Ernie Haase and the Signature Sound (EHSS)  ----  a boy band redivivus?   Way back in the 90s, during the time when boy bands had been incessantly popping up, one of the most distinguishing features of their CDs was their glossy covers of group members striking sybaritic poises.   Vis-à-vis their former prim and proper "Here We Are Again" album picture, on the album cover of "Glorious Day," EHSS looks more like a boy band resurrected from the 90s.  With trendy ties, slick black overalls and gel hair over a blanketed white background with a cerulean blue words "Glorious Day," this does not look like a typical Southern Gospel disc.  However, as the adage goes, a book must not be judged by its cover.  "Glorious Day" is ironically EHSS's most traditional album in the last few years.  Half of the selections here are traditional Southern Gospel chestnuts while the remaining are new songs mainly co-written by Ernie Haase and their producer Wayne Haun.  Though there is a strong throwback to Southern Gospel of yore, coming from the perspective of a younger generation, the music here is by no means antiquated with archaic church organs and overpowering high-church "choral" work.  Rather, thanks to Wayne Haun, the production here is classy and modern without sacrificing the rustic roots of the genre's traditions. 

As the disc starts spinning, we are introduced to a big band styled take of 'When the Saints Go Marching In."  Often dubbed as the "jazz funeral" funeral song in places like New Orleans, EHSS's rendition is far from being a dirge.  Rather, with marching horns and the lilting groove, this nineteenth century American folk song has a timeless feel to it.  Then on the next track, Bill Gaithers' "When Jesus Breaks the Morning" we are transported back to the 50s and 60s.  The old time feel Gospel feel with that special echoic jazz feel without sounding contrived gives a sepia-toned beauty to this hymn of praise to Jesus for his blessings.  However, tackling Ralph Stanley's bluegrass tune "Two Coats" is a mistake.  Despite Wayne Haun's ingeniousness at the board, he still could not take away that "Brother, Where Art Thou" rootsy feel to the song which makes this song sticks out like a sore thumb.   Latest member of the quartet Paul Harkey certainly puts his signature bass to great effect on the traditional "Scars in the Hands of Jesus."

Of the new songs specifically penned for the album the best has to be the beautiful ballad "That's Why I Loved Him So."  Listing a litany of reasons why Jesus is loved, this country waltz really makes you want to get up and sway with exuberant joy in Jesus Christ.  Two songs that deal with heaven of sorts are the title cut and "Sometimes I Wonder."  While the title cut "Glorious Day" is quite predictably joyous, "Sometimes I Wonder" is a gem.  Written by Joel Lindsey, Wayne Haun and Ernie Haase, this live acoustic take was indeed a wise decision as it creates an intimate vibe emanating out of this carefully crafted personal ballad.

Often a staple within the genre of Southern Gospel music is novelty numbers.  In the past, EHSS has their share of them including "Goodbye Egypt, Hello Canaanland" and "Happy Birthday, Anniversary Too."  Here they have two:  "Noah Found Grace in the Eyes of the Lord" and "Shh, Be Still."  "Noah" is a sped up version of the old Sunday school song with singing and talking parts that work out fine without being great.  While "Shh, Be Still" (other than the title) has a superb melody undergirding a pressing message to each of us to listen to God's voice in our daily lives.  Though not perfect, "Glorious Day" is quite an enjoyable record.  Traditional without sounding old, reverent without being stifling, adventurous without being rebellious, "Glorious Day" certainly will satisfy long-time fans and bring in new ones.