Topic: Religious Folk Music Revival
The boundary between secular and religious music always has been more important to vocal spokesmen for denominations than it has been to singers and their audiences. Dick Weissman recalled it took only one minister in Boston to destroy The Journeymen’s recording of “Kumbaya” in 1963 with a campaign to stop radio stations from playing it because they used the phrase “Oh Lordy.” [1]
Music company executives knew well the power of boycotts and negative publicity when Decca Records executives in London agreed in 1968 to record a cantata [2] by an unknown composer that had been commissioned for a school recital [3] and published by the education arm of a major music publisher. [4] It helped that The Sunday Times described it as “making a breakthrough for pop.” [5] Joseph and the Amazing Technicolor Dreamcoat [6] got some good reviews, but not many sales. [7]
Still it provided an entrée for Andrew Lloyd Webber to pitch his idea for a rock opera to Decca’s American counterpart, MCA. [8] By then, Word Records was making money from folk musicals by Kurt Kaiser and Ralph Carmichael. [9] However, before MCA invested in an album, it decided to test the market with a release of a single record in 1969. [10] “Superstar” entered the Billboard popular music chart, dropped, entered, dropped, and finally reentered to rise to 14th place. [11] That was enough to justify studio time for an album. [12]
The response to the album, and subsequent staging of Jesus Christ Superstar, [13] exposed the chasm that had been deepening in this country since German scholars began using linguistic tools in the late nineteenth century to understand the Bible. Fundamentalism had emerged in the 1920s to deny the implications of that research. It produced an alternative narrative that asserted the Bible was the literal truth received directly from God. [14]
John Johnson claimed Lloyd Webber and his lyricist, Tim Rice, “had grown up attending the Church of England, but neither accepted the truth of the Bible, so they adopted the perspective of Judas Iscariot as the narrator. The musical basically served as a sort of nihilistic passion play, ending with Christ dead, not resurrected.” [15]
Financial men, who are hesitant to gamble on an unknown artist, are more willing to promote imitators after the unknown has succeeded. Thus, Angela Lansbury’s brother found a student production at the Carnegie Mellon University to bring to a small New York theater in 1971. [16] Godspell [17] was criticized for committing the same heresy as Superstar by men from the evangelical Westmont College. [18]
“Godspell is not a Christian opera. It may indeed be a sincere attempt at modern theater, but the absence of any understanding of the divinity of Christ precludes Godspell’s classification, as some have assumed, as the avant-garde of a new Christian consciousness in contemporary musical drama.” [19]
It was not a denomination or a religious publisher that issued an anthology containing four songs from Godspell under the title Gospel Rock in 1974. They not only would not have been able to get their boards to accept religious songs that used popular music, but they lacked the financial resources to pay for publication rights.
Screen Gems, the publisher of Gospel Rock, was owned by Columbia Pictures, [20] who distributed the film version of Godspell in 1973. [21] It and its rivals contacted composers of every song that entered a Billboard chart to get rights to publish sheet music and folios. [22] With very few exceptions, [23] every song in Gospel Rock had reached the top fifty, and most had reached the top twenty-five weekly best sellers in their genres.
The collection included a wide range of styles. Of course, it had some by country-music artists, but it lacked some of the more popular like Kris Kristofferson’s “Why Me?” [24] While this particular song was represented by a rival publisher, [25] there also may have been an aesthetic decision to avoid lyrics saturated with the theology of abasement and atonement. George Jones’ “I Wonder How John Felt” [26] was closer to the philosophy of Superstar and Godspell.
Gospel Rock did include some actual rock arrangements, including Three Dog Night’s “Jeremiah Was a Bullfrog” [27] and the Doobie Brothers’ “Jesus Is Just Alright.” [28]
Contemporary African-American music was less represented. The only Soul song was recorded in London by an Jamaican-born artist living in Germany. [29] It may be that Barry Gordy [30] and other Black entrepreneurs were less willing to cede control of any of their material to outsiders, than were other copyright holders.
As compensation, Gospel Rock included some spirituals, but only those that had made the Billboard charts. Jestor Hairson’s original arrangement for “Amen” [31] was used, as well as his “Elijah Rock” that was recorded by Mahalia Jackson. [32] Hairston had sung in Hall Johnson’s chorus, and later worked with Dimitri Tiomkin in Hollywood. [33]
Many of the other African-American songs were arranged by Albert Gamse, discussed in the post for 12 January 2020. These included “Just a Closer Walk with Thee,” [34] Edwin Hawkin’s “Oh, Happy Day,” [35] and the Highwaymen’s “Michael Row the Boat Ashore.” [36] The version of “Kum-Ba-Ya” [37] was the one that used the pseudonym Bernardo Gasso.
It is ironic that the men who wrote the original musical productions for conservative churches were left behind by Jesus Christ Superstar and Godspell. Carmichael wanted to do something after he saw rehearsals for Brigadoon [38] at the auditorium owned by the Baptist church which employed him in Los Angeles. [39] John Peterson was thinking about composing a Christian musical when Singspiration asked him to do a cantata instead. [40] By the time Lloyd Webber was able to realize their vision, the musical style again had moved beyond the limits accepted by their audiences.
Performers
Same as post for 26 April 2020.
Credits
Same as post for 26 April 2020.
Notes on Lyrics
Same as post for 26 April 2020.
Notes on Music
Same as post for 26 April 2020.
Notes on Performance
The songbook cover featured a drawing of the Godspell cast done in wood-block style by Judith Ann Benedict.
Notes on Performers
Charles Hansen Music, discussed in the post for 12 January 2020, was the most important sheet music publisher in 1970. [41] Screen Gems was established in 1971 in Miami, Florida, where Hansen had its production operations. [42] Columbia Pictures sold the company to EMI in 1976. [43]
Screen Gem’s head, Frank Hackinson, [44] was recruited from Hansen. [45] He stayed with the company through several transfers of ownership, but left just before it was sold to Sony in 1989. [46] He then founded the FJH Music Company, which specialized in music for public school music programs. [47]
The editor of Gospel Rock seems to have been one of the many nearly anonymous technicians needed by publishing companies. Bill Radics was described as a “business and creative production manager.” [48] When Screen Gems was sold, he and Richard Bradley formed their own company, RBR Communications, to issue piano and organ arrangements. [49]
Availability
Book: Bernardo Gasso. “Kum-Ba-Yah (Come By Here). Gospel Rock. Edited by Bill Radics. Miami, Florida: Screen Gems-Columbia Productions, 1974. 20–21.
End Notes
Billboard sales information is from Wikipedia articles on the songs, unless otherwise noted.
1. For more details, see the post for 13 October 2019.
2. Andrew Lloyd Webber. Unmasked. New York: HarperCollins Publishers, 2018. 96. Decca was a British company that had separated from the American company of the same name in 1937. [50]
3. Lloyd Webber. 79–80.
4. Lloyd Webber. 92. The publisher was Novello.
5. Lloyd Webber. 96.
6. The Joseph Consortium. Joseph And The Amazing Technicolor Dreamcoat. KSKC 4973. 1968. [Discogs entry] This was not the version that opened in New York City at the Royale Theatre on 27 January 1982.
7. Lloyd Webber. 104–105.
8. Lloyd Webber. 113.
9. For more information, see the post for 13 December 2020.
10. Murray Head. “Superstar.” MCA MKS 5019. 1969. [Discogs entry.]
11. Wikipedia. “Superstar (Jesus Christ Superstar Song).”
12. Andrew Lloyd Webber and Tim Rice. Jesus Christ Superstar - A Rock Opera. Decca DXSA 7206. 1970. Recorded in London. [Discogs entry.]
13. Andrew Lloyd Webber and Tim Rice. Jesus Christ Superstar. Mark Hellinger Theatre, New York City. 12 October 1971–30 June 1973. [51]
14. Wikipedia. “Historical Criticism” and “Christian Fundamentalism.”
15. John J. Thompson. Raised by Wolves: The Story of Christian Rock & Roll. Toronto: ECW Press, 2000. 26. Thompson’s mother “became a Christian at the end of the Jesus Movement in 1973.” [52]
16. Wikipedia. “Godspell.” Edgar Lansbury was the producer.
17. Stephen Schwartz and John-Michael Tebelak. Godspell. Cherry Lane Theater, New York City. 17 May 1971. [53]
18. Westmont College is mentioned briefly in the post for 27 November 2017.
19. Ronald M. Enroth, Edward E. Ericson, Jr., and C. Breckinridge Peters. The Jesus People. Grand Rapids, Michigan: William B. Eermans Publishing Company, 1972. 154.
20. Wikipedia. “Screen Gems.”
21. Godspell. Directed by David Greene. Columbia Pictures. 21 March 1973. [54]
22. Russell Sanjek. American Popular Music and Its Business: From 1900 to 1984. New York: Oxford University Press, 1988. 541.
23. The major exception was four songs composed by Gershon Kinglsey. He was best known at the time for his work with the Moog synthesizer, but he also wrote Jewish liturgical music. [55] One song, “Shepherd Me, Lord,” [56] later became a favorite of Southern Baptist convention choirs. [57] I could find no evidence any had been recorded at the time.
24. Kris Kristofferson. “Why Me.” Monument ZS7 8571. 45 rpm. February 1973. [Discogs entry.]
25. Kris Kristofferson. “Why me?” Nashville, Tennessee: Resaca Music Publishing Company, 1972; distributed by Big 3. [WorldCat entry.]
26. George Jones. “I Wonder How John Felt (When He Baptized Jesus).” In A Gospel Way. Epic KE 32562. 1974. [Discogs entry.]
27. Three Dog Night. “Joy To The World.” ABC/Dunhill Records. 45-D-4272. 45 rpm. 1971. It reached #1 on popular chart.
28. The Doobie Brothers. “Jesus Is Just Alright.” Toulouse Street. Warner Brothers. BS 2634. 1972. It reached #35 on popular chart.
29. Family Child. “He.” Anthem AN-203. 45 rpm. 1973. [Discogs website.] The album listed Tony Gregory and Family Child. [58] “He” was described as a “million seller single” for Gregory. [59] The reason it wasn’t mentioned by Wikipedia was that website was only reporting on Billboard charts for the most popular genres. International reports rarely were mentioned.
30. Barry Gordy owned Motown Records.
31. See the post for 12 July 2020 for details.
32. Mahalia Jackson. “Elijah Rock.” Columbia 4-41322. 45 rpm. 1958. [Discogs entry.] Hairston said he learned the key phrase when he and Johnson were collecting songs together. [60]
33. Wikipedia. “Jester Hairston.”
34. “Just a Closer Walk with Thee” entered the popular repertoire after it was published by Kenneth Morris in 1940. [61]
35. The Edwin Hawkins Singers. “Oh Happy Day.” Pavilion Records PBS 20,001. 45 rpm. 1969. [Discogs entry.] It was a version of Edward F. Rimbault’s revision [62] of a hymn published in 1755 by Philip Doddridge. [63] It reached #4 on the popular, #22 on Easy Listening chart, and #2 on the Rhythm and Blues chart.
36. “Michael” is discussed in the post for 13 October 2019. It reached #1 on the popular and Easy Listening charts.
37. Tommy Leonetti’s version reached #54 on the popular chart and #4 on the Easy Listening chart. The Sandpiper’s version reached #9 on the popular chart and #3 on the Easy Listening chart.
38. Alan Jay Lerner and Frederick Loewe. Brigadoon. Ziegfeld Theater, New York City. 13 March 1947–31 July 1948. [64]
39. Ralph Carmichael. He’s Everything to Me. Waco, Texas: Word Books, 1986. 84. Carmichael is discussed in the post for 15 December 2017.
40. John W. Peterson. The Miracle Goes On. With Richard Engquist. Grand Rapids, Michigan: Zondervan Publishing House, 1976. 170. Peterson is discussed in the post for 2 August 2020.
41. Sanjeck. 541. “So dominant was Hansen’s market position that they once controlled the print rights for 99 of the 100 songs on Billboard’s Hot 100 Singles chart.” [65]
42. Jim Melanson. “Hansen, Screen Gems-Columbia Expand Their Publishing Influences.” Billboard 86:F-6, F-12:23 March 1974.
43. Herbert Koshetz. “Columbia Pictures in Pact To Sell Music Unit to EMI.” The New York Times. 24 June 1976. 45.
44. Melanson.
45. “Frank J. Hackinson.” FJH Music Company website.
46. Wikipedia, Screen Gems.
47. FJH.
48. “Bradley and Radics Bow New Print Co.” Record World. 29 January 1977. 20.
49. Item. [Decatur, Illinois] Herald and Review. 18 August 1984. 6.
50. Wikipedia. “Decca Records.”
51. Wikipedia. “Jesus Christ Superstar.”
52. Thompson. 13.
53. Wikipedia, Godspell.
54. Wikipedia. “Godspell (Film).”
55. Wikipedia. “Gershon Kingsley.”
56. Samuel Rosenbaum and Gershon Kingsley. “Shepherd Me, Lord.” New York: Bourne Company, 1971.
57. “Gershon Kingsley.” Milken Archive of Jewish Music website.
58. Tony Gregory and Family Child. “He.” One More Time. Polydor 2396 104. Recorded in London, 1973. [Discogs entry.]
59. Tony Gregory (Jamaica). Ochos Rios Jazz Festival website. 2017.
60. Notes for Rogue Community College, Grants Pass, Oregon, winter concert on 16 March 2014.
61. Horace Clarence Boyer. How Sweet the Sound. Urbana: University of Illinois Press, 1995. 75. Morris is mentioned in the post for 14 February 2021.
62. William McDonald. Wesleyan Sacred Harp. Boston: John P. Jewett and Company, 1854. Cited by “[O happy day that fixed my choice] (Rimbault).” Hymnary website. Its source was William Jensen Reynolds. Companion to Baptist Hymnal. Nashville, Tennessee: Broadman Press, 1976.
63. John Julian. “Doddridge, Philip.” Dictionary of Hymnology. Edited by Julian. London: John Murray, 1907 edition. 305–306.
64. “Brigadoon.” Internet Broadway Database (IBDB) website.
65. FJH
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