Great Western Southern Gospel Fan Festival, Day 3

It was time to wrap up the 10th Great Western Southern Gospel Fan Festival at the Save Mart Center in Fresno. The first two nights were wonderful nights of good family entertainment and fine gospel singing….what would the grand finale have in store for us?



It didn’t take long for the 9,000 + fans who turned out to find out, as the Hoppers kicked off the night in a fine set featuring their huge hit, “Shoutin’ Time”. The crowd picked up on the energy of the singers, and there was a lot of foot stomping and hand clapping at the outset.



As the previous evening was Phil Cross night, so tonight was “quartet night”, quartets were a major highlight of the evening. Before the quartet brace came our way, Oregon’s Knox Brothers came out…they are a true family group, made up entirely of actual blood brothers who also play their own instruments. Although I’m not one to put down tracks for their own sake, it’s still almost heroic in this day and age to make your own “live” music. This the Knox Brothers do…I especially was impressed by Ed Knox singing bass while playing his drums…if you’ve ever tried to play drums and sing, you know how hard THAT is. Unfortunately, guitarist Wayne Knox had a problem on the first song…he was singing into a “dead” mike. He was rescued by one of his brothers going over and letting him “borrow” his mike to sing the song. With this kind of quick thinking and teamwork, the Knoxes were able to get all their songs in during their time limit…unlike Legacy Five the night before, who were at the mercy of their malfunctioning tracks.



The Knox Brothers sang good songs, and even did instrumental interludes during their set, which most of the other groups could not do. I sensed that the audience enjoyed the Knoxes proficiency a great deal. I know I did.



The Palmetto State Quartet came next, and they made quite a hit with the audience…they seemed to particularly enjoy bass singer “Tex” McCune, who was in good form for the group’s set. They did a tour de force of quartet music, old and new, and they did it all with flair and style…wrapping up their set with the Statesmen’s arrangement of “Just A Little While”. They made it look so easy in the process.



I thought I may have caught an embarrassing faux pas, but since I can’t swear to what I thought I saw, it may not have been so. At one point, it appeared that Tex was singing along to a track…his part was being heard, and his mouth didn’t appear to be moving. It’s only because of my surprise in seeing that during a PSQ set that I don’t say more…they do such a fine job of preserving the quartet heritage.



Next came the Florida Boys…I DIDN’T miss them tonight! They did their usual dependably professional set, to my delight they featured bass singer Gene McDonald often. His singing never fails to amaze audiences everywhere, and Fresno in 2006 was no exception…again. Their set wrapped up with Derrell Stewart taking his turn on vocals on his vocal “sugar stick”, “This Heart Of Mine”, and it was like watching him go into the Hall of Fame all over again.



The Dixie Melody Boys did a fine set to round out the first half…despite people coming and going from his group, Ed O’Neal always keeps it together, and keeps bringing good young singers to us for our enjoyment and blessing.



I barely got back in my box seat in time to catch the Pfiefers’ second half opening set…again, their tremendous vocal and instrumental skill and their spiritual emphasis never fails to move the Fresno crowds, and one can’t help but feel a special presence when they perform.



California’s Watchmen were next…with a special video display to help celebrate their 35th anniversary as a performing group. The audience received them warmly, and they did an inspired set as a result.



But that was nothing compared to what followed.



The Herb Henry Family were next, and did a couple of their current releases with their usual proficiency and panache. I mentioned two days ago that it is nearly impossible for me to be objective regarding the Herb Henry Family. I have been involved with Herb and his group almost from their beginnings, and to see how far they have progressed and how much they have developed musically is a real source of joy to me. They have become one of the most skilled and versatile groups going. Who else in this day and age can, as they did tonight, sight read a cappella from a Stamps Baxter songbook, sing modern southern gospel with flair, performing original material, then wrap up a set as they did tonight out-Goodmaning the Goodmans on one of their classics, “Looking For A City”, get an audience rocking in the aisles, and thus earn a standing ovation(the third of the event thus far)? Even Herb’s wife Nancy sang a classic old gospel song during their set!



Les Beasley came out with Dean Hopper to do some promos for next year’s event and shouted, “Nice job!” to the Herb Henry Family as they came offstage. That said it all…and then some!



Gretaer Vision was like an aerobic “cooldown” coming after the Henrys…which in a way seemed appropriate. Nonetheless, they did a solid set…and kept the audience involved with some excellent original material, as always.



As was the case the first two nights, the Hoppers closed the evening…and the Fresno audience has learned to love them during the past five years. Tonight was no exception.



The night, and the event, closed with all the groups coming on stage to sing “Shoutin’ Time” along with the Hoppers. Musically, it was one of the best GWSGFFs I have attended…again, I felt the Herb Henry Family were the “champions” of the event…with the Florida Boys and Liberty running right behind them.



On a personal level, it was enjoyable to talk to the Florida Boys and Connie Hopper(the true queen of gospel music today), as well as Ed O’Neal and the HerbHenry Family. It was also nice to see the girls of gospelharmonies.com again from Sacramento. Regrettably, I was unable to buy any more LPs from Harold Timmons, but I left word that I’d be “bugging” him about his classic LPs in the future.



I also didn’t get to see some friends of Cheri and Don Baldwin that I was told would be there…nor did I get to see EVIDENCE, Jim Weatherford’s group who performed at the “Best in the West” showcase in the afternoon. But I did see Jim, and he assured me that EVIDENCE did well. Most heartening to me was the fact that Gene McDonald spoke words of encouragement to Jim and EVIDENCE before and after their set. This was nice to hear, and as a result, Jim was on cloud 18, as you would expect. I immediately went to Gene and thanked him for encouraging a friend of mine. It just goes to show that the real superstars of gospel music are such for more than just their singing ability. Gene has nothing to prove to anyone anymore…he doesn’t have to be there to “show out”…clearly he is out there on business for the King. I knew I liked him for more than just the best bass singing going today! That has to be one of my major highlights of this event!



Both Beasley and Claude Hopper seemed to be pleased at how the event did this year…good crowds, good sales…and great singing! The GWSGFF just gets better every year!

Great Western Southern Gospel Fan Festival, Day 2

After a successful opening night, the GWSGFF headed into its second day at the Save Mart Center in Fresno.



As is my tradition of sorts, though, I was late getting into my box seat for the beginning, as I was socializing with friends I saw and perusing classic gospel LPs at Harold Timmons’ booth.



The Florida Boys had started things off, and done pretty well as always. I came in just as they left the stage and the Pfiefers came on. The Pfiefers have always been well received in Fresno, and I was looking forward to their set.



And they began in typical fashion, with instruments in hand…they did a truly swinging version of “Goodbye, World, Goodbye” to open. After a couple of obligatory hits, they picked up the instruments again to do a truly inspired version of “We Shall Behold Him”, and between the singing and the trumpet and saxophones, the crowd was moved to give its’ first standing ovation of the event…well-deserved, in my opinion.



The Pfiefers were followed by Liberty from Idaho, and they picked up where they left off last night. Royce Mitchell not only is one of the better bass singers going today, but is a personable MC as well. In fact, Liberty’s entire stage presentation is reminiscent of the Couriers, which is never a bad example to follow if you are a gospel singing group. Once again, Liberty proved they are one of the best groups almost no one has heard of in the country. Conventions are supposed to spotlight the best talent available, though, and that’s why Liberty is here.



For some reason, it seemed to be “Phil Cross Night”, as every group in the first half tonight sang a Phil Cross song…again, not a bad thing to do if you’re a gospel singing group, since Cross is among the leading gospel songwriters of the last 20 years.



Legacy Five came out for a first-half set, since they were going to leave after tonight. It was musically first rate, marred by a track malfunction midway through their set. This caused Legacy Five to exceed their time liomit, as the clock went off with a loud boom in the middle of one of Roger Bennett’s introductions. The group still managed to get one more song in before they left the stage.



The first half wound up with Greater Vision, a group I’ve always been of two minds regarding. There is no doubt that Gerald Wolfe is one of gospel’s finest musicians, singers, and MCs…and that Rodney Griffin is one of the very best songwriters there has been. But unlike the likes of Doug Harrison(#############), I’m not sold on the idea of Wolfe being this major gospel legend, or Griffin as a major performer. Despite their accomplished singing, if Greater Vision insists on singing quartet arrangements without a bass singer, then I will respond with indifference to them until they get a full group on stage. Wolfe made quite a to-do, though, about getting off-stage on time, however.



So call Greater Vision punctual, if nothing else.



The second half began with a full group, California’s Songfellows, who again gave the audience what they wanted…plenty of good songs, bass and tenor features, and 91-year old Hall of Famer Bob Jones, Sr. singing a standard of his(”Mansion Over The Hilltop”)…the look in Jones’ eyes while he sang was very moving…it’s clear that Jones loves to sing…small wonder why he’s been doing it for 81 years.



Another California quartet, the Watchmen, were next, and they did a very enthusiastic set. They have sung for 20 some years out of Southern California, and always been a part of this event…they were well received. They were also accompanied on piano and bass respectively by Herb Henry and his son Chris.



The Hoppers were next, intially accompanied by Gerald Wolfe…they seemed to focus on older songs in tonight’s set, though they did perform the obligatory “Jerusalem” to close off another fine set. “Jerusalem” earned the Hoppers the second standing ovation of the event.



And appropriately, Phil Cross and Poet Voices closed the proceedings with a particularly inspiring set. Perhaps Phil was touched by almost every artist doing one fo his songs tonight…I don’t know…but he sang better than I’ve heard him sing in years. He has become quite popular in California after numerous trips out here in the last 4 years.



The crowd was a little larger tonight, and really got into everyone’s music…Les Beasley and Claude Hopper hd to be pleased with the night’s proceedings. And Bob Jones, Sr. and his son Bob Jr. sat in our suite for most of the second half tonight…it was an honor to have the newest SGMA Hall of Famer keep us company.



As for me, I managed to buy a couple of classic LPs from Harold…and I have enjoyed the GWSGFF’s first two days. I’m looking forward to Saturday’s finale…I’ll post my impressions of that tomorrow.

Great Western Southern Gospel Fan Festival, Day 1

The 10th annual Great Western Southern Gospel Fan Festival is underway in Fresno…it began as the Great Western Quartet Convention, and remains the largest southern gospel music event west of the Mississippi River. For a few years the event was held in Sacramento, but returned to Fresno three years ago with the opening of the 18,000 seat Save Mart Center…I have attended all trhe conventions in Fresno, and intend to continue to do so as long as the event remains here.



I will review each night and post my impressions, as I have done in the past.



The turnout wasn’t that bad, although it could have been better…I realize that opening night being on a weeknight could deter some from coming or staying as long as they’d like. But the arena was half full, and those who came were quite enthusiastic about what they saw.



Opening up the festivities was the Beene Family, a group that had its’ beginnings right here in Fresno. They are a talented family who have already risen from regional to national status in the business in a relatively short time. Because of that, they are sort of a “favorite son” type group here…they did not disappoint the hometown fans one bit. They did a lively set, getting the crowd to stand up with “Stand Up”, the old Kingsmen song.



Then came arguably California’s leading male quartet for many, many years…the Songfellows. The group is perhaps best known for their 91-year old baritone singer, Bob Jones, Sr., who will be inducted into the SGMA Hall of Fame this year. The group did a solid set, and gave Jones his obligatory feature number, where he wept after the verses due to the crowd’s enthusiastic reception for him. Jones called Fresno home for a couple of years in the 1940s, and is still remembered fondly by local gospel fans, particularly for his brief association with the late Don Smith, an area gospel legend himself. I got a chance to talk at length with Jones later in the evening, and although he is somewhat slowed by age, his singing voice remains smooth and easy on the ears. His acute memory recalled many stories from bygone days, which I could listen to for days on end.. Jones is a truly humble man who more than anything loves to sing gospel music, and it was heartening to see the Fresno audience recognize him for the treasure he is.



Next came a group that I can never speak of objectively, regardless of how hard I try. They’ve now been in existence for 20 years, and I can distinctly remember playing their first recordings on our gospel program. The kids were young and green as the proverbial billboard table, and needless to say, polished they were not. But enthusiastic they’ve always been…and a few years ago, the Herb Henry Family really turned the corner. Now, they are among the finest sounding, most accomplished singing groups in gospel music today…bar none. Last year I described them as the stars of the convention, especially in light of the fact that they were never given top billing or a big buildup. They just came out, snag their songs and won the hearts of the crowd with class, dignity, and good singing.



Herb is a pastor and ex-pianist for the Premiers Quartet in the 1960s, and is a tremendous person and group leader. He has written a number of songs for the group, and he has settled into a Brock Speer-like role with the group. His son Chris has become quite a capapble lead singer, and his daughters Amanda and Angela have become two of the finest singers to be heard anywhere. In particular, Angela is an especially gifted vocalist. She ha learned how to get “inside” a lyric, and get the most out of it, eschewing the vocal histrionics used by so many young female singers.



I can’t watch the Herb Henry Family without grinning from ear-to-ear with almost paternal pride, the kind one would get if one’s own children were conquering the world from the stage. They have come so far, and I have seen every step of their astounding development. When they broke into the old Nelons song, “Alleluia To The Lamb”, I was simultaneously beaming with pride and moved by the quality of their singing. The capper was an a cappella version of “Take My Hand, Precious Lord” with the kids as a trio…a reading which out-Martinsed the Martins!



The Herb Henry Family, as Lee Roy Abernathy would say, is going to make a lot of other groups “live hard”…they are that good.



The highlight of the rest of the first half to me was the Dixie Melody Boys coming out and singing a number of songs in a completely old-fashioned way, not in a self-conscious way a la the Dove Brothers, but a simple, straightforward, heart-filled way that charmed the crowd immensely. Ed O’Neal always puts a good, well-prepared quartet on the stage, and tonight was no exception.



The second half opened with the Florida Boys, who are better now than they have ever been. From tenor Harold Reid to the friendly lead Josh Garner to the agelss Glen Allred to the incredibly gifted Gene McDonald(the best current bass singer going, IMO), to the joyful smile and style of longtime pianist Derrell Stewart, the Florida Boys were a delight, and they won the affection of the crowd in nothing flat.



Next came the group I believe is the finest quartet going in the West…the Liberty Quartet from Boise, Idaho…the group has a top-notch, professional sound combined with a strong evangelical message and one of the finest bass singers going, Royce Mitchell, who has an outstanding range and control, as well as an engaging personality as the group’s MC. They had the most enthusiasic crowd reaction of any group that night when they did a lively handclapping version of Phil Cross’ “Have A Good Time”…I don’t remember seeing 9,000 people clapping and moving so much to a song.



I forgot to mention that Cross and his group, Poet Voices, was on in the first half…they too did a solid job, if not a spectacular one.



Next was the Crossroads Quartet, then Legacy Five came out with their feet on the gas pedal, and of course the presence of Roger Bennett contributed a lot to that. Theirr lively set brought the evening to a stellar close. I’m looking forward to the next two nights.



From a personal standpoint, it was nice to chat with Bob Jones, Herb Henry, the girls at gospelharmonies(gharmonies on message boards), Jim Weatherford(Bass-ic-ally Yours on the boards and a delightful man), and Harold Timmons, who brought plenty of classic Lps with him once again(guess where I like to hang around when I’m not busy).



It appeared a good time was had by all…I certainly did. Be back for more tomorrow!

Down

My spirits are a bit down today…I’m trying to shake the downs, but right now it’s a challenge.



As those of you that check this blog regularly no doubt know, I’m going through a minor housing trial…I’m trusting God that it won’t become a major one.



My landlord asked me to vacate the tiny garage apartment I’ve lived in for the past ten years due to the development of mold in the dwelling. I have been staying at a house not far from it for the time being, while storing the majority of my possessions in my automobile.



When I vacated it, I did so with the understanding that the contractor assigned to make over the dwelling would have the job done within two weeks…so I accepted my fate, knowing that I could wait that long.



Unfortunately, the two weeks has passed…and the work has been on hold for several days. It seems that the landlord feels obliged to inform the city of Fresno of his intentions, so they need the city’s approval to assure them they will be doing it according to the building code..



But until they get word from the city that they are indeed doing it that way, they don’t feel they can proceed with the reconstruction process…and so, while they wait, so do I.



I was told today that there is a possibility that they might not proceed, because the job may be too cost-prohibitive. This puts me in a difficult position, for the rent I pay there is worth the wait for me to find out if I’ll be able to stay there. But I can’t wait forever…living the way I’ve been doing during the past two weeks is extremely inconvenient…so I’m left to wait, pray, and trust.



The signs are good that all will be well…the slowness of the city’s response is indicative that they’re in no hurry to prevent my landlord from improving the property, and of course…I have the never-failing God beside me to protect and lead me. But the waiting is difficult, and it is all I can do to smile today. Happily, I’m doing that as I type.



No doubt the first night of the Great Western Southern Gospel Fan Festival tonight here in town will help my spirits…gospel music always does. God will do the rest, I’m sure. I’m trusting in that, anyway.

The Cerces-Treasures…Old And New

This is the first of what I intend to be many reviews of gospel albums from the past and present that I feel are worthy of distinction.



This first project I’m examining is by a group of wonderful Christian people and dear friends of mine, the Cerces….consisting of manager, pianist, and baritone Cliff Cerce, his wife Anita, and brand new lead singer Andy Fauth. To my knowledge, this is the group’s first recording with Fauth…and the best of their brief career to date.



Cliff has played piano with many groups in the past, primarily in the Northeast. He is perhaps best remembered for his work with the Gabriels, a trio that included such talented singers as Frank Sanchez and Ron Hensley. A native of New Jersey, he was drawn into gospel music by the music of the legendary Couriers, who attracted many youngsters in the Northeast to gospel music.



When Cliff started the Cerces just a few years ago, he wanted to have a group that brought the same attributes to gospel music as did the Couriers, a group that was both musically excellent and spiritually above reproach. The group has had its ups and downs during their short lifespan, but with this release, they have come closer than ever to realizing Cliff’s vision for them.



The title is appropriate for this CD…the songs are excellent, and not only will they bless listeners, but they will also bring back precious memories to long time gospel fans.



The project has 14 songs…a refreshing feature in this day and age of 10-song projects(which, to a person raised on 12-song albums, always make me feel as though I’m being shortchanged)…and, as if to illustrate Cliff’s musical debt to the Couriers, no less than 7 of the songs are adaptations of old Courier material. In addition, four of the songs are written by ex-Courier lead singer Neil Enloe…in my humble opinion, there is no better source to go to to find great song material for a project.



One song is written by Enloe’s brother Phil, two by Mosie Lister, and one each by Lee Roy Abernathy and Bob Robinson(the Sons of Song), and one by arranger extraordinaire Lari Goss..certainly an All-Star lineup.



The project begins with Phil Enloe’s “Sheep And Goats”…I’m guessing it will be the first single released, and it is a fine, catchy opener…the group has fun with it.



Then it’s on to the first of the Neil Enloe songs, “I’m Clean”, a song Enloe wrote toward the end of the Couriers’ first run. The Cerces’ version sounds a great deal like the Couriers’ version…not quite so polished vocally, but Cliff and Fauth do get the most from the lyrics.



Then comes Goss’ “Living Deep”, featuring fine convention-style singing from the group…but it could use some more energy from Anita. This is followed by another uptempo number, Neil Enloe’s “He’ll Be There”…a song the Couriers did in the very early days of their trio years. Again, the Cerces stick pretty much to the Couriers’ arrangement(never a bad thing), but again they lack the polish and energy of the original.



The next two are slower songs that I feel are among the highlights of the project. Mosie Lister’s “Man On The Middle Cross”(kudos to Cliff for bringing this song back), recorded by the Rebels in the early 1960s, is updated nicely by the Cerces and features a strong vocal by Fauth. “One In The Lord” is a song of unity with full orchestration which might be the strongest vocal done by the Cerces to date.



The first half closes with one of my favorite Neil Enloe songs, “Open My Understanding”, featuring a fine lead by Cliff. I might add here that the vocal blend on this album is the smoothest and most professional sounding yet done by the Cerces to date in their career…showing how much they have learned from the Couriers.



“The Old Landmark” is next, and while energetic, could have been a bit smoother. Again, this is based on the Couriers’ version from their very first trio album in 1967. And the next song is based on an even older Courier recording than that…it is the old Bob Robinson classic “Jesus Knows About You”, a big song for the Couriers during their quartet years when “Little” David Young was with them…Young sang on the Couriers’ version, and the arrangement is one of the Couriers’ most intricate. The Cerces sing it with grace and feeling, and it is another highlight of this recording.



Anita Cerce is still in her growth process as a singer…she has improved appreciably of late, blending better with the group than ever before. She still needs, though, to sing her solos with more vocal energy and confidence….though in a sense, I might not be making a fair comparison, since she is singing a lot of Duane Nicholson’s vocal parts, and few have sung with more passion, power, technique, and feeling than Duane. Here she is singing Young’s part, but Young was also a fine, passionate tenor as a singer. Most people would fall short by this comparison, but Anita is coming…with more experience, she is bound to keep improving.



“No More” is next…the Duane Allen song written with Jake Hess in mind in the mid 1960s…this version again is modeled on the Couriers’ version…and that means it is well done, if not spectacular. This is another song that ought to be sung more these days.



Neil Enloe’s “He Will See You Through” is next…using the same track the Couriers used in 1970…so we have the Cerces singing with the London Symphony Orchestra….this is another Courier arrangement done well by the Cerces.



Another old Couriers Quartet number is next…”Led Out Of Bondage”, featuring Cliff. The number is appropriately energetic, and has a fine ending…with Anita’s high note on the end a highlight.



The last song on the project from the Courier catalog is Mosie Lister’s “While Ages Roll”, a song the Couriers sang a lot in the late 1960s. Again, Fauth does a strong lead vocal, and this song is another highlight of the album.



The project closes with Abernathy’s “He’s A Personal Savior”, another song the Couriers did often in the 1960s. It closes the CD on a fun note, and Cliff even does a creditable job on the bass line in the chorus.



Thanks is given on the CD notes to Neil and Phil Enloe(who did the cover art on the CD as well), and Don Baldwin…again paying appropriate homage to the Couriers, who Cliff has wisely used as a model for his group. With this release, the Cerces have finally crossed the line from merely paying tribute to the Couriers to following in their heritage, which is no mean feat. Would that more gospel artists would use the Couriers as a model for their musical careers.



Again, this is the Cerces’ best project to date. Good songs performed well, and a delight to listen to…some of these songs might make for a good soundtrack to your quiet time as well. Good job, Cliif, Anita, and Andy.



As the Cerces continue to work hard, their sound will continue to improve…but they know that following in the Courier legacy is not easy…it involves commitment and hard work. But the old Couriers are impressed with the Cerces, and I feel if you give them a chance, they’ll do the same for you.

Makes sense to me…

I just got through reading Danny Jones’ latest blog entry on the state of southern gospel music. I urge you to read it as well if you’d like, but a clue as to where he’s coming from is in the title, “If It Ain’t Broke, Why Fix It”?



So many today are insisting that gospel music change to keep pace with the times, that it’s not attracting any new fans and disappointing its’ long time ones. Danny understandably asks if that’s true, or are those who make such suggestions just making “much ado about nothing”?



Danny quotes from industry people who cite increasing attendance at certain annual gatherings as being up and their own experience at listening to doomsday prophets for decades saying that the music is on shaky ground.



True, many thought traditional quartet music was dead after the advent of CCM and more contemporary styles in the southern field in the late 1960s and early 70s. And after CCM became the “IT” sound in Christian music in the 1980s, the gospel quartet-based sound seemed doomed again.



But groups like the Cathedral Quartet and Gold City kept the traditional base going. And now, 20 years later, some are saying that the traditional sound is again under siege and must adapt to current “progressive” trends and withstand the challenges from within from artists like the Crabb Family. Is the traditional style on the way out?



One of the people Danny quoted didn’t appear very worried…he stated that as the gospel audience gets older(which we all do), their tastes become more settled and southern gospel sounds pretty good to them at that point. While it seems reasonable to assume that traditional sounds will always appeal to the aging fans, I hope that thinking so will not deter artists who make the traditional gospel music from trying to broaden their appeal to a wider audience.



Do I agree with Danny’s conclusions? Well, yes…to the extent that fans of traditional, four-part gospel music have no reason to fear that genre’s demise. That style of singing and the gospel quartet are integral parts of the American musical tradition, and will never disappear. Will “southern” gospel continue to be defined by that sound? I’m not as sure about that.



The one thing that is certain in history is change, and just like our father’s Oldsmobile has been replaced by other types of cars, our music will always change. There will always be other styles joining the ones that exist…but you know what? There’s room for everything…those of us who love quartets and the sounds of that music will always have it to listen to…different people will be singing it, but the types of music that have stood the test of time will always have adherents. We may have company from other styles from time to time, but the other styles have to stand the test of time, as quartet singing has, to claim an equal footing with it as a valid part of gospel music, and not just a trendy “fad” with no permanent shelf life.



The burden of proof, then, is on the other styles that try to push the traditional out of the way. Gospel quartet music will always be with us….and rumors of its’ death are greatly exaggerated.

House update…

Nothing much new(yet)to analyze on the gospel music front, though there will be things soon I intend to write about.



Therefore, for the two or three people who are trying to keep up with my housing situation, this post is for you.



As some of you know, I am presently awaiting reconstruction of my apartment after a serious mold problem was discovered there. It’s sort of my real life home “extreme makeover”.



The project started off fast, but is being delayed now due to my landlords exploring the possibility of putting my place on a separate elctric meter than my neighbor up front. We have shared the same meter for a number of years, but my neighbor has requested that we get separate ones, because the overall power bills has become prohibitive, and my neighbor’s portion is a bit high for him.



The contractor doing the work has all the items necessary for the makeover…he is just awaiting word from the owners to go ahead…as am I.



The biggest inconvenience at this point is that I have to use the computers at work to be online at all…I guess one never knows how much how focused on the internet one has become until one must do without it for a time.



But I intend to keep blogging…and somehow get my SG 101 article for Southern Gospel News out on time and in time…one way or the other.



So for those of you who enjoy my online presence, take heart. And for those of you who do not, as they say on the Southern California beaches, “tough toenails”! Deal with it!:-)



I thank Chris Becker for his recent comment on my last entry, and I responded to it tonight as well…if anyone cares.



More when I have more time…likely this weekend.

Progressive?

One debate that occasionally flares up on gospel music message boards concerns the future of the genre…can it survive among ALL the different genres of not only music in general, but Christian music in particular?



It seems to me that people misunderstand the facts in the discussion before they even begin it with someone…all too often it is assumed that “gospel” is a distinct form of music that can be readily identified in the same manner as rocck ‘n’ roll, classical, jazz, or blues. It is not. Gospel music is defined not by its’ musical structure, but by its’ lyrical content. It can be expressed in almost any musical form that exists(and IS nowadays). I realize there are subgenres of gospel music that can be regarded as having unique structure and form(e.g., gospel quartet music), but generally speaking, what makes music “gospel” as opposed to “non-gospel” is the content of the lyrics, not the nature of its’ form.



In the genre known as “southern gospel”, traditionally expressed in quartet form, even there there are a number of forms in which that music is expressed. These days, along with the quartet form that has existed for decades, there are country sounding subgenres and naturally artists that are also influenced by the pop and bluegrass music around them, and they are bidding for a foothold in the southern gospel marketplace. This is perfectly understandable and reasonable, and should not be discouraged for its’ own sake. There’s room for everything under the “southern” umbrella.



More recently, a pop-influenced subgenre has reeared its’ head in the southern field, known to its’ adherents as “progressive”, an adjective that troubles me. Why does it trouble me?



First of all, the term infers that it’s music is somehow “farther ahead” of its’ competitors…how is this so? In the gospel field, there is NOTHING new or revolutionary musically about any of it…ALL of it is based on already existing forms. Is it “progressive” because it is based on more advanced forms? For one thing, much of the so-called “progressive” music is not, anyway…and even if it were, “progressive” according to whom? The term “progressive” is a relative term anyway…based on the ears of the beholder, and cannot be correctly used as a label for a genre of music created for a general, non-musically sophisticated audience.



A term such as “progressive” is a comparative term anyway, and, as was the case in the rock music field in the 1970s, is used to infer a sort of superiority to its’ alternatives in a genre. Gospel music doesn’t need a caste system to differentiate its’ various substyles.



All of the above is not to say that the so-called “progressive” sounds are not accomplished, or in any way “bad”…it’s just that in my humble estimation, the term is a very inaccurate one to use when applied to gospel music in this day and age.



So what, then, of the future of traditional southern style gospel music? Like any other genre of music that has lasted for decades, it will always be with us. And it needn’t be “watered down” by trying to change it into something that it’s fans won’t accept or recognize.



To be continued…

Back to work…

I guess I’d better post something today…people are watching…and getting tired of seeing the same old stuff up here!



I guess one thing I can definitely say today is “Thank God for gospel music!” In a world where events, weather, and people all tend to be unpredictable and unreliable, it’s nice to be able to put that needle on an LP or pop that CD into the player and know that what comes out is an unqualified blessing, inspired by God to inspire me! And that it invariably does!



I’ve been listening to a couple of older albums this week in particular that I have on CD…and they once again proved their worth to me as companions and strongholds. It may never have occurred to the Rebels Quartet when they made their “Peace In The Valley” album back in 1958, or the Couriers Quartet when they made “In Town Tonight” back in 1960 that their relatively humble album offerings would be used to bless and encourage someone over forty years after they were made, but indeed they were…and I am proof of that!



To hear the Rebels sing their spare but moving arrangements of “Peace In The Valley”, “I’m Bound For That City”, and “My God Is Real” is an experience not just for the ears, but for the heart. Likewise for the Couriers’ versions of “Room At The Cross”, “Savior, Gently Take Me Home”, “In The Cool Of Evening”, and “An Evening Prayer”…there’s just something very moving and special about a male quartet uniting their voices in praise of and testimony to God. And no matter what may be going on in one’s life, there’s something about an inspired song that can motivate and inspire a person to hang in there and outlast whatever may be ailing them.



Is there any wonder why I would love gospel music so much? Not if you know me, and know what I have to deal with on an occasional basis.

I survived!

Well, phase 1 is complete…and as I predicted, I’m quite sore…but otherwise, none the worse for wear.



Now the contractor is in my house, beginning the repair process. A few posts ago, I likened the damage in my home to the kind suffered by the victimes of Hurricane Katrina. While the phrase was an exercise in hyperbole to be sure, it may have been a bit more accurate in fact than I first imagined. After I had finished moving everything out last night, I was covered with mud…which came from the combination of the effects of the accumulated mold and moisture and the recent almost daily rains we’ve been having here. So along with a very sore back, it took a pair of showers to restore me to an acceptably presentable level.



But that is done, now the wait begins. When it’s all done, I will be looking forward to living in a virtually brand new apartment…I can hardly wait.



All of this ought to be done by the time the Great Western Gospel Fan Festival comes to town at the end of the month…needless to say, I’ll be reporting on all of it right here in this blog…the event gets better each year, and I am looking forward to that, too!



As far as any gospel music commentary for now, I’ve got to get caught up on what I may have missed in the last couple of days while I was tending to my personal business. When I get the chance, I will come back and post it…for now, if you don’t mind, I’ll catch up on the rest I missed!:-)

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