CONVERSATIONS IN GOSPEL
Back to the old landmark...and forward again.
1. “The Reason We Sing” by Kirk Franklin and the Family
Timing is everything. And although he grew up under harsh circumstances, Mr. Franklin, lovingly dubbed “God’s Littlest Christian” by comedian Jay Anthony Brown, came along at the right time; in “God’s own time,” as it were. When this cut hit the airwaves, James Cleveland, who had forever and a day been considered the consummate, yet close-minded Ruler of Gospel had been dead 2 years and this genre of music was in need of a new sound; enter Kirk. Sure, guys like Andre Crouch, Hezekiah Walker and Keith Pringle had shaken things up in the early ‘80s. But urban legend alleged Cleveland’s powerful, far-reaching iron fist on the control of gospel music’s sound would not allow anything like Kirk’s sound or message to make it out of the studios, or to be sang by the choirs, no less. In essence, the old guard was now finally letting go of their grip on gospel. And while satirist have teased Kirk regarding the simplicity of this tune, the traces of “call and response” trademark is unmistakably homage to the early days of gospel and “old time religion.”
2. “You Brought The Sunshine” by The
From the funky conga drum beat to the disco heavy bass line, this single put the
3. “We Fall Down” by Donnie McClurkin
No song ever said, “Man, I have really and truly messed up…again.” This one did. It goes further to say, “It’s okay.” The heartfelt message in this song came from a man who admits to struggling with sins of the flesh, specifically, homosexuality. The church still does not acknowledge that their organization is often a haven for such activity, but continues to condemn gay people with a vengeance. An impeccable recording environment—live, plus honest lyrics equals a spirit-filled cut. Moving, and of course, popular, this single was in an episode of “Girlfriends,” a show whose premise has very little to do with God or forgiveness. Nevertheless, Rev. McClurkin himself guest starred. Not quite a believable scene, but touching despite the cheesiness factor.
4. “Open My Heart” by Yolanda Adams
Another crossover hit, but important for another reason: Yolanda’s vocals are nothing short of awesome. There are many R & B singers out at the time with sultry sounds—Faith, Mary J. Blige, Aliyah, and even Kelly Price, who straddles the theological fence between gospel and secular music. And there were a few folks still jamming Whitney’s smash singles from the Preacher’s Wife Soundtrack (“Joy,” “I Go To The Rock,” and “I Love The Lord”); but drug dependency and personal issues has stopped the soon-to-be-washed-up diva cold. Air play on hip-hop and R & B stations gives Yolanda an audience she had never had before. This cut stays on the charts probably well beyond its peak. But, come on, who is going to stop playing a gospel cut before being told to do so without fearing going straight to hell on a rocket? Nevertheless, Ms. Adams has terrific range and a diversified sound; most of us knew she had talent when she belted jazz scats on, “My Liberty” back in the early ‘80s. She had earned the right to be “played out.”
5. “Addictive Love” by BeBe and CeCe Winans
Okay, the title is so un-church, so sacrilege. Yet, the Winans family is considered righteous to the infinite power so the title was a mere hic-cup for marketing to handle. Plus, it didn’t hurt that this brother and sister team used to perform on the infamous Praise The Lord Ministries choir. They rocked the mike, remaking the hit, “Love Lift Us Up” to “Lord Lift Us Up,” with spectacular results. When things went south for PTL, BeBe and CeCe had no problem hitting the studio on their own. “Addictive Love” crossed over, as would their follow-up hit, a remake of the Staples Singers’, “I’ll Take You There (with guest vocals from Mavis).” Not as much controversy with this crossover as with The Clark Sisters. It was the early ‘90s and folks were starting to release the long-time grip on the sometimes crippling high standard attached to gospel music. Regardless, this hit added to the Winans family’s cache of success.
6. “Jesus Is The Best Thing (That Ever Happened To Me)” by James Cleveland
For a long time, people accused secular singers of “stealing” from the church. Entertainers like James Brown, Little Richard, Candy Staton, Aretha Franklin, and Ray Charles were scorned for not only leaving their respective churches to pursue careers in R & B, but for taking with them holy rhythms, beats and riffs. Said stolen melodies were unofficially, but righteously deemed only be used to praise the Lord.
7. “Speak To My Heart” by Donnie McClurkin
While there were hymns like, “Father, I Stretch My Hand To Thee,” and Andre Crouch’s mega hit “We Need To Hear From You,” this cut is a little different. First, you have McClurkin’s falsetto voice over simple backgrounds—nothing flashy or noisy, just a crisp, articulate accompaniment. Powerful lyrics asking for guidance and explain how much we need it. Whether or not one is “going through,” or has simply “come through the storm,” you cannot help but nod your head in agreement and lift your hands to let God know you are “here.”
8. “The Question Is” by the Winans
Putting the Marvin, Ronald, David, Carvin and Daniel on the map should not have been too much of a problem. They had been singing since, well, forever. But these cats, born and raised in the church were clean; squeaky clean. Plus their sound was pure. While The Caravan featuring the likes of Shirley Caesar and Dorothy Norwood were no sinners, either, they still came up the hard way and had to do time on the unofficial gospel chittlin’ circuit. The Winans brothers, unfortunately, had not paid any dues yet. Still, they made a major splash with this tune. Although in form it did not resemble anything the church had heard before, there are faint traces of call and response. Additionally, Marvin’s voice is without question reminiscent of a Baptist minister or deacon, conducting altar call or testimonial service.
9. “‘Old Songs’ Medley” by
The term “what is old is new” comes to mind with this cut. Though Pearson talks a little too much in during the intro, he gives a vivid description of what it was like “back in da’ day.” Despite being a staunch conservative Republican who once stated that there is no longer a need for a civil rights movement in this day and age,* the extremely gifted Pearson begins with “Hold To God’s Unchanging Hand,” and then goes into “I’m A Soldier (In The Army of the Lord);” the hand clapping, foot stomping worship culminates with, “I Get Joy When I Think About What He’s Done For Me.” Again, Pearson gives detailed description before giving a slow tempo, soul wrenching rendition of “By and By,” and then “Use Me Lord.” Pearson pauses from singing to give more narration; this time, you can tell he wants to weep as the memories seem to reach ahead from years ago and have him captive. Ironically, he begins to perform, “Just Another Day That The Lord Has Kept Me.” The Old Songs Medley is proof that this dude has lived these songs and knows what he is talking about. His performance on the entire Azuza project, particularly with these series of songs, contains such feeling that it almost belies his political beliefs. Pearson’s viewpoints aside, all of the Azuza albums, especially this first one say, “yes, you can go home again.”
10. “Stand” by Donnie McClurkin
Maybe just a tad ahead of its time, yet right on time, this cut has hit written all over it. McClurkin’s voice, defiant, yet reverent, encouraging the most down-hearted saint to “keep on keepin’ on” and not to give up. But it also reminds the listener to do what is required: pray. And pray some more. This emphasizes that God, while he does not need our help to do anything, doesn’t allow us to be lazy.
11. “Glory To Glory To God” by Fred Hammond and Radical For Christ
This dude paid attention in Sunday School, revival, and Wednesday Bible Study, for sure! Lyrics like, “…tell the generation, from the mountain to the valley, by His spirit the victory is won.” And he lets you know that praising God is a joy as well as a necessity with lines like, “…for the Lord, is worthy to be praise, his hand of salvation redeems us this hour…be glory, honor, dominion and power,” and “let the people praise him, rejoice in all his goodness and the marvelous things he has done.” There ain’t no shame in Fred’s game: he loves the Lord with all his heart and this tune conveys his hopes that anyone listening feels the same way.
12. “This Is Another Day” by Andre Crouch
Taking a classic, revered gospel hymn (“This Is The Day That The Lord Has Made”) and turning into a finger-snapping, bluesy cut, spells guts with a capital “g.” But Mr. Crouch was also about changing things up across the board. He brought forth old school church music (“Soon and Very Soon”) with a new school touch, but did not push for all the hooping, hollering, and shouting that was the required norm. Instead, Crouch added nu skool jazz with a touch of pop. Additionally, his earlier albums have strong, undeniable Polynesian themes. His music, while still very gospel, and faintly southern Baptist-slash-Pentecostal, crossed over into mainstream Christian music; much of his work can, in fact, be considered “pre-contemporary gospel.”
13. “In The Morning” by Mary Mary
Some would argue that “Shackles” should be listed here. True, that made a huge splash for the dynamic duo of gospel. But this cut has more crossover ingredients than the average gospel song. More than, “You Brought the Sunshine.” More than “Addictive Love.” More than even, any of Kirk’s cuts. It is the conga drums, with the dancing violins and the slightly sultry yet ever so sanctified vocals. These sisters do not try to hide their love for the Lord, or that they are in fact beautifully talented Christian women. Their harmony sounds as if they could be singing in a church in
14. “Jesus Can Work It Out” by The
Not only this project give testimony that gospel was still alive and well in M-i-crooked-letter-crooked-letter-i-crooked-letter-crooked-letter-i-hump-back-hump-back-i, folks there were sure that Jesus would in fact, work it out. Running down a litany of “what can go wrong” on any given day (i.e., bills due and no money), nevertheless there is assurance that once you “give it over to the Lord,” he will take care of it. No rhyme or reason as to how or even why, just the guarantee that it was done. ‘Nuff said.
15. “Oh Happy Day” by Walter Hawkins
Recorded live in the late 60’s er’ choir thereafter ripped this cut. Originally a hymn, OHD was written in the mid-eighteenth century, by Phillip Doddridge, an English clergyman. This song became the “b” in the “‘a’ and ‘b’” selection choirs were often called upon to render during Sunday morning service.
Honorable Mention
“Jesus Is The Reason” by Kirk Franklin
Okay, okay, almost every Kirk Franklin cut should be on the list, but alas, they just cannot be. Still, this one has so many levels of smacking tradition in the face that I have to mention it. The line about not needing “material things,” and that “Santa Claus ain’t got nothing on this,” is finally a beautiful denouncement of the commercialization on Christmas; it is a message that the church had been trying to vocalize for a long, long time. Kirk pushes the envelope across the line and off the proverbial cliff by snatching at popular rapper Biggie Smalls a.k.a. Notorious B.I.G. with, “I love it when you call Him your savior.” Kirk makes no secret that he does in fact listen to rap—and rap with explicit lyrics to boot. His spin on Smalls’ lyrics says, “it’s okay, ‘cause God loves, you, me, Biggie and er’body.” There is none of the previous hate between the secular world and the church.
“Call Him Up” by Keith Pringle
While Cleveland and others were struggling to keep the sound “revered” and stuck in the 60’s, this song undoubtedly pulls gospel into the 1980’s. Yet the early roots of gospel are evident despite the bluesy melody. From the piano riff, to the hand clapping, foot stomping breaks until the last note,
*Carlton Pearson’s statement regarding civil rights and his opinion that there is no longer a need for it in present day can be heard, verbatim on Live In Azuza 2.
