It's been a while since I've written in this diary and I'll be the first to admit that I should do better. But since I do try to have something remotely interesting to share when I write, if the well is dry, it might serve us all better if I just leave the bucket on the shelf.

However, today, I want to answer a question that someone posed to me a few weeks ago when I was a concert. The conversation centered about the product sales numbers of today vs. "yesteryear."

Those artists who have been in Southern Gospel music for 25 or more years will tell you that while the product sales of today are not in the cellar, they're not quite what they used to be, say in the days of the powerhouse recording labels of Canaan and Heartwarming. And while there are several theories to choose from as to why the sales are what they are, I think there are two that stand out considerable.

First, product sales, in my opinion, began their downward spiral not long after the arrival of the home cassette recorder. Think about it: Before, when you wanted a copy of an album, what did you have to do? Yes, you had to buy a copy of the album. I can't remember anyone who had an album press in the basement. BUT, when people realized they could just pop a blank cassette tape in the recorder, place it next to a record player's speaker—or in the case of the more advanced stereos of the day, just press the right source button—you didn't have to wait in line at the product table or pick up the latest album at the record store if you had a friend who would loan you his or her copy.

Naturally, today, there are legal issues with this, but let's be honest about it: We all made copies at some point or another. But with record companies (of all genres) enjoying high sales numbers, no one really cared at that point.

Nonetheless, I believe that's when things began to turn.

Second, I believe that the Southern Gospel recording industry and their interaction with radio has affected sales. Now, please understand that I'm not shooting at anyone, just offering an opinion that is solely mine.

Quick: Name the last "monster" song in Southern Gospel music.

Still working on it?

Well, let me help you. Many of you may be thinking "Midnight Cry," "God On The Mountain," "Four Days Late" or perhaps one of the Crabb Family's songs like "Through The Fire." Or, you could be thinking of something like Gaither's "I Believe In A Hill Called Mount Calvary." Regardless, all of those songs have one thing in common: They're not that recent.

I maintain that because Southern Gospel record companies will often reduce the promotion of a radio single just as soon as a song hits No. 1 or perhaps starts stalling when it hits the Top 10, many songs never have a chance to develop into a "monster" song—and it's those kind of songs that keep projects selling well after the initial rush. You hang around an artist's record table long enough and listen to what the fans are asking for, the validity in what I just said becomes apparent.

Now, I'm not saying that's right or wrong. In fact, I don't even know if there's a right or wrong here. But I think there is some merit in what I'm saying. And, we may be in a day and time when there is no workable alternative.

I'd be interested in hearing what you have to say on this. Drop me an e-mail to danny.jones@singingnews.com.