So, then, would a Kingsmen-style group be successful today?

That was the question that inspired the ideas set forth in my previous post. So maybe I'd better answer that question, hm?

Of course, it depends on what one means by "Kingsmen-style".

If by that you mean would that group be as successful as the present Kingsmen, check out the present Kingsmen, and answer it for yourself.

If rather you mean as successful as the Kingsmen of the 1980s, it depends.

The success of that group was a function of the time and place that group was in...and since that time and place was roughly 25 years ago, that's kind of hard to say now.

That group's success was also a product of the type of singers it had...and the creative energy of its' driving force, lead singer Jim Hamill.

So if one could somehow find a Hamill-like leader, or hit on the right combination of people and tastes that would duplicate that exact period in time to the extent that that kind of singing would produce the same reaction now as then, then possibly.

But since Hamill was arguably "one of a kind", as were his cohorts, it would seem doubtful that those days could be "recreated", glorious as though they may have been.

Thank God though, for recordings!:-)

The Kingsmen and the Goodmans…groups of a feather?

In a word, no.

Much has been written and discussed of late regarding the apparent similarities in style between the Kingsmen Quartet of the 1970s through the early 1990s and the Happy Goodmans of the 1960s and 1970s. Now I want to say from the outset that any kind of discussion of this nature is a positive thing....for it encourages the exchange of ideas, and such exchanges can lead to learning more about our favorite gospel music artists. I hope the following will be interpreted as yet one more point of view that can lead to an understanding of the issue involved, no more, and no less. I never consider my ideas and thoughts to be the "last word" on anything.

Having said that, let me explain my opening assertion.

The Kingsmen were a male quartet, firmly rooted in the traditions and history of that sub-genre of gospel music. The Goodmans were a family group, also firmly rooted in the traditions and history of THAT sub-genre. Their stylistic developments were completely separate, despite whatever superficial similarities may have resulted from those developments.

The Kingsmen began as a part-time quartet from western North Carolina in the late 1950s, and were influenced by all the music of that type around them in those days. This includes the mountain folk music of that region, the church singing from which they came, and the (then budding)professional gospel quartet singing of that era.

The latter at that point in time was best epitomized and popularized by the Blackwood Brothers and Statesmen quartets, who by that time worked as a team, booking themselves all over the Southeast(and beyond), drawing the biggest audiences, and selling the most records(both by that time were with major record companies). Since they were the best known and most popular quartets in that genre, they were essentially the standard bearers and role models for all aspiring quartets(and potential singers).

Of those two quartets, arguably the Statesmen were initially the more influential. Hovie Lister's dynamic management and direction led the Statesmen to reach an unparalleled level of professionalism in the gospel quartet field, rivaling even the top pop vocal groups of the day. Their innovative arrangements and staging were the envy of virtually every quartet, even the Blackwoods. The Blackwoods responded to the challenges by working harder than ever at their craft, and relocating from Iowa back to the Southeast(Memphis)to be in the thick of the quartet scene, eventually securing a recording contract with RCA(the largest major record label), and eventually reaching national recognition on television with their famous triumphant appearance on the Arthur Godfrey's Talent Scouts show.

The Statesmen soon followed suit by signing with RCA and also winning the Godfrey talent show, and the battle reached a new level. The Blackwoods were slowed temporarily by the tragic deaths of RW Blackwwod and Bill Lyles in the famous 1954 plane crash tragedy, but with the addition of new bass singer JD Sumner, they recovered quickly and became more popular than ever. Sumner's distinctive singing and stage presence proved to be one of the most influential sub-trends in gospel music history.

Sumner made his name by flaunting his unprecedented lower bass register, frequently ending songs with octave long slides to the lowest notes he could reach in key. Those endings became so distinctive that they forever changed bass singing in gospel quartet music. Song arranging became less of an attempt to capture the polished professionalism of the Statesmen, and became more of an attempt to duplicate the spectacular wide vocal ranges of singers like Sumner on the low end and James Blackwood on the high end(although he was not the Blackwoods' first tenor, he could sing higher than any ot the ones the quartet had).

Naturally, this approach had mixed results, much like quartets who tried to emulate the Statesmen without their natural singing ability. But even the attempts went over well with gospel quartet audiences, and as more and more quartet singers became confident in attempting these vocal gymnastics, that style became more prevalent with quartets.

Enter the Kingsmen(you thought I'd forgotten them, did you?). By 1970, they were ready to become a full time quartet...and they needed a way to stand out among the glut of quartets that were traveling full time by that time, so under the musical direction of new lead singer Jim Hamill, they began to gravitate toward a very flamboyant vocal approach, using tenor Johnny Parrack and bass Ray Dean Reese in the way Blackwood and Sumner were used some 15 years before. As time went on, Hamill tweaked and refined that approach with tenor successors Ernie Phillips and Garry Sheppard, as well as other portions of their live concerts, and the Kingsmen earned the reputation of having the most dynamic live style of all the gospel quartets.

So the Kingsmen performance style was a logical building on what came before them in the quartet industry.

The Goodmans, on the other hand, began in rural Alabama in the 1940s, far from any contact with any gospel music "industry". As such, they sang their music in a style typical of rural family singing groups(gospel or otherwise)of the periosd in the Southeast. What they may have lacked in formal training and polish, they made up for in sincerity and energy. This very approach was duplicated when they re-formed in the early 1960s, when Rusty Goodman left the Plainsmen Quartet to join them. With Rusty's musical acumen, along with Howard and Vestal's energy and stage drive, and Sam's comedic flair, the Goodmans developed into one of the most dynamic in person gospel groups not only of the period, but of all time.

But the Goodmans did NOT sound like the Kingsmen...or anyone else. Their appeal lay in the fact that they were able to communicate their music and message from the stage in a natural, "down-home" way...with Rusty's musical touches to smooth out any undue stridency in their singing. And the results are history...the Goodmans became legendary.

Both the Kingsmen and Goodmans were products of their time...and traditions...just as all the most memorable artists in gospel music history are. There may well have been various sociological trends at work during the height of their respective popularities, but they were no more than coincidental in light of their more direct musical histories and approaches.

What do you think?

Three chords and a cloud of dust

This phrase, adapted from a famous description of the Ohio State football team's offensive philosophy under legendary head coach Woody Hayes, is used to describe the somewhat unpolished but extremely energetic stylings of the Kingsmen Quartet of the 1980s and the Happy Goodmans of the 1960s and 1970s among gospel music audiences.

There has been quite a bit of discussion of the historical impact these two groups made on some gospel music blogs of late.

And in the coming days, I intend to weigh in myself on what brought those groups to the forefront that they enjoyed in those years with gospel music fans.

But for now...and for a discussion opener, I'll just say the following.

Both those artists produced concerts with a great deal of energy, and both connected very well with audiences from the stage when they were "on their game"....despite the fact that neither group was what you would call "smooth" or "precise" in their musical execution...and both sold a lot of recordings in the time frames I mentioned.

Oh, and they both sang gospel music.

But I'm afraid the similarities between the two end right there...more on that to come.

On tap…

Unlike some of my fellow bloggers, I see no need to warn readers in advance of "light posting" days, or even "heavy posting" days.

That is not meant to cast aspersions on those who post such things, but I'm sure that most familiar with this little corner of the Web know by now that I post when I post, and they know better to expect that one so busy as I(with a full-time job and a life)would be able to post something compelling on a daily basis.

Having said that, I feel the need to post SOMETHING tonight to let those readers know that (1)I'm here, and (2)most(if not all)is well, and that there are topics that I intend to post within days, depending on how fast I can put together my complete thoughts on them.

One such topic is an overdue tribute to some people who are key in spreading the word about southern-style gospel music on the web, who are (unfairly)reviled and villified on occasion...and the other is inspired by a recent post by a blogger far more popular than I who dabbled in a historical analysis of the likelihood(or non-likelihood)of a former phenomenon in gospel music recurring or not. Since gospel music history is something I feel fairly confident wading into a discussion on, I will attempt to weigh in on that topic here.

By the way, I thank all those who joined in discussion on my last post...as I've always said, I'd like this blog to be a welcome discussion place for all, and since it is more interactive than in the past, may all who surf this way feel welcome to participate in an exchange of thoughts and ideas.

Those above topics WILL be posted here in the coming days...exactly when, I can't yet say.

But you'll see them...keep checking back.

In the meantime, how are you all doing? I'd like to know.

Sugar sticks

Well, thanks to my friend and fellow blogger Paul Jackson(lead singer for the revitalized Prophets Quartet), I finally have something to say over here!

Paul wrote in his own blog about the propriety of gospel artists covering "signature" songs of other artists(or "sugar sticks", as the old quartet terminology refers to them as)...Paul seems to feel that most of these songs are so identified with certain artists(e.g., "Midnight Cry" with Gold City and Ivan Parker, and "Champion Of Love" with the Cathedrals).that it may well be bad form for someone else trying to record those songs.

And to some extent, I agree. Some songs have been recorded far too much("O What A Savior" leaps immediately to mind)by too many...and the likelihood of someone else recording somebody's "sugar stick" and making a similar impact with it IS rather remote. But is it all bad for some other artist who likes the song and feels he(or she, or they)can do justice to the arrangement and message of that song to TRY? I don't think so.

Sure, there are those who feel that the Dove Brothers and Signature Sound's renditions of "Get Away Jordan" are inappropriate, inferior to the Statesmen's classic version, or over the top in any case. But in defense of both those groups, their dusting off and bringing back that old classic has given it new appeal to a new generation of gospel music fans...and surely there is nothing wrong with that! That only helps gospel music overall, for it gets new fans looking back into the genre's history, and as they discover the riches of that, they learn how grand gospel music really is...and what a rich genre of music gospel is.

In fairness to Paul, he points out the difference between mere "sugar sticks" and true gospel standards, such as "How Great Thou Art", "Amazing Grace", and other such songs NOT identified with a particular singer. Paul argues(and I agree)that those type of songs cannot be sung often enough. Those songs' timelessness and intrinsic spiritual worth have not only stood the test of time, but insist, like Scripture, to be heard again and again.

Although I don't feel that my good friend Neil Enloe would mind if another artist or two recorded his modern standard "Statue Of Liberty"(though Neil's Couriers, the Cathedral Quartet, and the Liberty Quartet have all done notable versions of it). If a newer artist can take a classic song and make it a "sugar stick" of their own, why not?

I’m still here

I know...it's been a week, and nothing new has been posted here. Well, the explanation for that is quite simple, really.

I haven't had anything to say, or thoughts to share interesting enough to post...so, in keeping with my previously stated philosophy, I have remained silent.

One thing I'm looking forward to hearing about is my friend and fellow blogger Daniel Mount's impressions when he finally gets to hear actual albums by the Couriers. Daniel claims not to have heard the original Couriers quartet or trio, and I'm curious as to how he evaluates them once he does. I trust he'll tell me...and if he has anything worth commenting on, I'll do it.

I could comment on such phenomena as the current flap about Rush Limbaugh, or the unpredictability of the baseball playoffs and the NFL season, or any number of other gospel music topics. But I don't really have all my thoughts in order at this time to do so...so, I shall wait. Please be patient with me.

A tough week

I apologize for being so quiet this week.

Now some out there might not mind my quietness much, but I enjoy stopping by here and sharing this, that, or the other thought with you...and I know a lot of you enjoy it, too. But this has been a difficult week, mostly because I've been reminded once again of our limited mortality...of the fact that we only have so much time allotted to us down here, and I'm reminded anew how important it is to take adavntage of every moment we're given here to make a difference in the lives of others.

So are my colleagues at work, brutally so these days.

We at KMJ radio are adjusting to our new leader, Skip Essick, who is doing a fine job in this, just his third month at the helm. A heritage news/talk station is often the most difficult to be a new manager of, especially when you're following a predecessor of some 26 years who did a fine job. But Skip has eased in quite well, thank you...and is keeping us in the ratings lead while simultaneously improving our sound in order to keep us at the top of our game.

But this month alone, four of our fellow radio market colleagues have been summoned home to their eternal destiny(whatever that may be), and it is never easy to replace people we've known for a long time in our lives, no matter what anyone tells you.

Two of those were radio veterans who worked for competitors, but we all knew them as friends and good people who gave our business a good name...and we miss them very much already.

One of them, Allen Tatarian, was a good personal friend of mine, whose father Roger was an award winning journalist both locally and internationally. Allen had one of the best radio voices ever, and always made me laugh with a fresh joke seeimngly every time I saw him. He was dedicated to his work, and to having a good time doing it.

The other two were salespeople who worked in our own building. One of them I didn't know as well as I could have, because since we moved into a three story building ten years ago, I seldom saw those who worked on the lower floors. But what I did know of her I liked...she had a sunny spirit and breathed life into every room she entered.

The other one I knew from back in the early 1990s in our "single-story" days...she was always friendly, witty, and full of energy. In those days she made sure all of us on-air people had plenty of work to do...she was talented, and productive.

Unbeknownst to me, she also suffered from occasional seizures...I never saw any of them, though.

Evidently that particular problem had worsened in recent years, though, and yesterday she had one at work. This of course alarmed many of her colleagues working alongside her, and they called for medical help for her.

When it came, apparently it was too late. She was declared brain dead before she could be treated.

I'll miss Carol Ray...she was a friend, and a delight to work with. All yesterday afternoon, our office was somber, as if it were in collective shock.

Anytime something of that nature occurs to one of us in our workplace, we're all concerned. And we think of what might happen of any of us someday. The reaction was much the same when I suffered my stroke five years ago, and when our leading personality, Ray Appleton, suffered his stroke just five months before I did.

Ray and I are still around, which we and our colleagues are thankful for. But when will our time finally come, and do we all have the things we need taken care of taken care of when it does?

I do...and I can only pray and hope that my other colleagues, along with Allen, Carol, Steve, and Beth do too.

That being said, and as much as I'm looking forward to my eternity, I'm in no hurry to leave...yet!

A nice way to spend a Sunday night

I don't get to say this often(because I live in Fresno, CA), but I took in a southern gospel concert Sunday night.

The featured artists were the Isaacs, the undisputed top bluegrass-based gospel group currently traveling.

They were out here again this year at this time because of the Caruthers Fair, an event that they were featured at last year, and one where they understandably made a great impression just prior to them appearing here in Fresno with the Gaither Homecoming troupe.

At that Gaither appearance, I got the privilege of working as a volunteer at their record table, where I got to spend some time with the various members of the group, and got acquainted with them.

I found them then to be genuine, down home people who are very caring and dedicated to their audiences and their craft.

And of course, I found them to be superlative musicians, singers, and writers as well...it was no surprise that their table was among the most crowded during that memorable October evening last year.

This year, they chose to perform at Fresno's largest church following their fair appearance. I was working and missed them at the morning services, but I was there for their appearance at the evening service.

It was amazing. When I arrived, I was barely able to fit inside the door of the sanctuary...the line of people who had come to see them stretched from inside the sanctuary all the way to the church doors.

When I was finally able to see where I was inside the church, I could see all kinds of activity at their record table. They were busily signing autographs and greeting fans and friends prior to singing. I was afraid that Lily and Sonya would break their wrists from all the handshaking and signing they did.

Once the singing(and playing! What marvelous musicianship they display!)started, it was obvious that they had the audience in the palms of their hands. From their instrumental prowess to their fine material, to Sonya's charming and professional MC work and the onstage chemistry between everyone in the group, the Isaacs are a first class musical ensemble.

I have always maintained that the Isaacs could be country music stars if they so chose, but fortunately for the gospel music industry, they choose to put their love for Jesus and music exalting Him first.

I hear people sometimes discuss gospel music and the musicians in it almost apologetically, as if they didn't really feel that the industry's best artists measured up to their secular counterparts. Artists like the Blackwoods, Statesmen, the Couriers, the Imperials, Gold City, the Gaither ensemble, and the Isaacs are dramatic evidence that thst point of view is simply wrong. The best gospel artists have always been as good as anyone in any other genre...and I await the day when the standard of comparison for a gospel artist is NOT the hottest secular act or style, but simply the quality of their music. The Isaacs are as good as it gets....anywhere.

Unlike some gospel music artists, though, the Isaacs don't spend a lot of time talking, preaching from the stage, or testifying. Not that all that is inappropriate by any means...there are lots of ways to present the gospel through music, and some artists feel led to share their faith as well as their musical chops. This is OK, too. The Isaacs evidently feel that they are primarily musicians who have a testimony worth sharing along with that, and the effect that their entire presentation had on me and all the assembled at People's Church gave them the benefit of any doubt on that issue.

They concluded with Lily's testimony of faith..which I'd heard before, but like the Gospel, it is a powerful story that leads itself to be told and re-told. The satisfied looks on the faces of the assembled at the end of the concert showed the power of the Isaacs music, and that powerful music was ample testimony to the power of God, inasmuch as He gave them that gift, and they're using it for the benefit of His Kingdom, and of fans of good music everywhere.

I visited briefly with Lily and Sonya after the concert, and I was touched that they still remembered me from last year at their table, and I was also touched by their genuine warmth and how they seemed to truly appreciate the people that came to greet them and see them perform.

And I thought again how that if they were the country music stars they could be instead of the gospel stars they are, how I might not get to talk to them or exchange greetings, not to mention that I probably couldn't afford to go see them, nor could many of those blessed by their appearance that night at People's Church.

Yes, it was time to be most thankful...but isn't it always?

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