It’s amazing the difference a year can make, as well as the progress and growth that a young group can experience between records! With the Greenes’ first major album under their belt, they gathered into the studio again in 1985, to record their next album, “Evergreene” (again, I love the play on words with the Greene’s name). From the very first song to the very last song, you can hear the growth in the Greenes as singers, along with a certain depth and intensity to their vocal blend. I love the overall sound of this record and the warmth it exudes in the music, vocals and song selection.

The Greenes were still with Morningstar Records for the making of “Evergreene”, and with Eddie Crook in the producer’s chair, the album was recorded at Acorn Studio’s in Nashville (the Greenes first “Nashville” record), and though no credits are given as to who played, it is likely the normal grouping of musicians that Eddie used for most of his sessions at the time were utilized, which could have included any of these names such as Steve Mauldin, Jimmy Dumas, Jimmy Capps, Bruce Watkins, Sonny Garrish, Gene Chrisman, Dirk Johnson, Bobby All, and of course, Eddie Crook. From a production perspective, Eddie Crook had a formula that worked for him, and this album has his fingerprints all over it, as it sounds a lot like much of the music his label released during this time frame, but you also hear some of the Greenes’ unique harmonies highlighted throughout the album, and production-wise, it’s definitely a bit of a step-up from their previous recordings. I also love the cover shot for the album…the white pants, colored shirts, Kim’s very 1980’s chic outfit, the white background…it definitely stood out and wasn’t the average Southern Gospel looking cover.

Before we get into the main crux of the album, let me add that the personnel within the Greenes changed slightly from their last recording, as Robbie Stevens, who had played drums for the group for the last couple of years had left, but before he departed, Roger Fortner joined to play guitar. Of course, Roger previously played for the Inspirations from 1973 through 1981, before diving into studio work in Mt. Airy, North Carolina, and playing for the Hoppers and Talleys for a short time. Along with playing guitar, he also eventually started playing piano/keyboards, thus allowing Everette to stand and sing with his family, giving the Greenes a bit more freedom and creativity on stage.

“Evergreene” kicks off with the warm feel of the Jean Canter penned tune entitled, “Sing a New Song”. With its electronic keyboard track, the song just drips of that classic “Greenes” harmony and is one of my personal favorites from this album, before the tempo gets ramped up for the electric guitar driven track for the tune, “Downtown Jericho”. This driving song features Tony, and it was written by Gary Fox (who was cousin to Eldridge Fox) and published through Eddie Crook’s Chestnut Mound Music.

Once again, with a warm electric keyboard track, the pace slows back down for the entrancing, “In the Morning”, which comes straight out of the Stamps-Baxter catalog. Written by Mural Mitchell and published in 1954, the song features an excellent performance by Kim, who is really coming into her own as a vocalist. Initially hearing the song from the Primitive Quartet, who recorded it back in 1976, the Greenes took the song and completely re-arranged it to fit their style, giving it the feel of a nice lullaby, and it’s a highlight of the recording, before the tempo kicks back into high gear for the upbeat, “Sailing on Home”, which was written by Michael Harlson and published by Eddie Crook through Pleasant View Music. Big Mo & Chosen (who recorded for Eddie Crook at the time) originally recorded the song on their 1984 album, “Bloodline”, and briefly charted it in late 1985. Additionally, the Bowlings recorded the song several years later, on their 2010 recording, “Shine”, and did a great job with their rendition, but this album by the Greenes was my initial introduction to this popular tune, and it’s still my favorite version of the song.

The first side wraps up with the beautiful song entitled, “King of Glory”. This prayerful ballad was written by Tim, and it was inspired during a visit to their church one afternoon. Tim came with no intentions to write, but simply wanted to spend some time alone in prayer, and as he was praying, the words to the song started coming to him, “He is the King of Glory, the Bright and Morning Star, the Fairest of Ten Thousand, whose love shines near and far, and when I get so lonely, this friend is by my side, He warms my soul and spirit, with Him I’ll e’re abide”. Featuring Tim and Kim, it’s a wonderful song with some inspirational undertones, and is one of my personal favorites from this album.

The warm sounds of the acoustic, “Enter That City”, kicks off the second side. Written by Jean Canter and featuring Kim, the song showcases that beautiful, sweet Greenes harmony, before we move on to the infectious, “Ride on the Clouds”. Written by Kirk Talley and Roger Bennett, and featuring both Tim and Kim, this was a song Kirk intentionally pitched to the Greenes to record, and this would be the only song from the album to be singled to radio, peaking at #10 in the April 1986 Singing News chart. I truly think that this fun tune would be a great song for someone to bring back today!

Tony steps up once again as he sings the reflective, “Far Away is a Land”, which was written by Elmer Summers and published through Chestnut Mound Music. As Eddie Crook tended to push songs from his publishing company to his recording artists, the McKameys also recorded the song a year earlier, on their 1984 album, “Fruitful”.

The recording closes out with two wonderful up-tempo tunes…the first is the Dottie Rambo penned, “This Ship is Going Home”, which the Rambos originally recorded on their 1976 album, “The Son is Shining”. In fact, the Greenes first recorded the song 5 years earlier, on their first album, “Walking in God’s Sunshine”, which was released in 1980. It’s neat comparing the 2 versions, and it’s amazing how much they sound like the Rambos with this later version of the song. It’s another one of my favorites from this recording, as is the final song, “Where I’ll Be is Gone”, which features Tony. Featuring some cool guitar work, the song was written by Ronny Hinson, who had met with the Greenes one afternoon prior to recording this album, ultimately pitching them a couple of his songs, with this being one of them, and it ends the recording on an exciting high note. I think that this would have been a great radio song for the Greenes, and it’s one I’d love to see someone bring back and record!

“Evergreene” was such a great recording, and I love what the Greenes were doing vocally throughout the album. Kim was coming into her own as a singer, and blossoming into a true stylist, Tim was showcasing some excellent singing and writing (“King of Glory” was a fantastic song!), and Tony was maturing as a singer as well. I know that “Evergreene” may not be listed as one of their “greatest” or more popular albums, but personally, I felt that the Greenes created an outstanding record filled with some great songs that highlighted their musical creativity and unique family harmonies. It’s always been one of my personal favorites, and there’s just something special about listening to a group in their early years, hearing them before other sounds and styles start to infiltrate their music. Naturally, a group’s sound evolves and takes on different styles, but “Evergreene” still had a bit of purity to it, and I loved it!

At the time they were starting to make their mark on the industry, the Greenes were entering a field that was already welcoming a lot of new groups that were just making their first few runs in the charts including the McKameys, Perrys, Talleys, Gold City Quartet, Bishops, Roy Knight Singers, Singing Americans, Perry Sisters, etc. With those talents that I just mentioned in play, along with competing with your more established groups such as the Kingsmen, Nelons, Hoppers, Cathedrals, Florida Boys, Speers, Hemphills, Inspirations, Hinsons and others, it was a very unique playing field during the early to mid-1980s, but the Greenes were unique enough to rise above and stand out from the rest. As they continued to hone their style and presentation, they were able to create the demand for more, and the Greenes were more than capable of delivering the goods…again, and again, and again, and again!

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