There are many people out there (including most of those who regularly read these articles) that consider the 1950s and 1960s the “Golden Age” of gospel quartet singing.
Perhaps that is so because of the large number of truly exceptional gospel quartets during those years. It can be argued that the talent depth in the gospel quartet field during those years was greater during that time than it was before or since.
One way to illustrate that contention is to point out some of the truly fine groups that were formed and flourished then, despite not being anywhere near the top of the gospel music industry as it existed at that time.
This month, we look at a quartet that fits the latter description. They had as much musical skill as any quartet that existed during those years, and had the admiration and respect of their peers in gospel singing. But the fact that they were not known for anything outside of their fine singing possibly kept them from reaching the “top” of the gospel quartet world.
This quartet was formed in 1952 in Huntington, West Virginia, certainly a relatively remote part of the United States in terms of the postwar "boom" that was sweeping the country at that time, but nonetheless it was an area that was very familiar with good gospel music, and good music in general.
The quartet quickly attracted such attention in large part due to Lane’s excellent musicianship. Not only was he a fine lead singer, he also was a multi-talented instrumentalist as well as a composer and arranger of considerable note. It is said that a lot of arrangements used by many of the quartets in those years were actually done by Lane.
Attention to Lane had gotten so intense that by 1955, he left the Gospel Hamony Boys to take a job with the famous Homeland Harmony Quartet. That group, however, was in its’ last years and struggling. Nonetheless, Lane’s reputation prospered while he was there, and his arrangements became standard fare for many of the nation’s gospel quartets at that
time.
By the late 1950s, the quartet picked up the services of Asa Legrand on tenor, and his sound became an integral part of the Gospel Harmony Boys well into the 1960s. Also in the early 1960s, the quartet signed a record contract with Skylite Records, and they issued albums for that company as well as their own custom label. Also, pianist Carlos Day would take several leaves of absence from the group to go into ministry, but his place was ably filled by talented musicians like Harold Patrick, who would later play with the Goodmans and the Golden Keys Quartet, among others, and Dick Lucas, who took Patrick’s place when the latter went to the Goodmans, and stayed into the 1960s.
The Gospel Harmony Boys of the 1960s didn’t have a charismatic stage personality along the lines of Hovie Lister, JD Sumner, or even a London Parris or a Willie Wynn. Their calling card was always their singing, and their ability to effortlessly execute the challenging vocal arrangements of Lane, and repeatedly entertain and bless their audiences with solid singing and a warm, friendly stage manner. And while it may have made them more famous to be more flashy, there is something to be said for just plain good gospel singing, something the Gospel Harmony Boys provided in abundance consistently.
The Gospel Harmony Boys, though, would press on…Sonny Sites wouild take Lane’s place as lead, and Legrand was next to leave, and a young man named Roger Horne came on board for a short time to sing tenor. Legrand was famous for introducing “I Found A Savior” into the quartet’s repertoire, and it would remain there for several years afterward. Audiences were fond of Legrand’s distinctive tenor stylings.
By the 1970s, even more change was coming to gospel quartets, and naturally, it came the Gospel Harmony Boys’ way as well. 1971 saw a youngster named Clacy Williams join the group as tenor, and the following year saw another youngster named Greg Tingler join as bass guitarist. The gospel quartet sound was getting bigger than solely the piano, and it helped that Tingler could sing as well as play the bass.
By 1985, Thompson had stepped aside, and Johnson returned to the group for three years. Johnson’s passing in 1988 left the Gospel Harmony Boys without a bass singer, so the group sang as a trio with Williams on tenor joined by Denis Chapman as lead and baritone Jack Hanks, with pianist Michael Bloomfield. Despite the lack of a fourth part, that configuration of the Gospel Harmony Boys kept the group’s reputation for polished, top-notch singing and musicianship intact.
Come the beginning of 1997, the Gospel Harmony Boys decided to become a quartet once again, with Will Adkins joining the group as the bass singer. Adkins quickly became known as one of gospel music’s lowest bass singers, with remarkable extension in his lower range. Adkins was joined by Tingler on baritone, Chapman on lead, and Williams continuing as tenor.
But quietly, ex-group members Williams, Hanks, and Steve Black had been singing for a while as the River City Boys. They asked pianist Steve Owens to join them, and occasionally they were joined by Calvin Thompson singing bass. People seeing this group sing became nostalgic for the return of the Gospel Harmony Boys, and with former group member Greg Tingler filling in as lead on occasion, the demand became intense for this group to bring back the name of the Gospel Harmony Boys, since the sound and members were so familiar to group fans.
So in December of 2004, the group brought the name Gospel Harmony Boys back, and one of the finest names in gospel music remains alive and well on the gospel music circuit!
Besides introducing songs like "I've Done What The Lord Said Do" (an early Harold Lane classic), "Jesus Walked All The Way" (written by longtime group baritone Homer Fry's father Harkins and covered by the Oak Ridge Boys, among others), "Liddle Biddy Chapel" (the title song of one of their Skylite albums of the 1960s), and "The Christian Way" (written by pianist Dick Lucas), "Jesus Loves Me," and "Payday For The Saints Of God" (a song the group still performs today), the Gospel Harmony Boys brought gospel quartet music to the Tri-State region of the United States, featured some of the best gospel quartet singers of all time (I don’t want to leave out ex-group tenor Asbury Adkins here), were named official goodwill ambassadors of the state of West Virginia, and have been longtime fixtures on such long running gospel music related events such as the National Quartet Convention and the Jubilee At Sea Cruises.
Yes, the Gospel Harmony Boys are one of the better products of gospel quartet music's "Golden Age," spawned during one of the most competitive and talent laden portions of gospel music history, and they made gospel music history of their own, not by necessarily becoming the most famous or acclaimed gospel group of their day, but always by being fine Christian men and examples of the very best in gospel quartet singing and musicianship.
Group co-founder Harold Lane is surely destined for Gospel Music's Hall of Fame before too long, but regardless, the group he started and led for some 15 years, the Gospel Harmony Boys, have deservedly made their place in gospel music history.
I would like to thank Dean Adkins for his invaluable help, materials, and insights, without whose help I could not possibly have written this tribute.
Author: .(JavaScript must be enabled to view this email address)
Written: 04/01/2007
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Category: SG History 101
Comments: 13
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Another good article, John. Dean introduced me to the Gospel Harmony Boys last year. I was greatly impressed with their great harmony-filled singing. Your article added much to my knowledge about this great group. They have certainly stood the test of time.
I had no idea that Harold Patrick played for the Goodmans. When was this?
John,
Nice article about a great group (but I'm prejudiced)...also in response to the question above, there's a picture of Harold Patrick w/ the Goodmans on p. 41 of the Gaither Homecoming Souvenir Songbook - Collector's Edition and the picture is dated 1948.
I have the privilege of singing with Kim Fry, the daughter of Homer Fry. Homer is still very active at the age of 78 with a group from the Columbus, Ohio area called the Guardians. He comes along with our group when his group is off for the evening. He is quick to share stories from this era of southern gospel music. I have been privileged on many occasions to hear stories of the "early days" of southern gospel music from someone who was there and experienced things that many of my generation will never know.
John:
John, I really enjoyed the article on the GHBs. Since my dad was their pianist in the 1970's, they have been one of my favorite groups. It didn't matter who was standing behind the microphone, the sound was still that same "harmony" the GHBs were known. Not only can these guys sing, but they have such a wonderful stage presence and never fail to bring forth the real reason they sing. And that's to uplift the name of God and to bring others to Christ. I am so proud to call the GHBs my friends and my brothers in Christ. I'm thankful everyday the Lord brought them into my life through my Dad's Christian walk and his commitment to good Southern Gospel music. Thank you, John, for a very good and infomative article.
John-
GREAT Article on a Great group. I have sung with a lot of the guys and have been greatly blessed and taught so many things.
Great article, John, as always.
Cliff Cerce
The Cerces, PO Box 8525, Springfield, MO 65801
417-863-8440
http://www.thecerces.com
.(JavaScript must be enabled to view this email address)
Very enjoyable & informative article. Thanks for the SGM history lesson. I really enjoy reading your articles.
God is good all the time & all the time God is good.
Elaine Harcourt
I always enjoyed the GHB's.Especially Denis Chapman.I hope they get up "NAWTH" into New England.
Skull
Harmony gospel music would have made a great name for the genre we call Southern Gospel Music. The Gospel Harmony Mix internet radio station is fortunate to play two of the Gospel Harmony Boys albums: Arise, Arise and Our Heritage in our playlist. Thanks John for the excellent history lesson and thanks to GHB for the mark they have left on SGM.
Tony Partigianoni
http://www.ksgm.com/images/gospel.gif
Pure SGM & Quartet-Style Singing
http://www.ksgm.com
My Grandfather, John Embry, was an original Gospel Harmony Boy. He passed away on Dec. 28, 2000.
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