Jonathan Bellamy charts the history of Britain's Nelson Word and talks to the label's Ian Hamilton.



Continued from page 1

To some extent, one-way Christendom sees 'success' is the much dreamed about but seldom realised Christian music single in the charts. In 1987 a Word band Heartbeat, made the pop charts. The single was "Tears Of Heaven". But since then Word seem to have largely left thoughts of getting Christian music into the pop charts behind though recently they've started sub-leasing from their vast repertoire hot soul/dance tracks (from the likes of Helen Baylor etc) for single release and| possible clubland/radio exposure. So don't Word release singles? "Tears Of Heaven'" got to number 32 so it did have al degree of success. In saying that, singles in themselves don't make commercial sense. It's the promotion that they give as is well documented by the record industry, to album projects. In the case of the Heartbeat single, we didn't see enough album sales follow up to merit this. The singles market requires a lot of specific mechanics that a specialist company such as ourselves just does not have or even have access to. I wouldn't discount us getting involved in another of those projects at a later stage though. The Tears From Heaven' experience certainly was a learning one. The specialists in the singles market, i.e. the general market place -record companies who have the resources at their disposal are the companies to pull tracks off Word albums and maybe get them into the charts.

"Last year we sub-licensed a Helen Baylor master to a specialist in that particular genre which was dance/club musk and it had a relative degree of success. However I do not think this shows that secular record companies are particularly interested in Christian music as a genre. They're only interested in talent that they believe they can promote in the wider market place and of course that could be in any style of music."

Why don't secular labels pick up on, Christian artists very often? "Well, I think there is a difficulty for Christian artists in that they are proclaiming a truth that in many cases is not a palatable one readily accepted in a very fashionable idea-oriented industry which the general record industry is I think there probably is some prejudice against Christian artists."

Does Ian feel there is a growing awareness of Christian music from the general Christian public, I asked. "There is definitely a large number of Christian people who have an interest in music. It doesn't mean that they are only interested in Christian music, I'm sure they buy secular music also. I know I do, and I consider myself a music fan. I think one of the problems we've had in recent years in contemporary Christian music in the UK has been that the whole worship music scene has tended to have all the emphasis whilst contemporary Christian music which frankly is far more likely to have an evangelistic relevance, has I think been passed over."

Which brings up the Church question, how does the Church in general, particularly the charismatic and evangelical churches, respond to Word? "Obviously they don't necessarily have contact with the Church at large, but we do have very good relationships with key leaders within the Church who represent various streams, be they charismatic or evangelical. I sense a real support, not just for Word, but for other Christian publishing companies too., I believe it has been an encouragement to the evangelical and charismatic scene that Word has returned to Christian ownership."

In 26 years of Christian music service Word is more than a survivor. Their projected revenues for the coming year are in the region of £7.5 million, and with the recent change in ownership their 'mega corporation' status is assured. To a large extent, a huge chunk of the Christian music industry is in their hands, and like a 'growing child trying to find his feet in the real world, perhaps the Christian music community need to respect a little more, Word's experience and contribution to the world of contemporary Christian music.


YEAR BY YEAR BY YEAR

1967 Word UK is born out of Livingstone Recordings Ltd - producers of traditional and British choral music. A subsidiary of Word Inc, America. Headed up by Jarrell McCracken (US) and Bill Hamilton (UK). Location: Watford Staff: 3 Releases: Ralph Carmichael, Billy Graham Crusades, Burl Ives, Treorchy Male Voice Choir, Jack Ward, Emyr Davies, Glasgow Phoenix Choir, Cliff Barrows, Frank Boggs, The White Sisters, Ethel Waters.

1968 Word enter book publishing: Gladys Ailward's A London Sparrow is published. Releases: George Hamilton IV, Continental Singers, George Beverly Shea, Tennessee Ernie Ford, The Goodman Family, Peter Drake, The Lewis Family, Jimmy Davis, Jamie Owens.

1969 Releases: Jimmy Owens, Betty Lou Mills, The Interlude Singers.

1970 First cassettes appear.

1971 Location: Hemel Hempstead. Staff: 15. Releases: Pat Boone and Family, Alan McGill, Cross And The Switchblade soundtrack, Come Together (sells 72,000), Peter Jackson, Jungle Doctor Fables, Andrae Crouch.

1972 Releases: Arthur Blessit, Sunbury Junior Singers (Sing To God), The Settlers, Vanda Van Dyke, Ray Repp.

1973 Myrrh label begins. First signings: Garth Hewitt, The Sheep, The Alethians, Dave Pope, Barry McGuire, Randy Matthews. Tours: Jamie Owens, Andrae Crouch, 2nd Chapter Of Acts, Barry McGuire, Come Together tour UK. Releases: Parchment, Malcolm And Alwyn, Len McGhee, Johnny Cash, Ray Hildebrand.