Monthly Articles

Add this entry to Your Favorites [56] Comments

Please wait...

We’re all familiar with the famous quote, “A rose by any other name would smell as sweet.” It originated in the play “Romeo and Juliet,” written by William Shakespeare.

The meaning is clear and simple. You can call a rose a banana, a cucumber, a daisy, or any other name you can think of, but the rose will still be what it is.

At first glance the rose bush is beautiful, but hidden among the pretty flowers are thorns…nasty thorns that will hurt you. It is generally believed that the purpose of the thorns is to repel animals that would make a meal of the roses.

The same analogy applies to the thorn…you can call it anything you want to but it is, and will always be, a thorn.

THE ROSE

To me, Southern Gospel Music is the “rose,” exquisite in its beauty and fragrance. There is no other music on earth as enjoyable to me as good SGM. I will admit I’m partial to male quartets. That’s what SGM was when I started in 1963, mostly male quartets. There were a few mixed groups, The Speer Family, The LeFevres, The Chuck Wagon Gang, The Weatherford Quartet, to name a few, but SGM was predominantly an industry of male quartets. Our industry today has many mixed groups and I enjoy listening to them all, trios, family groups, duets, whatever. As long as they are singing SGM, and singing it well, they’re singing my song.

THE THORNS

Just as in the rose bush, SGM has its thorns. Some are right out there where you can see them and some are hidden way back, behind the scenes, so to speak. They WILL hurt you and they are, in fact, hurting SGM.

THE MUSIC ROW CROWD

In Washington they are called “The Inside The Beltway Crowd.” These are the people who are so caught up with each other that they are oblivious to the rest of the country. The only thing that matters to them is appearing to be important to the rest of the “in” crowd, or as so aptly described in the song by The Eagles, they are “too busy being fabulous.”

We have a similar group in SGM. I call them the “Music Row Crowd.” They don’t all live and work in Nashville, but they all belong to the club. They are Southern Gospel label executives, radio promoters, talent agents, marketing and design people, promoters, trade executives, and some artists.

These folks rub shoulders with their secular music and contemporary Christian music counterparts on a daily basis. They desperately want to be accepted and to be treated as equals, but many of them are ashamed of our heritage and embarrassed by our music, and so they willingly compromise our art form to be accepted by the “in” crowd. It is beneath them to accept Southern Gospel Music as it is, or as it should be, so they are always trying to change it into something else… always with the same phony-baloney story about reaching more young people by changing the music. To which I say… A THORN BY ANY OTHER NAME IS STILL A THORN!

THORNS BEGET THORNS

Of course any time a group shows up on the doorstep of SGM that is anything but SGM the “Music Row Crowd” begins salivating. The longhaired, un-shaven, un-pressed, hole-in-blue jeans, gravely voiced rocker is music to their ears. They go running to their secular counterparts with CD and press kit in hand, “See, see, this is what we are. This is what Southern Gospel Music is now. Can we join your club now, can we, can we? Oh please, please?”

The “Music Row Crowd” also likes to play the “Name Game.” If an artist doesn’t fit into the mold of traditional Southern Gospel they just call it “Something Southern Gospel” you know like, Bluegrass Southern Gospel, or Christian Country Southern Gospel or my favorite…Progressive Southern Gospel.

They also think that by changing the name of SGM to “American Gospel Music,” or “Chinese Gospel Music,” that more people will want to hear it. They believe that the name Southern Gospel Music turns people off.

It’s not the name that turns people off…it’s the poor performance of many SGM artists that turns people off.

This fact, combined with the presence of artists that don’t perform true SGM, is why SGM is viewed as inferior. We have lost our identity. We have abandoned our true heritage.

SGM, when performed by a top notch SGM artist, is loved by everyone. If you don’t believe me ask The Perrys, Ernie Haase and Signature Sound, The McKameys, The Booth Brothers, The Inspirations, Legacy Five and the other truly fine, professional groups (I don’t have room to name them all) who are doing quite well.

THERE IS ENOUGH AUDIENCE, YOUNG AND OLD, TO SUPPORT OUR MUSIC IF THEY WILL STOP TRYING TO MAKE IT INTO SOMETHING ELSE.

My good friend and partner, Bob Jones, told me about a night in 1986 during the Dove Awards week when Southern Gospel Music really shined. At the time Bob was the President of Zondervan Music Group, which also included the Benson Company. Their labels were Impact, Powerdisc, Riversong, Heartwartming and also Enigma. The artist repertoire of those labels included Sandi Patti, Larnelle Harris, Degarmo and Key, Stryper and The Cathedral Quartet, among others.

The Benson Company was given one night to feature their artists and it was decided that the theme would be to showcase the variety within the company. You can imagine the broad range of music that appeared on that stage that night, from Sandi Patti to Stryper, but Bob said the biggest hit of the night was the Cathedrals. The crowd loved them and showed their appreciation with a standing ovation. In fact, they got the biggest response of any artist the entire weekend. Of all the artists and bands that appeared on that stage that week, four gentlemen with a piano player and a bass guitar stole the show.

In all the years I enjoyed the Cathedral Quartet I can’t ever remember them singing anything but pure Southern Gospel Music. As a matter of fact, in trying to define Southern Gospel Music, I would have to say, “Listen to the Cathedral Quartet. Do that and you’ll be doing what I believe is the finest example of Southern Gospel Music.”

SGM is an art form that originated in the South and, it has been argued, stands alongside jazz, blues, and country music as the fourth great genre of grass roots music and the fourth major type of southern music. It has a distinctive sound. Other genres of music also have a sound that is unique to that genre. To alter or distort a genre’s sound and try to make it sound like something else is, in my opinion, a cardinal sin.

For example, have you ever heard of a barbershop duet? I doubt it, because barbershop music is designed to function as a quartet. There are lots of people who love that art form and probably many more who don’t, but you never hear of the barbershop quartet industry changing their music to reach more people. They remain true to their heritage. You either like it or you don’t…that’s it.

How about George Jones with a big band… Or Frank Sinatra with a steel guitar? I think you get my point.

A ROSE IS STILL A ROSE

My friends, Southern Gospel Music can stand on its own merits. It is designed by its very chemistry to be performed by four voices, much like barbershop quartet music. Please understand me here. I’m not suggesting that we dismiss every group that is not a quartet. I am merely trying to point out that our art form, Southern Gospel Music, is by its nature, Quartet Music. The name of our biggest event is The National QUARTET Convention. That is our heritage. Just like the rose, you can call it anything you want to but it will never change what it is.

WHAT IT IS NOT IS COUNTRY, BLUEGRASS, MOR, PRAISE AND WORSHIP ROCK AND ROLL OR PROGRESSIVE.

I disagree with those who proclaim that there is a place for everyone in SGM. There is only a place for those who are committed to the art form, and the art form is clearly defined by listening to groups like the Cathedral Quartet. If you want to sing music like that, whether you are a quartet, or a trio, or a mixed group, then you are welcome.

If you and the “Music Row Crowd” insist on making this beautiful rose bush into a bush of thorns then you are most certainly not welcome.

I, for one, have had my fill of the blue jeans, long hair and country music “wannabees,” singing music that is not SGM pretending to be a rose, and I don’t believe I’m alone on this.

I say, “Bring back the red suits, short haircuts, shined shoes, and tried and true Southern Gospel Music.”

As Always, I Welcome Your Comments.

God Bless You,

Nick Bruno
http://www.nickbruno.com

Reader Comments

Well MD, I am not sure which he meant. I used the example that he doesn't seem to want Progressive SG to be called SG at all (it sounded like) or Progressive either because he said people wanted to separate themselves from the SG label. So which is it? Does he want them to not be called SG anything if they aren't the traditional style (even if it is qualified with Bluegrass, Progressive or what have you? I certainly don't want the other groups replaced. Like I said, I tend to like many that qualify as SG (mentioned above) better than many that doesn't. We can agree on that. Maybe he will have to explain himself so we can see if we all agree from different angles.

Truth be told though, it does seem that traditional style has been pushed out at times. Even then though, there are different degrees. The Melody Boys are different than the Cathedrals were. The Inspirations and McKameys certainly are different yet he mentioned them all together. I don't know if people only want things called SG that are ones they like or not. I certainly understand the confusion and there are groups under the SG umbrella that aren't to my liking and that I question are SG, at least in my definition. Sometimes these groups have used other titles with SG maybe not so much because they are ashamed of SG (though maybe the are), but to further explain what type of SG they are.

I think the artists, labels, promoters, and SG radio should research what the SG audience actually wants, for it is dead certain the industry has not a clue. The hottest SG group today is a quartet doing basic traditional quartet music with their own flair. The hottest group of the 80's and 90's was also a quartet with very traditional fare, the hottest SG group of the 70's was likewise a traditional quartet. As a matter of fact, this tradition has been going on since 1948 when the Statesmen came on the scene. Anyone see a pattern here? The one huge difference between what is considered traditional and what others wish to call progressive, is the professionalism, music arrangements, dedication to the art form, and the ability to actually sing correctly. A sense of history and where we have come from would be a good place to begin. Lessons in how to read music would likewise be well advised. Ask any audience member you wish, at any SG concert anywhere, what they prefer. The answer will astound you in the audience percentage that still prefers traditional quartet music. The audience is dwindling not because we are not progressive or hip enough, but because we have forsaken our roots and it no longer resembles what the audience wants to hear. This is the unbridled truth, very much like the 800lb gorilla in the room, and the industry as a whole, is ignoring that one undisputed fact. Right on Nick!

Page 6 of 6 Comment Pages « First  <  4 5 6

Add Comments

If you are seeing this form you are not a Member or have not logged in. Why not consider becoming a Member?

Membership allows you to have a prepared signature of your choice applied to every comment you make, as well as the ability to choose an avatar to display next to your name to help identify your posts. Members are also given opportunity to vote weekly in our Weekly Chart as well as special Members Only contests, polls and giveaways during the year. If you are already a member, login here, otherwise please register here.

**Note: Forums membership is a seperate membership.

By posting you agree to our Comments Policy

Name:
Email:
Location:
URL:
Comment:
	Remember my personal information
	Notify me of follow-up comments?
Please enter the word you see in the image below: