Is it just me, or is Myron Butler a bit underrated in the gospel industry?
He has released three reeeally good projects since his earlier successful days with God’s Property. He’s a great songwriter and producer. He produced and arranged the daylights out of the vocals on Marvin Sapp’s latest project, Here I Am. He brings innovative music to the table EVERY time.
But I don’t feel like he gets his due. His latest album, Revealed… Live In Dallas, should be higher on the charts. His latest single “Speak” should be gettin’ more spins at radio and could be heard more in churches.
I dunno… I just think that people lump him into a category with a bunch of other artists/groups with similar formats– but they’re not the same. At all.
Myron gained national exposure and attention over a decade ago, through his songwriting/lead vocals on the history-making God’s Property album with Kirk Franklin. Since then, however, the Lord has established Myron has a frontman in his own right, having released three albums with his group, Levi (the most recent of which, Revealed… Live In Dallas, hit stores in March of this year).
More than a gifted singer/songwriter, he’s a husband and father. He’s a super humble guy with a fun personality and big ol’ heart. Let’s lift him up in prayer, family. Cool?
Lord, thank You for the life and ministry of Myron Butler. Thank You for gifting him in so many ways, and thank You for giving him a heart to serve You and to worship You with his life.
I pray, Father, that You will accept Myron’s sacrifice of praise and worship, that it would please You and bring You glory. I pray that You will grant Myron divine wisdom in all areas of his life– as a husband, as a father, as a leader of his group… I pray for clarity of thought and boldness to believe in all that You are able (and faithful) to perform in his life, and in the lives of those surrounding him.
Lord, please bless Myron with patience– in a natural and spiritual sense. And allow him to rest in You… to rest in all that You’ve promised and revealed to him. Help his unbelief, in whatever areas You may find it, God… And help him to never grow anxious as he waits for all that You have in store for him. Encourage Myron’s heart, Lord. Hear every prayer and let him know that You are always with him.
I pray that you would spark in him a new hunger for You, for Your Word, for Your character… I pray that Myron would continue to marvel at Your beauty, God, and that he would fall more deeply in love with You with each passing day.
Father, I pray that, as a result of his love for You, he would gain greater understanding of You and, in turn, impart that into Your people through his ministry. I pray that You would give him all that he’ll need to do Your great work on this Earth. In Jesus’ Name, Amen.
Okay, post your prayers for Myron Butler in the comment section!
Today, Myron Butler & Levi return to the scene with their third release, Revealed… Live In Dallas. Like their other albums, it is full of great vocals, songwriting and production, offering listeners intricate melodies, catchy hooks, and all-around good music.
The 12-track project opens with the group’s first single (and title tune) “Revealed,” followed by the band-banging “I Just Can’t Live,” featuring Kirk Franklin. It’s great to hear him again with the group, comprised mostly of God’s Property alumni, but Myron Butler has done such a great job leading them that the tune feels much more like a guest spot than a reunion of sorts.
The album slows a bit as it eases into “Speak Into The Atmosphere,” a simple chant that will likely be a successful second single for the group. From there, the project takes listeners on a journey of musical styles, from the rock-infused “Holy God” to the smoother sound of “Moving Closer.”
My favorite song on the project may be “I Am God.” With its fairy-tale melody set to a 5/4 time signature, the tune is almost as captivating as its declarative scriptural lyrics. Another strong track is “Covered,” with great instrumentation and powerful vocal delivery from Levi’s seasoned vocalists.
Other stand-out tunes for me include the mellow “Greatest Love,” the well-done gospel cover of Cyndi Lauper’s “Time After Time,” and the beautiful musical plea of “Run To The Cross,” featuring guest vocals from Smokie Norful.
If Revealed is to face any commercial hurdle, it will be due to some of the album’s musical complexities. While exciting for musically minded listeners, the concepts may be too intricate for some gospel consumers to grasp. By that, I mean that you may not hear your church choir rendering many A and B selections from it. And if they try it, the music will be simplified and the vocals void of the nuances that make Myron Butler & Levi so great.
That said, Myron Butler’s musical gift is undeniable. Any lover of music– particularly in gospel– will appreciate (maybe love) the songwriting, production and musical delivery that Myron Butler &Levi offer on Revealed… Live In Dallas. It’s an effort that you’ll want in your music collection.
As I announced yesterday, Marvin Sapp’s newest album, Here I Am, debuted at #1 on the Gospel Albums, Christian Albums and the R&B/Hip-Hop Albums charts at Billboard. He has also landed at #2 on the Billboard 200, making his album the #2 selling album in the country, across all genres.
To give you a greater understanding of how significant his sales are, you should know that this is the first time, in Billboard history, that a gospel album has debuted at #2 on the Billboard 200. You should also know that his debut represents the highest first-week sales in gospel since Kirk Franklin’sGod’s Property album in 1997. AND, you should know that he had the highest digital sales ever for a new gospel release. It’s monumental.
Got it? Good!
Okay, the other players in the top 5 look like they did last week, just bumped down one position. WOW Gospel 2010 is #2, BeBe & CeCe Winans are #3, James Fortune & FIYA are #4 and Tamela Mann rests at #5.
Not to be overlooked is the 3rd chapter of Kirk Whalum’sThe Gospel According to Jazz, which debuted at #12.
I can remember a recent time in the gospel industry where people would call an album a “classic” and it really would be just that. I’m not talking about stuff from the 70′s and 80′s…
I’m talking about contemporary gospel projects like Karen Clark-Sheard’sFinally Karen, Kim Burrell’sEverlasting Life, the God’s Property album. They remain timeless, yet contemporary bodies of work in our industry. Temporally, that wasn’t too long ago… musically, however, some of you might argue that it’s a thing of the past.
My question: is timeless gospel music still being made today? If not, WHY not? If so, who’s making it?
It would probably be easy to blame the artists or their labels for some of the less-than-potent music of the day– over-commercialism, too much compromise, not enough focus on Scripture. And all of that may be true, but what part might WE, as consumers, play in the hit-of-the-day trend toward which gospel music has been increasingly leaning? Who are we rewarding? Who are we failing to support? What matters most to us, musically and ministry-wise?
Maybe it’s that we’re too easily pleased and, at the same time, wholly insatiable. We think EVERYTHING is awesome, yet we always want something BETTER. Maybe we’re accept it all, only for it to leave us with a bitter aftertaste. And to that end, we’ve begun to look rather similar to our mainstream counterparts (I’ll table that for a separate discussion about how society has managed to annihilate quality R&B/soul music).
I LOOOVED this interview and I think y’all are gonna really enjoy it, too. I’m chatting with Deborah Smith Pollard (aka Dr. Deb) about her book, When The Church Becomes Your Party, which discusses the changing trends in gospel music and the new expressions of the traditional Gospel message.
Let me set things up real quick for you, so you’ll know exactly why you need to lean in CLOSELY for this interview! She holds a Ph.D. in American Studies, she’s an Associate Professor at the University of Michigan-Dearborn, she has done EXTENSIVE research and writing in African-American literature and the gospel music industry. She’s a concert producer, lecturer, gospel columnist… AND she’s a Stellar Award-winning gospel announcer on Detroit’s FM 98, where she’s hosted “Strong Inspirations” on Sunday mornings for nearly 15 years!
We had waaaaay more fun on our phone conversation than I could have expected (and talked about waaay more than I could even print!). She is a true treasure to the gospel music community.
Y’all, FOR REAL, buy this book and learn what her research has uncovered– you’ll be amazed. Here’s Deborah Smith Pollard…
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EJ: Hi! First, let me thank you so much for taking the time to chat with me.
DSP: Well, thank you for wanting to talk to me.
EJ: Oh, absolutely. A friend emailed me about the book a few months ago and I thought “I want to read this and I want to talk to her for GospelPundit.com,” so I really appreciate you for taking the time to do it.
I also need to take a quick minute to say THANK YOU for mentioning GospelPundit on your radio show the other week. You had listeners weighing-in on a topic I started, regarding Mary Mary’s upcoming video and the cameo appearances by mainstream artists. As you saw, we had A LOT of comments—some for it, some against it– at GospelPundit.com. How did people respond in Detroit?
DSP: The ones who called in and sent me text messages, they said that there are a lot of different ways to reach people and Mary Mary seems to want to go outside of the church walls. And if they can grab the attention of the audience by putting before them some of the popular, urban artists, as long as Mary Mary’s message isn’t being compromised, people felt that was fine.
EJ: Yeah, I hear that. And, it’s not a new debate at all, nor will it be the last, but it’s great to hear the various viewpoints on it.
Now, please tell me about this incredible and TIMELY book that you’ve written—When The Church Becomes Your Party. I’ve spoken with a few people in the industry and they’re raving about it. What’s the basic theme of your book?
DSP: The basic theme is that the new forms of gospel music, and the new forms of expressing gospel music, may seem disconcerting initially, but if you just step back and listen to the testimonies, or listen to the lyrics, you’ll see that the intention and the focus of those artists (and those who attend their concerts) tends to be the same as it’s always been. There’s the traditional message, but it’s wrapped for a new generation.
EJ: That’s awesome. So, it’s nothing new or something we need to be afraid of?
DSP: Right. Don’t be “scurrrrred.” *laughs*
EJ: *laughing* Right!
DSP: For example, in the last chapter, “Preachers In Disguise: Bringing The Holy to Hip-Hop,” I talk about the testimonies of people like Cross Movement and other artists like Kiwi (here in Detroit) or Corey Red… and I look at the things that they’ve said on record– why they do what they do. And then I print out a number of lyrics, either from their albums or you can find them online. And when you look at them, you can see why, even if it’s not your beat or your sound, it’s still a message worth supporting.
Certainly, I’m not one who embraces all kinds of rap. I love music, but if there is music that denegrades women, etcetera, that’s different. But that’s not what’s going on here with Christian rap and Holy Hip-Hop. I tell people: “get past the Timbs, get past the jeans”… *laughs*
EJ: I love that!
By the way, I’m loving the titles of these chapters—I think my favorite is “Muscle T-Shirts, Tight Jeans and Cleavage- (W)rapping the Gospel for a New Generation”. What in the world is THAT about?
DSP: That’s actually my favorite title! One of the things that I did was note that it’s not just about women. We talk a lot about women, and what they’re wearing, but I interviewed some men who said “you know, I have to watch what I wear when I perform,” and I thought “really?”
EJ: Not everyone considers that.
DSP: Right, but I thought, “well, why not?” Because if men can be swayed by what women have on, why wouldn’t women be swayed by what men have on? I look at the fact that when Kirk Franklin first came out, people were allegedly throwing their door keys, undergarments on stage…
EJ: No! *laughing*
DSP: So I go all the way back to the history of dress in the church/gospel community. Well, we have to go all the way back to the early church fathers, who wanted women in nothing clingy, had to cover their ankles (because ankles were too much of a turn on), they had to wear veils… then, later, in the Black church, that was the one place where people really COULD dress up. Coming out of slavery, we could be who we really were.
So, what happens is that we’re a more casual culture, but we also have young-thinking artists who say “I don’t want the audience to feel like we’re in this completely different world from them, that we’re unapproachable.”
Even Fred Hammond, four or five years ago, as we were doing an interview on my program, he told everyone to go home before his concert and change their clothes so that people can see that we’re approachable. So, I wanted to put the muscle t-shirts and the jeans and the cleavage, so we know that it’s across the board– things are changing.
EJ: Wow. That’s awesome because we don’t usually think of it from both sides.
DSP: Right. So, I address: what does Trin-I-Tee have on, what does Mary Mary have on, but also, what does Kirk have on, what does Donnie have on?
And I talk about the changing silhouettes, as well. Everybody isn’t skinny, but our “A-list” artists, as a rule, especially when we talk about the women– Vickie, Dorinda, Yolanda, Mary Mary… they are smaller overall than their key demographic. Again, not a good thing or a bad thing, but an observation.
EJ: This is so fascinating to me!
DSP: And, EJ, most importantly, they’re SMALLER THAN the full-figured Mahalia Jackson who, again, was building upon the popularity of the female blues singers of the time. Full-figured was fabulous back then. So, I think that part of the reason that these artists have been able to crossover is because they are glamorous. I let people decide for themselves whether it’s good or bad, but these are our artists today.
And when I go to a concert, I gotta tell you, EJ, I’ve got two hats on. I want to be there to enjoy it… *laughs*
EJ: *laughing* But you still wanna research!
DSP: *laughs* Right! I’m takin’ little pictures of what’s going on! If I see a tube top on someone in the audience, I’m taking note. I’m looking on stage and, if there’s cleavage or pants that are more fitted, I’m looking to see if the audience is murmuring, or what. How are they processing it?
EJ: Right.
DSP: At one point, we had Vickie Winans, CeCe Winans, Helen Baylor and Dottie Peoples at a concert. And Dottie Peoples was the only one who wore a dress. And I talked to my mentor in gospel radio, and she had some pretty strong words to say about everyone wearing pants. She said “if they had really been set FREE, they wouldn’t have those pants on.” Then, I called Vickie Winans, told her how much we enjoyed her and simply asked when she started feeling comfortable wearing pants. And she said “well, I didn’t start wearing pants until I was 30. But I’ve been shown a FREER way.”
EJ: WOW! Night and day.
DSP: *laughing* And I thought, here are two women who love God and love gospel music– one says “if they had been set free, they wouldn’t have pants on”; the other says “I’ve been shown a freer way.” And Vickie said that she never wears them in the sanctuary and she always checks to see where she’s going. But, I went to full-research mode to see how people have responded to the things they see on stage. That’s my favorite chapter title, too!
EJ: That’s such an interesting concept to me. While I have you, let me ask you a quick philosophical question. Do you think that the evolution of gospel music is inevitable? And let me explain why I ask: In his day, Thomas A. Dorsey was considered “radical” for throwing blues-infused chords into sacred music.
DSP: Absolutely.
EJ: And now, we call it “traditional gospel.” Same thing with Edwin Hawkins, for example. Even Kirk Franklin & God’s Property, when they did “Stomp” just over 10 years ago, were practically ostracized for having gone too far. Now, we’ve got Tye Tribbett & G.A. doing backflips and splits on stage, and the gospel community now considers THAT “the norm.” So, isn’t change bound to happen in gospel music?
DSP: Absolutely. I teach a class in gospel music and, one of the things that I tell the students is that “church people don’t live in the church.” You know? They live in the greater community. And the Black community, which is so dynamic, we create chords, we create instruments, we utilize things in new ways… I remember Pastor [Marvin] Winans saying “there is no ‘Gospel B flat chord’… it’s just B flat.”
EJ: Right!
DSP: So, he talked to my class about a commercial, I think it was for a paper towel, that worked its way into a gospel song. Twinkie Clark talked about loving Stevie Wonder her whole life, heard “Master Blaster” and decided “nobody’s doing any reggae in gospel,” and this is how ”You Brought The Sunshine” came about.
EJ: WOWWWWWWW.
DSP: People say “church people shouldn’t be mixing it,” but we are PEOPLE and just because somebody has created a “gangster” style of rap doesn’t mean that the whole speaking tradition isn’t ours. PREACHING is OURS. It’s our highest form of spoken word. And we use it in service already– the preacher gets going and the organist starts winding up to support his spoken word… it’s the same thing as rap, except they’ve added a drum to it or whatever else.
EJ: You’re blowin’ my mind!!! *laughs*
DSP: *laughing* So, whatever comes next is inevitably going to bring about changes in church music as well. Some people will embrace it, some people will say it’s Satan’s music, and all I say is “God, let me be around so I can write about it!” *laughs*
EJ: That’s incredible.
DSP: I have gone to these services, EJ, and I call them services. And I might be the only “grown person” there– the last one I went to featured Lecrae and The Ambassador. It was great… and you KNOW they’re going to do an altar call. You KNOW they’re gonna pray over those young people and challenge them about their walk in Christ.
Now, it’s not for everybody, it’s not even for all young people because some people prefer something more traditional. But for those who were THERE– young, old, in-between– they were blessed by the ministry, they knew the Word was going forth and it was just great to be a part of it!
So, that’s where we are NOW, something new is coming around the corner. And I just say that if you’re not going to embrace it, could you please maybe step aside…
EJ: Wow. Basically. *laughs*
DSP: And, wait a minute… could you PRAY that God gets the glory? That all those who are involved in whatever is new will give GOD the glory in what they’re doing. And that they won’t be pulled down by some who, without even paying attention to lyrics, or without even knowing the history, would judge it.
EJ: It’s funny, I often say that a lot of us Christians, we would’ve stopped the crucifixion if we could’ve.
DSP: *laughing*
EJ: *laughs* Because we get so stuck on making sure that we’re championing the cause for what is “right” and we have such a strong opinion about how things “have to” go, but sometimes… we just don’t know what the Lord is going to do or allow to bring about HIS plans. Y’know?
DSP: Mmm-hmm.
EJ: And, on the Mary Mary post we were talking about, somebody came on and said “well, I came to Christ through Mary Mary and Kirk Franklin.” So, if people wanna knock them for being too progressive or too out-the-box, that’s fine… but God is using them to win souls to Jesus.
You know, one of my students said that “I like Trin-I-Tee 5:7 because they showed me that I can look cute and love Jesus, too.” And maybe, for someone else, that’s not their style, but there are tons of people you can look to if that’s not your style, and you don’t have to tear them down.
EJ: So true. You’ve done a lot of research!
DSP: Well, I love how the book finally together and I’m so pleased that people have said so many kind things about it. As Pastor Winans says, “even if you don’t agree with the conclusion, you have to respect the research.”
EJ: Absolutely, because at the end of the day, we didn’t do the research, you did. And what you found is what’s out there.
Now, how can people get their HANDS on the book?
DSP: My own website, which will probably be www.deborahsmithpollard.com, will be launched soon. But in the meantime, people can go to my MySpace page for more info [click here for that], or to my publisher’s page at Wayne State University Press [click here for that].
EJ: Perfect. Well, thank you SO much for chatting with me.
DSP: I thank YOU for the opportunity. And continued success with the site!
EJ: Thanks. We’ll be in touch!
DSP: Okay.
EJ: Bye!
* * *
Thoughts??? Anybody already read the book? Anybody gonna hurry up and GET IT?!
This is one of those interviews that I simply HAD to do. You’ve prolly seen the name “Candy West” floating around for years. A bunch of my industry buddies are friends with her and, though we’d never met, she’s always been held in such high regard (as a person and as a vocalist). I was sooooo excited when she agreed to do the interview!
She’s a game-changer who has worked with a bit of everybody, yet still remains as humble as can be! In this interview, she talks about her wide range of background work, her work with the record-setting God’s Property and, now, Myron Butler & Levi… and she caps things off by talking about her long-awaited solo album! I even managed to have her clear up some misconceptions about Kirk Franklin for us.
She’s incredibly kind, sweet and hilarious. I give you the the one and only, Miss Candy West.
* * *
EJ: Heyyyy!
CW: Hi!!!
EJ: YAAYYY! We’re doing an interview! [Editor's Note: I was so excited as we were scheduling this interview that I kept ending my emails with "yaayyy"... Candy decided that she was gonna top me by saying "Double Yay"... what kinda mess is that?! LOL]
CW: YAAYYY!!!
EJ: I’m thrilled to be chatting with you cuz I need people to know how significant your contribution to contemporary gospel music has been. You can sit there and I’ll toot your horn for you… I’m gonna run through a very brief list of folks that you’ve worked with and you can confirm it at the end.
CW: Ok. *laughs*
EJ: God’s Property, 1NC, Myron Butler & Levi, Kirk Franklin, Fred Hammond, Yolanda Adams, Marvin Sapp, Mary Mary, Donald Lawrence, Dorinda Clark-Cole, Patti LaBelle, Dewayne Woods, Deborah Cox, Tonex, Bishop T.D. Jakes, on and on and on…
CW: Yes!
EJ: And this is not just session work, right? You’ve written for some of their albums, arranged vocals, done lead vocals…
CW: Absolutely.
EJ: How would you characterize your journey in gospel music so far?
CW: Umm… Let’s see. I believe it has been a very balanced journey for me because I’ve had an opportunity to really learn so much. Like a lot of singers that do background work, I just kinda fell into it. Y’know? It kind of presented itself as an opportunity. It was nothing that I chose to pursue, it just kinda happened for me– God’s Property, then with Kirk, and one opportunity begat another.
So, for me, I was really soaking it all in because I knew that the end would probably be me becoming an artist. I was just taking it all in, learning… not just as a singer, but as someone who’s been able to learn from some of the best writers, some of the best producers in the industry.
EJ: That’s awesome. Is there a singer that you wanna work with that you have not yet worked with?
CW: In gospel?
EJ: Either way.
CW: There are actually a few artists that I would love to work with. In gospel, I would love to work with someone like J. Moss, just to kinda see what our vibe is. I love his writing and his approach! I really feel like if I got a song from J. Moss, it wouldn’t sound like a J. Moss song. Or, maybe it would. *laughs*
EJ: *laughing* Right!
CW: Umm… I would love to work with Mary J. [Blige]. I just love her spirit and what she gives. I absolutely admire her– I’m one of her biggest fans.
EJ: Cool. Let’s go back to the beginning. How did you start doing background work?
CW: Just from singing with Kirk and 1NC and opportunities here and there, working with Myron [Butler] when he would do demo, when he was working on the Ted & Sheri project… I would do demos for him and demos for Kirk. And that just kinda led to people asking “do you think Kirk would be okay with you singing behind me?” I’m like “YEAH, I’m not under contract!” *laughs* I was like, “I’ll do it!”
So, one thing kinda led to another. I moved to L.A. for a bit, so that just opened the door for me to be free to kinda spread my wings a bit more and be afforded more opportunities to work with other people.
EJ: Incredible how that happens! Talk to me about the influence of your SINGIN’ mother, Ms. Tommye Young-West on your musical career.
CW: If it had not been for my mother, Tommye Young-West, I probably would not be singing. I actually wanted to pursue a career in law enforcement. I wanted to be an FBI agent.
EJ: What?!
CW: I really did! *laughs* My mom had me singing at the age of 3 and, growing up in my grandfather’s church, that led to me being the choir director and a lead vocalist… Then, I worked on my mom’s albums– I did my first recording when I was 12.
EJ: Wow!
CW: So, she was very influential in why I am where I am today.
EJ: That’s wonderful. What other musical influences do you have?
CW: You know, I grab inspiration from so many different people.
EJ: Sure.
CW: I have jazz influences– Ella Fitzgerald– of course, Kirk is a big inspiration to me because I kinda watched him grow from when I was a teenager. He first came on the scene working with DFW Mass and Georgia Mass, and just seeing him grow from being a writer and a choir director to his status now… he’s been a big inspiration to me.
And I love Chaka Khan, Stevie Wonder… people who just make good music.
EJ: I hear that. I’ve spoken with several industry people, even lately, who are saying that you changed the game as it relates to background singing.
CW: REALLY?
EJ: Yes! Like, a few weeks ago, Jerard Woods said to me that you were responsible for introducing the whole “vocal cry” thing that Kirk Franklin’s background vocalists are known for now.
CW: *laughs hard*
EJ: *laughing* Do you accept that? And you can be humble about it and I will make it clear for the readers that you did not volunteer that info. But do you accept that, and if so, did you intend to set a trend in that way?
CW: You know what? I know Jerard Woods said that… he’s one of the people who says that! *laughs* I absolutely love him. But I think that I do have to own up to it. I’m one of those people that, you know, I really try to stay humble, but looking back, it’s like “wow, I really did help to establish that sound.” Even when I wasn’t working with him after that, it was like you could still hear me in his work.
EJ: Right! And he still uses that style sometimes.
CW: Yeah, so… I can take credit for that. But, it wasn’t something that I set out to do. You know? I think it’s just a part of me and I was just giving people “Candy West,” just a part of what my vocal style is.
EJ: But why did you think to approach vocal phrasing like that?
CW: You know… *laughs shyly*
EJ: *laughs* It’s just what you had to give, huh?
CW: Yeah, you know… some people can riff and run so sweetly. So many singers have their “thing” and I think that’s just what my “thing” was. When I sing, I have that kind of cry, the passion… and it came out and he was like “I love that! I love that! Everybody do it!”
EJ: *laughing*
CW: When I sing, I really try to live through the lyrics and really embrace what I’m singing about. I don’t like to just sing a song because it’s nice. I really like to embrace the words and I think that’s where that whole “passionate cry” comes from– it’s really taking a song and trying to make it live.
EJ: Wow. That’s awesome. I mean, it’s what I think of when I think of his background vocalists, you know? I mean, even now… they still do it, so that’s tremendous to me.
Let me touch on your time with God’s Property for a minute.
CW: Okay.
EJ: That album is the highest selling album by ANY gospel artist EVER, in the history of gospel music. As of 2001, it was certified triple-platinum… you co-wrote “Sweet Spirit” on that album. Did you all know, at the time that you were making that album, that you would make history?
CW: No. Nobody had any idea what the record was gonna do. For us, we were just kids that were happy to do what we loved to do. A lot of us grew up singing in different community choirs, so for us to be afforded the opportunity… When we started working with Kirk, we sang on his Christmas album, then on Whatcha Lookin’ 4… but we never expected to have our own album.
Y’know, cuz everybody records a record… so we just felt like we had an opportunity to work with an artist that was really starting to blow up, but we didn’t look at it like “oooh, we’re gonna blow up.” It was an opportunity to record and to do something that we loved doing and put it on wax. When it came out, the response was PHENOMENAL, but nobody knew that it was gonna do what it did.
EJ: That’s unbelievable. It’s one of my classic favorites– you can put it on and it’s still as good today as it was back in ’97, y’know?
CW: I know and the thought of that is so awesome!
EJ: After God’s Property, you continued on with Kirk and you were a part of 1NC. Now, let me make it clear: you are not his spokesperson, but I do believe that you have something relevant to say about this next question.
A lot of people judge him as having been unfair to his singers in the past. People will say “oh, well, he’s got a new group again.” But as someone who’s worked with him on several albums, can you clear things up and speak to Kirk Franklin’s character in that regard, as it relates to you?
CW: Absolutely. I believe that– and I will vouch for Kirk on this– he is one of the rarest artists in regards to how he… he really does take care of his people.
EJ: Mmm-hmmm.
CW: And you can’t fault a person… Kirk has always found ways to recreate himself. So, in that recreation and in the evolution of his new sound, you can’t fault him for finding a way to also re-invent the way the vocals are approached. You know what I’m saying? You don’t wear an old pair of shoes with a new suit… it’s like “this may not necessarily work together.”
And a lot of times, it’s hard to let go. I’ve even been on that side of the fence as it relates to him. On the Hero record, I did not record a song on that album. He reached back and got me for The Fight Of My Life. But prior to that, it was a hard transition for me because he felt like he was giving me an opportunity to be free, to express myself and do my thing… I was working with Myron Butler & Levi at that point, y’know? And *interrupts herself* HEY SWEETIE! I’ll talk to you in a minute, okay? *returns to the phone* My nephew.
EJ: Oh. I was about to say “well, helloooo to you, too!”
CW: *laughing* Yeah, but I think it’s just one of those things. And, like I said, it’s hard to let go of a good thing. When you’re in a good situation, you’re being paid well, you’re being treated well, you know… it’s really kinda hard to see yourself NOT doing. It’s hard to be in a place where your services may not be needed for that particular moment in that person’s life. So, I know it’s been a difficult thing for singers to deal with when he’s in transition and he decides to go to another level, and he decides that he wants to change things around him to make this next place more conducive to his dream and his vision.
EJ: I hear that. Thank you for speaking on that. You’ve also worked with artists outside of gospel, right? Like, with Brandy.
CW: Yes.
EJ: What was she like?
CW: Working with Brandy was really cool. We did a particular date with her… she’s one of those artists that’s just flawless. You know? Her whole approach to music is just… she’s one of those artists that will really inspire you to be creative and to be a better vocalist. Absolutely phenomenal.
EJ: I’m not surprised. I should point out that a lot of gospel background vocalists, as well as major gospel artists, have worked with pop, R&B, jazz artists… how do you answer the critics who say “you can’t do that.” You know, “if you’re in gospel, you can’t dabble outside of it in other genres”…
CW: Y’know, I think that everybody has their own convictions about it. You don’t tell a doctor that he can’t work on certain people because they’re not believers. Or, because they live in a certain area or work in a certain job. You don’t stop a doctor from helping those that he needs to help.
EJ: Right. Absolutely.
CW: So, for me… you know, my mom, in the 1970′s, she had an R&B career.
EJ: Right.
CW: So, for us, in our household, it was different. We grew up COGIC, but she didn’t stop us from listening to Stevie Wonder or the Doobie Brothers… my dad introduced me to jazz. They wanted me to be a well-rounded vocalist and I just feel that sometimes, we put God in a box. I’ve met so many R&B artists that, when I sit and talk to them, I say “you’ve got a lot of heart and it’s really unfortunate that ‘church people’ will cast you away because of the type of music that you sing, but you’ve gotta be one of the most sincere, realest people I’ve met.”
So, I think it’s about your own convictions on that, but I don’t have a problem with secular or pop artists. I feel like, as long as it does not cause me to compromise what I believe in MY walk, then I don’t have an issue.
EJ: Hmm… You preachin’, ain’t you?
CW: I’m tryin’. *laughs*
EJ: *laughs* Talk to me for a minute about Myron Butler & Levi. You’re still singing with them, right?
CW: Yessir!
EJ: And it’s practically the same folks from God’s Property?
CW: Absolutely. Practically everybody that’s in the group now… we’ve known each other since we were like, 13 years old. And for some of us, before that.
EJ: How did the idea for this new formation of it arise?
CW: I just believe that it was a part of Myron’s destiny to venture off and do his own thing eventually. Y’know? He always had a vision of doing it and, when he felt like it was time, he wanted to use this core group of people to make it happen because… it’s that SOUND, you know? When we get together, that sound is unmatched… you can’t beat it. It’s just a beautiful, beautiful thing.
EJ: That’s awesome. So you seem busy, but tell me: In reality, do most gospel background singers need a day job?
CW: YES. *laughs* I will not lie to you– when the work is coming and consistent, it’s fantastic, but there are those dry seasons where you’re like “you know…” And I’ve been there so many times. I’ve been at a place where I’ve had an eviction notice put on my apartment door, three or four times, just because I was really having a hard time just trying to make it.
EJ: Wow. That’s real!
CW: Yeah, it’s like… so I’ve had to bite the bullet. I know music is what I’m supposed to do, it’s what I was created for, but sometimes you just have to provide. I have a son, so I not only have to take care of myself, but I have to take care of someone else.
EJ: That’s right. You can’t just be living out your dream at his expense.
CW: *laughs* Exactly!
EJ: I’m not mad at that. That’s cool. To say that someone is a good background vocalist, what does it take? What’s the criteria?
CW: You know, I’m glad you asked. *laughs* I think that, to be a great or incredible background vocalist, you not only have to have the passion for it, but there’s definitely a work ethic that comes along with it.
Like, if I know that I’m gonna work with a particular artist, I usually try to study them, or the songs that I know they’re most likely to do, so I can kinda get a heads-up. Once you get the music, you study. You approach it as if it’s a job– I really have to be up on my game, knowing how this person works, so that when I go into that environment… when I’m in Rome, I will do as the Romans do.
EJ: Yeah.
CW: And I think that’s what makes for an excellent background vocalist. You have to understand the art of singing BEHIND someone.
EJ: Say that!
CW: You know? I mean, I’m an artist. But I also sing with a lot of artists, so when I’m singing with them, I have to get out of “artist mode” and get into “servant mode.” A lot of people don’t want to do the servitude, they just want the glory of being able to perform and have the platform. So, it really does take the heart to know when to kinda bring it in and have the heart of a servant.
EJ: Right. FALL BACK!
CW: Yeah, you definitely have to fall back. Absolutely.
EJ: From a practical standpoint, how do you prepare for a session? What are you eating, how much rest are you getting the night before… all of that?
CW: Well, I really try to rest. Seeing that I don’t have a day job right now, I can kinda sleep in and take my sessions in the afternoon. I try not to have to work too late if I can help it. I try to stay away from sodas, cheeses, ice cream… now, if I’m not recording, I’m eating ALL of those things I just named! *laughing*
EJ: *laughs*
CW: It’s gonna be all about ALL of those.
EJ: Each one!
CW: EACH one. Plenty of it! *laughing* But, you know, drinking tea and lots of water. I really don’t like to eat before I know that I’m going to sing, cuz there’s just something about being full and heavy. So, I really try to monitor my portions when I know that I’m going to be recording.
EJ: Makes sense. Now, every background artist that I’ve spoken to, I’ve asked about this– talk to me about touring in gospel music. What’s it like being on the road?
CW: The road, for me, and I know that everybody has their own experiences, but I absolutely love traveling. A lot of times, you have to… I mean, I know how to tune out the riff raff and the extra stuff that comes along with it.
I love to shake hands and kiss babies, y’know? I love to meet the people after the show is over, and just to be in touch with people. It’s important because when people come out to hear you, they want to be able to reach you in some way. It can wear you down sometimes– the things that come along with it, but I really enjoy traveling. I wouldn’t trade it for anything.
EJ: Nice. I also ask every background vocalist to assemble a dream team of background vocalists… Now, Jerard Woods, he kinda assembled a choir.
CW: Yes, he did! I saw that! *laughing*
EJ: But who are some folks you’d have at your session?
CW: That’s sooo hard. Hmmm… Definitely my sister, Peaches. Umm… Deonis Cook, he sings in Levi. Oh, man… Minon Bolton. Daniel Johnson. Umm… there are so many people that I’ve absolutely loved working with.
EJ: We can stop there and I’ll make it clear that you had a reeeallly hard time naming everybody! *laughs*
CW: Right!
EJ: Okay. Now, I’ve been hearing some underground rumblings that you’re working on a long-awaited solo album.
CW: This is true.
EJ: *whispering* Can you tell me about it?
CW: *whispering back* Yes, I can. *laughs*
EJ: *laughing* You mentioned you were in the studio earlier. Is that what you were working on?
CW: Yeah. I’m working on my record. Right now, it’s an independent venture, but we do have some prospects for distribution with a couple of labels and distribution companies. But, I really wanted to work on this record and get a full body of work done so that we can have a bit more leverage and take it where we want to take it.
It’s a very versatile record. I can’t name what it sounds like because I’m a very versatile singer and I really wanted to be able to showcase that I can holler and squall, but I can sing sweetly, I can bring out the rock side of me. So, I think this record will definitely show that, with the different sounds– we’ve got some pop/rock, we’ve got some jook joint-type tunes, some soulful stuff, some reggae… but I think that when it all comes together, it’ll be a nice, heaping helping of gumbo…
EJ: OH! *laughs*
CW: *laughing HARD* Did I just say a “heaping helping”?
EJ: You soooo did. I can play the tape back… “heaping helping of gumbo” is what you said. *laughs*
CW: Yes, I did say that. It will be a heaping helping of gumbo once I’m done. I want people to be able to enjoy it. I’m trying to make it the best first record I can possibly make it, and then the next will be even better.
I think that first records are really hard sometimes because you can really try to outdo yourself and, when you do, you have a hard time doing it on the second record. I want this one to be phenomenal and the next one to be mind-blowing, but I’m really proud of this music that I’m working on.
EJ: Nice. You wrote most of it?
CW: Yeah, I wrote like 90-95% of it. It’s a lot. Plus, I’m also co-producing it and doing most of the vocal arrangements, which is a major task in itself. But it’s definitely all good– it’s nothing that I can’t handle.
EJ: How long have been working on it and when will it be DONE?
CW: Actually, I’ve been attempting to work on this record for the past 2 or 3 years, but I started back working on it in December and I do plan on being done, hopefully, by the end of March. I’ve been going, like… every day to the studio to make sure that I meet my personal deadlines.
Hopefully, we’re looking to do a summer/late-summer release. I’m hoping to have a single by May.
EJ: That’s good. I’d love to promote on the site, if you need anything.
CW: Absolutely! I’ma need all the help I can get!
EJ: Okay. Last question. Suzie and Tommy wanna be background vocalists– how do they get started?
CW: *laughs* That’s funny. I would first say, make sure that Suzie and Tommy can really sing.
EJ: *laughing* CHECK YO’ SELF, Suzie and Tommy!
CW: *laughs* Check yo’ SELF, first. And check with your MAKER to see if it’s what He wants you to do! *laughs* But on a serious note, it’s not for everybody. You have to have a certain heart for it, but the practical things are to network… get with people in your city, find out where the music scene is. Go to those places, network, shake hands with people there… go to musicals, go to concerts, y’know? Pass out cards and put yourself in position to be discovered. No one is going to notice you without being proactive… you definitely have to be proactive.
EJ: Wowwww. Well, alright Suzie… Tommy… get it together!
CW: *laughing* Good luck!
EJ: Right! *laughing* Well, Candy, I really really really appreciate you talking to me. And I can’t wait to post this so the people can know more about you and, hopefully, we’ll create a buzz for your solo project. It’s gonna be insane, I know.
CW: I’m looking forward to it. I really appreciate you for taking the time and having the interest in interviewing me. Thank you, EJ.
EJ: Oh absolutely. Quadruple YAAYYY! I topped you. I was gonna say “infinity yay,” but that would have ended the game.
CW: Right! *laughs*
EJ: I will talk to you soon. Have a great day heading back to the studio.
CW: Ok, have a good one! Bye.
* * *
Soooooooo… what do you think???
For your viewing pleasure, here’s one of my favorite YouTube clips of her. Here, she’s singing “Day By Day,” a cappella, and WOWWW!
And don’t forget to check out her MySpace page for MORE tracks and info by clicking here.
The 12-track project opens with the group’s first single (and title tune) “Revealed,” followed by the band-banging “I Just Can’t Live,” featuring Kirk Franklin. It’s great to hear him again with the group, comprised mostly of God’s Property alumni, but Myron Butler has done such a great job leading them that the tune feels much more like a guest spot than a reunion of sorts.
digitally for just $8.
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EJ: Hi! First, let me thank you so much for taking the time to chat with me.
DSP: So I go all the way back to the history of dress in the church/gospel community. Well, we have to go all the way back to the early church fathers, who wanted women in nothing clingy, had to cover their ankles (because ankles were too much of a turn on), they had to wear veils… then, later, in the Black church, that was the one place where people really COULD dress up. Coming out of slavery, we could be who we really were.
EJ: You’re blowin’ my mind!!! *laughs*
EJ: God’s Property, 1NC, Myron Butler & Levi, Kirk Franklin, Fred Hammond, Yolanda Adams, Marvin Sapp, Mary Mary, Donald Lawrence, Dorinda Clark-Cole, Patti LaBelle, Dewayne Woods, Deborah Cox, Tonex, Bishop T.D. Jakes, on and on and on…
EJ: Mmm-hmmm.
