Like any other musical art form, one of the surest paths to success in gospel music has been to try to duplicate as best as possible the successes of those who went before. But also, like in any other musical art form, the majority of the genre's most noteworthy contributors were those who dared to be a bit different than their peers. This month, I plan on focusing on a few of those artists, what made them different, and how their uniqueness shaped the gospel music we know and love today.
We begin this look into the true innovators of gospel music by going all the way back to its' recorded beginnings, to 1927, and the Frank Stamps All-Star Quartet, who made the first gospel recordings on a major label when they made 25 records for the Victor company (soon to be known as RCA) between 1927 and 1932.
Dwight BrockBrock had a lively rhythmic piano style that was entertaining to audiences, drawing as it did from the piano styles of the day. Brock was able to incorporate those decidedly secular sounds into a presentation of gospel music, and between verses of songs, did short improvisational solos that became known as "turnarounds". These turnarounds were so well received that they became second nature to gospel pianists of subsequent generations. Thus, it can be said that Dwight Brock was gospel music's first "innovator".
That distinctive style helped spawn the distinctive art form that became gospel music in motion. Naturally, others were poised to take it further from there.
And truly, from the outset, the Statesmen were distinctive, in great part thanks to Lister's boundless energy and enthusiasm. He rehearsed the quartet night and day, no doubt with the idea that "practice makes perfect". By 1953, when tenor Denver Crumpler joined the group, many called that particular configuration of Statesmen "the perfect quartet", for with Crumpler, lead Jake Hess, baritone Doy Ott, and bass Jim "Big Chief" Wetherington, the Statesmen had as ideal a sound as one could want from a quartet.
But this writer feels that the Statesmen's contributions to gospel music have been misunderstood by many. True, their sound was quite innovative for a gospel quartet. But the components of that sound were not "new", per se. Lister was quite an adaptable musician an stylist, and he incorporated different aspects of vocal and instrumental styles from the secular music world (vocal groups were becoming quite popular at that time) and with the help of Ott and Wetherington (two very skilled arrangers and writers), he was able to skillfully mold all of that into a unique and distinctive gospel music style which did (and continues to) influence gospel music in an unprecedented way.
So then, we had Dwight Brock establishing the bar, and Hovie Lister and the Statesmen raising it a bit more. Who would be next to blaze musical trails in gospel music?
For the answer, we turn the clock forward to 1957, to an all-night sing in Birmingham, Alabama, where three fine singers convinced promoter Wally Fowler to give them an impromptu opportunity to demonstrate their singing abilities. Three men, you ask? Where's the fourth one? Well, you see, Calvin Newton, Bob Robinson, and Don Butler didn't need a bass singer to round out their harmony. Their arrangements were unique in that each man had a distinct vocal part, which might or might not cross over with another member's…this was reminiscent of the way bandleader Duke Ellington arranged the instruments in his orchestras…there were no rigid "sections", but each member had his very own line that interwove with the others.
Needless to say, this was somewhat difficult to sing, but the resulting sound made the Sons of Song one of the most unique sounding vocal groups in gospel or any other genre of music. Truly, Newton, Robinson, and Butler were innovators. The fact that their sound was so difficult to reproduce doesn't make them any less influential than they turned out to be. In fact, Buck Rambo states in his autobiography that the Sons of Song were the primary influence on his group, the Gospel Echoes, which later became known as the Rambos. He cites that the Sons of Song proved that there was a place in gospel music for a non-quartet with a unique approach to music, and given the success of both the Sons and the Rambos, he was proven right.
The next "innovator" is perhaps better known for how they affected the overall image of gospel music more than for their musical innovations, but I assure you, they were most unique.
From the outset, the Couriers stayed devoted to their mission statement. Not being experienced musicians, at first they worked within the stylistic confines of the basic gospel quartet style, but as their talents developed, so did the scope and breadth of their music.
They were blessed to have a most gifted person in charge of their music, lead singer Neil Enloe, who had musical ambitions since his Illinois boyhood. Now, given the reigns of his own group to guide, and possessing a restless creative nature that wouldn't settle for doing the same things all the time, Enloe made sure the Couriers would make a unique mark on the gospel music world.
In a relatively short time, the Couriers were competent in all the various types of quartet arrangements. They conquered a cappella ("The Lord Bless You And Keep You" from their 1964 Christmas album), spirituals ("Swing Down Sweet Chariot" from their 1961 album "I Believe"), hymns (their entire 1962 album "Dedicated To The Hymns"), and gospel quartet classics ("He's A Personal Savior" from 1959 and again in 1962), and even "modern harmony" (1962's "If You Know The Lord"), but the best was yet to come.
In 1963, the Couriers astonished the gospel music world with an album released on Warner Brothers ("Nothing…But The Gospel Truth"), half of which was recorded with a full orchestra, something that Enloe and group leader Don Baldwin wanted to do. The album contained a big band jazz arrangement of "Joshua", a lush, string-laden version of "Sweet Jesus", a stirring orchestral version of "Were You There?", and also included "If You Know The Lord" for good measure. No gospel group had recorded that ambitious an album before. Now, 43 years after its' release, it still sounds fresh and unique.
Thereafter, the Couriers continued to experiment on occasion with different sounds and approaches, seemingly oblivious to whatever prevailing musical trends were going on. Their steadfast insistence on staying true to their course made (and makes) them true gospel music innovators.
But that spirit was infectious, and it wasn't long before new trends were taking shape.
By the late 1960s, the gospel music business was becoming aware of the growing youth movement in society. And the styles of years gone by was not exactly appealing to the era's restless youth. What to do to maintain the audience for gospel music?
While the influence of those times remains in gospel music to this day, like all trends, that "youth" trend abated by the end of the 1970s, as more traditional artists and sounds fought back to reestablish their influence in the industry. This set the stage for the 1980s, when artists such as the Kingsmen, the Cathedral Quartet, and Gold City rose to prominence with traditionally based sounds that were updated to an extent for the times.
And even today, artists such as the Crabb Family are "blurring the lines" and pushing back the boundaries of what gospel music has been known to be.
But I hope this look back at some of the more original and gifted gospel artists of bygone years has demonstrated that while it is perfectly all right to travel down musical roads that have been previously paved, it's also OK to think "outside the box" and go where others have not been before.
Author: .(JavaScript must be enabled to view this email address)
Written: 08/01/2006
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Category: SG History 101
Comments: 19
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I grew up on all of the above mentioned groups and have loved this great music for a long time. I agree that innovators are not always seen in a positive light when they are breaking new ground, but we need to remember that the style is not the bottom line; it is the heart and spirit of the singer/minister. Sometimes the Crabb Family is too loud for me and more charasmatic than I would be totally comfortable with, but I sense from them a heart and passion for our Lord, and I for one don't ever want to get in the way of that. King David's wife criticized him for dancing mightily before the Lord and the Lord wasn't happy about that at all. The world will know that we are family by the way that we love one another.
WOW, John. What a great job. Like Randy I grew up on a steady diet of 60's, 70's, and 80's Kingsmen, Fl Boys, etc. Their innovations became the standard and newer groups have come along and pushed the envelope a little farther.
I think it would also be fair to add the Blackwood Brothers to the list. They were excellent musicians, but brought great innovation to the business and industry side of SGM.
Again, thanks for yet another outstanding look into our past.
John-
One of the great things about southern gospel music is the ability to play with the basic elements of rhythm, harmony, and melody and make them sound new. I'm glad that folks like Neil Enloe, Lari Goss, and Dad Speer have been here to set the example of what CAN be done. Who knows what new sounds we'll be discussing ten years from now. I can't wait!
Neil,
Randy, sounds like a potential Dove Award winning lyric...run with it! Good luck!
Thank you John; I humbly give all of the glory to the Lord (especially when I steal the lyrics from Neil!)
John-
Hmm, Lindsay, I can't believe someone didn't think of those titles already. I think you may be onto something there.
Folks, the wonderful think about this discussion group is that we seem to spur one another on to "creativity" in our lyrics!
Quick, let me grab a pen. You guys are giving me some neat song ideas.
Hi Neil!
Neil, Don't mention it; it is a ministry that I have to other song writers....
What a great article and nice to see some kudos going out to my good buddies; THE COURIERS. I first heard Dave, Duane and Neil when I was 17 and have been trying to collect ALL of their music over the years. I think that I am missing only ONE album. Not only did I love their style, but their commitment to their ministry impacted me deeply. Keep up the work boys! God has indeed called you to this ministry and I am richer for it.
I heard Neil sing his new song at the King's Kids Kamp in PA last week. "The NExt Time I Get Married, I'm Going To Be The Bride" I can't wait to get my hands on it.
Randy,
You actually grew up listening to Frank Stamps All Stars in the roaring 1920s? Wow! You've been here awhile...
(Sorry, I couldn't resist! :o))
—Making hay while the sun shines—
sgnforum@musicscribe.com - BLOG - SGHistory.com
David, Some of us just don't show the age; Moses is a distant cousin. Actually I like Mark Lowry's joke: He knew that Bill Gaither hadn't been at the birth of Christ since there isn't a video of it! Randy
Hey, John: Excellent as always. Especially pleased that you included the Couriers as innovators. My love for Southern Gospel goes back to early Blackwood Brothers and Statesmen LP's, but it was nurtured by The Couriers. once again, "YOU know Gospel"!
Lindsay,
Neil is so forgiving, he may let you slide for re-writing "Lost, Searching and Found", but Mosie Lister, also a fine Christian gentleman, may have a concern or 2 if you re-write "While Ages Roll", as he is the author of that great song, which we just recorded on our latest project - and gets a tremendous response in our services night after night. What gifted men of God!
As for Neil's humility - it is not an act or some "personna" he adopts when writing his comments. He truly is that way. As one of the most talented and gifted men I have ever met in my life, it is so refreshing to see him and his Courier partners so unspoiled after all of these years.
One story tells it all. Neil collects "Statue of Liberty" memorabilia. Anita and I were in a little Casey's convenience store somewhere in Illinois a few years ago - where they have those little displays of acrylic cubes with images displayed in them. Anita found one with the Statue of Liberty on one side and the cross to the upper right of it - with lines showing a parallel between the 2. We were speechless. Not until Neil's song was that association made - and there it was - in a secular setting. What an impact his creativity has made upon a generation - to put the concept "The Cross is My Statue of Liberty" into the consciousness and vernacular of the day.
We bought the acrylic cube for a whopping $6 and sent it to him. Last year, we were with him in his home and were in his music room/office. There, on the top of the shelf - in a prominent place - was our $6 cube. I mentioned it - and it took him a minute to figure out what I was talking about - since he apparently put it up there some time ago. But, there it was - right in a prominent place - on display.
We were preparing to make some adjustments to a piece of equipment and needed a small screwdriver. My lead singer was standing next to a shelf that was filled 3/4 along, left to right, with record albums. Neil told him to reach around the open end of the shelf and go behind the albums - he thought there was a case of small screwdrivers there in the back of the shelf behind the records.
Well, he found the screwdrivers - and also came out with the 1976 Dove Award for writing "Statue of Liberty" - which was just laying on the shelf hidden behind the stack of records.
I told him that he had it backwards. The highest award a songwriter could receive from the GMA and the Industry, at that time, was lying in oblivion, while a $6 trinket was on display.
I will never forget his answer if I live to be a hundred. He said that the Industry award had to do with a lot of things - record label lobbying and influence, the country's Bicentennial celebration in 1976, Gospel Music politics in general - but this (he said, pointing to that cheap hunk of plastic) was given to me by some of my dearest friends. So, it means much more to me.
That is typical Neil - and it is a shame that so many that have been awed by his music over the years have never gotten a chance to get to know the remarkable man that God has used to give birth to it.
I learned one of my most valuable lessons in life from watching Neil, and he doesn't even know it. The more you do not take the glory for yourself - the more God will use you - knowing that He will get the glory. I have decided that I want God to use me for His service more than I want credit for what I do - and I have learned this from watching my friend, Neil. And, only eternity will reveal the awesome results that may come from having learned that lesson.
And, as for his new song - the chorus says (words used WITHOUT permission):
"The next time I get married, I’m gonna be the bride.
I’m no gender bender; I’m not switchin’ sides.
There’s gonna be a glorious wedding across the Great Divide.
The next time I get married, I’m gonna be the bride."
And, so there's no mistake, verse 3 makes it clear that:
"The way that leads to Heaven is narrow, but it’s STRAIGHT."
Now, there's innovation and creativity!
Cliff Cerce
The Cerces, PO Box 8525, Springfield, MO 65801
417-863-8440
http://www.thecerces.com
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