scott opens his door. And I’m just there, and I don’t remember booing . . .

Glenn: You went “Aaah!”

Tim: It doesn’t take much with Scott! You just kinda jar him! And I couldn’t even see his reaction, but I guess he about . . .

Glenn: No, he literally fell down! Course, that’s what made it so funny. We’re all sitting there, just kinda talking to Fowler, and he’s back there looking at us like, “What?”

He knew something wasn’t right, but he had no idea. ‘Cause Rodney’s up there, just poking around, and lingering, which usually when you say your goodbyes, “Love ya, see ya,” get off the bus, go eat. But he lingered, and lingered. And Fowler, finally, when he opened that closet, and Tim had jumped out . . .

Tim: Patience paid off!

Fowler: Fowler went “Aaaaaaaah!” He slammed the door and just fell completely on his side. We were screamin’ laughin’, man!

Then you look back down the hall. Tim sticks his head back out the closet, to check on him. That was funny!

Nate: And I’m surprised you did that, because with Scott Fowler, especially, paybacks are coming.

Glenn: You do to him one, he’s gonna do to you . . .

Nate: Not in a hateful way.

Tim: I don’t think he’s ever gotten be back.

Glenn: I’ll remind him!

Tim: Make sure he does not read this!

He’s the type that he may just kinda chisel . . . he’ll be laying in his bunk. I’m in the top bunk, he’s in the middle bunk, the driver’s in the bottom bunk. Basically, I’ll have to jump out of my bunk. I’ll be standing there putting stuff in my bunk, and he’ll pull his curtain back and go “Roar,” that kind of thing. But nothing that . . .

Nate: Something I asked Tim, what’s one of your goals going ahead?

Glenn: Dude, really . . . I’m an in the now kind of guy. You can ask these guys. I don’t have any long-term investments. I’m just an in the now kind of guy. I will say, I wouldn’t call them goals, but there are things I desire . . . .

Nate: Aspirations.

Glenn: There are aspirations. I want Legacy Five to be as good as we can be. To minister as much as we can. And I want to be a good singer. I don’t know any preacher that says “I wanna be a bad preacher.” You wanna be good at what God’s called you to do.

I wanna be better. I wanna hit better notes, lower notes.

Nate: Is that something you work on? Vocal coaching?

Glenn: Yeah, I’ve had vocal coaching.

Tim: He’s had piano lessons.

Glenn: Yeah, I’ve had piano lessons. She told me to take two weeks off, then quit!

Nate: ‘Cause it seems like since you’ve started – I’ve just noticed progression with your solos. Your voice has always been low, but your solo work has progressively improved.

Glenn: Yes, I have gotten better with the solos. That’s taken work! What it took was I go and I listen to George Younce. I listen to some Tim Riley. I listen to a lot of guys. My favorite bass singer that’s out there right now, that I listen to a lot, every chance I get, is Jeff Pearles. He’s just the best. When it comes to tone, pitch, and his style on stage, how he looks . . . everything, Jeff Pearles is my favorite.

So I go and I listen to all these guys. I listen to Eric Bennett, I listen to Gene McDonald, and I think, “Okay, that’s how you sing those soft tones, that’s how you do that.” Because I thought I knew how to sing until I started doing it for a living, then I realized I didn’t know how to do it.

So there are aspirations. I wanna be good at what I do. I want our group to be good. I want us to be able to minister to people, to connect with people.

It’s so big, man, so, so, big, to be able to communicate with an audience.

Nate: Yeah, if you can’t connect with your audience . . .

Glenn: You’re dead!

And I always want to be able to be do that. So those are kind of some aspirations.

Tim: My aspiration is to go eat!

Nate: That’s basically all my questions, and I really appreciate you guys taking the time to do this! Most people know what your website is, but if people want to get some information about Legacy Five . . .

Glenn: If you want to know about Legacy Five being in your area, or if you want to find about the events we do, all throughout the year, about our music, go to www.legacyfive.com. If you want to talk to me, go to glenn@legacyfive.com.

Categories: Uncategorized
  1. Dalina
    February 3, 2010 at 1:43 -04:00Feb

    Great interview, Nate! I’ve learnt quite a bit about Tim and Glenn from your interview. It was most interesting. Thanks for posting it.

  2. Brian
    February 3, 2010 at 1:43 -04:00Feb

    Awesome interview Nate! Thanks to Glenn and Tim for sharing! Fine caring Christian men, just goes to prove what I always knew.

    Wish they got Fowler on tape, I’d by that on a DVD!!!!! Good stuff!

  3. Phil
    February 3, 2010 at 1:43 -04:00Feb

    very interesting and insightful to boot. A darn good first interview Nate!

  4. February 3, 2010 at 1:43 -04:00Feb

    You’re welcome! It was a great conversation to transcribe!

  5. Naomi
    February 3, 2010 at 1:43 -04:00Feb

    Great job, Nate!! I thoroughly enjoyed it!!

  6. Katie
    February 3, 2010 at 1:43 -04:00Feb

    GREAT interview Nate!!! I really enjoyed it! It’s so cool because it gives you a personal glimpse at what the guys are like as people; not just performers. Great job!!

  7. Ruth
    February 6, 2010 at 1:43 -04:00Feb

    Enjoyed reading this! I do believe though that the word that sounded like and was transcribed as “Lanya” is acually lagniappe–Cajun for “a little something extra.” http://www.thefreedictionary.com/lagniappe

  8. Lou Camp
    February 7, 2010 at 1:43 -04:00Feb

    Interesting interview and very informative. Keep up the good work Nate.

  9. mary Lynde
    February 26, 2010 at 1:43 -04:00Feb

    Glenn WRONG you said you just thought before that you could sing and I understand what your saying, but my friend I think your the greatest. When I first heard you with the OTHER Howard boy LOL you know of whom I speak, well I just loved your bass voice and yes I will say you have improved and you will always improve . Legacy 5 is a grat bunch and I love all of you and your music speaks to me. Prayers go up for all of you and your families. Love Mary Lynde Columbia, La.

  10. mary Lynde
    February 26, 2010 at 1:43 -04:00Feb

    Nate that was a good and interesting interview. now I loved Tim telling the closet story

  1. February 3, 2010 at 1:43 -04:00Feb
  2. February 8, 2010 at 1:43 -04:00Feb

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