Marcia Dixon speaks out against lyrics, which say too little, and production that is little more than turning on a tape recorder.

Marcia Dixon
Marcia Dixon

In my view live black gospel music, whether heard on a recorded format or concert setting is one of the most moving, exhilarating and exciting music art forms ever known to man. When those singers come together and create those exquisite harmonies and the lead singers execute their songs with the most impressive vocal skills one will ever hear, I just simply have to lift my hands and thank God for the gift of music.

You are no doubt aware from my preamble that ever since I became a Christian 12 years ago I have been an ardent gospel fan. Although I occasionally delve into other music forms, gospel music, especially the live traditional variety remains my favourite. However, something is happening to mar my enjoyment.

It has become increasingly apparent, though, in recent years, that the live recorded gospel genre is sounding very, very tired, and its fans, myself included, are getting very, very sleepy listening to music that once thrilled and exhilarated us. I remember interviewing a leading American gospel artist some time ago who confessed that he could not stand choir music. When I inquired his reasons for this terrible state of affairs he replied that he was fed up of hearing badly produced choir albums.

For him, those run-of-the-mill, "hallelujah, praise the Lord" album where production consists of nothing but turning a tape recorder on after letting lose a choir and a noisy congregation to obtain an ambient wall of sound was an indictment to the church. Such albums, this gospel artist stressed, clearly demonstrated that the black church, though clearly the historic birthplace of much 20th century music was today not as serious about its music as its secular counterpart. That interview took place over two years ago. I didn't agree with him at the time. I am beginning to now.

It's not just lazy-but-cost-effective recording techniques that are at fault. The lyrical repetition and sheer mind numbing banality of many of today's hundreds of choir albums has reached crisis point. With poor production and lyrics which often seem the most blatant re-cycled clichés, is it little wonder that young people are becoming enthused by 'crossover' gospel. At least some thought and skill has gone into it with record companies using the best musicians and producers.

In traditional gospel, if you for-get about such gospel luminaries as James Cleve-land, Walter Hawkins, Milton Brunson, Dam! Coley, and John P Kee there are a many, many black gospel artists releasing woefully sub standard material.

For black people, particularly black Americans, music is an important tool used for spreading the gospel, it should be, but it has come to the point where gospel artists have to step back and take a serious look at the music they are producing and the message it is proclaiming.

I have a number of theories why this state of affairs has arisen. For many black Americans their understanding and expression of Christianity is experiential and emotional, as opposed to cerebral and theological. When black Americans go to church, they go to have a good time. Music plays an extremely important role in fostering a celebratory atmosphere in black American churches, so the more intricate and skilful the playing and the more emotional and powerful the singing the better. This, of course has produced a rich history of singers and choir arrangers. But the emphasis on feeling means that many black gospel artists and their fans, have become more interested in style than substance. It has got to the point where anyone can write a gospel song. The writer has to make sure it mentions being set free and made whole. If the song is aimed at encouraging worship it must contain one of the following lines: either 'Glorify The Lord', 'Praise His Holy Name' or Thank You Jesus' and you're on your way to becoming a fully fledged gospel lyricist

Black gospel music (and the same could be said for some strands of white praise and worship music) has to wrestle itself free from endless repetitions of simple truisms or exhortations. Unless the poor quality of today's gospel lyrics is justified it will do untold harm to the reputation of gospel music and eventually the spiritual health of the church. Songwriters and singers need to look to God and the Word for their inspiration. Not only reaching for the nearest 'Praise The Lord cliché. And on the subject of poorly produced albums choir albums, new care (and more money!) must be spent when producing albums because the music they contain is a testimony to how serious one is about one's music and beliefs.

In an age when the non-Christian world is waking up to the gospel art form the music deserves and needs material of spiritual and artistic integrity, which is also innovatively and imaginatively produced. The church will ignore this at its peril. CR

The opinions expressed in this article are not necessarily those held by Cross Rhythms. Any expressed views were accurate at the time of publishing but may or may not reflect the views of the individuals concerned at a later date.