Gospel music is not just a melody. To some it is a foundation, their only glimpse of assurance.
“Personally is has encouraged and helped me strengthen my faith during those times of despair and disappointment,” said attorney Howard Stevenson, managing partner with Coleman Stevenson & Montel LLP. “I can vividly remember when gospel music personally became a passion of mine.”
Stevenson continued by giving credit to an album by the gospel group Commissioned, which helped him get through his freshman year of college in 1986.
“I was hooked after that,” he said. “The message in their music was directly addressing what I was going through as a young person. The quality of their music production was easily on par with that of their R&B counterparts, and the group members were bold and unapologetic in sharing their faith. I could relate to them.”
All through its history, gospel music is something African-Americans can claim as their own. During the periods of 1900 to 1930s gospel music can be attributed to the social changes taking place in the country.
Researchers say the second stage for gospel music came during the ‘30s, known as the Dorsey era. Thomas Dorsey is referred to as the father of contemporary gospel. His songs combined shouts of praise and emotional fervor with a contemporary style that was not welcomed in some churches.
In the 1940s, gospel music took another dramatic change. During this period gospel ensembles and quartets were organized. Groups traveled throughout the U.S., having a wide appeal, and as a result attracted a larger audience. The ‘50s brought ensembles accompanied by a piano organ. Some of the groups of this era were the Clara Ward Singers of Philadelphia, The Staple Singers of Chicago and Albertina Walker of Atlanta.
During the 1990s gospel music would take a dramatic leap toward the hip-hop sound. Kirk Franklin would hit the scene with loud gospel music, catchy beats and rhythmic dances. Some people wondered if gospel music had become too worldly?
“There are always going to be those critics that say gospel music has gone too far. It’s amazing when you look back at a generation, you will see it was right where it needed to be at that time. If music can be placed and developed in a different way to reach those people that may not attend church or tune into (WTLC-AM) 1310, then it has served its purpose,” said Bryant Scott president of Tyscot Records and Tyscot Film and Entertainment.
According to Scott, gospel music has crossed the line when the gospel is taken out of it. When the listener is unable to differentiate a secular message from a spiritual one it may not be gospel.
“The gospel has to have a clear message of Jesus Christ, hope and salvation. When the lyrical content becomes a synopsis with any of the love songs or anything else I hear, then what makes it gospel?” he asked.
Unlike any other genre of music, gospel embodies the good news. It also has a way of making the listener feel better after hearing it and if you keenly listen to the message in the lyrics, it can eternally change your life says Stevenson.
Stevenson is a living witness.
“When I started law school I knew I wanted my legal practice to include representing gospel artists, churches and ministries. Above all, I really wanted to eventually represent Commissioned. I later discovered that God can do ‘exceedingly, abundantly, above, all we can ask or think’ because he allowed me to represent my favorite group Commissioned and become good friends with several of the group members,” he said.
To Stevenson gospel music has transformed into a way of life.
“It provides hope,” Stevenson said. “And an answer to the problems the listeners may have.”
