PRAYZEHYMN Online | where gospel music lives [Gospel 101: 80's Countdown]

By J. MATTHEW COBB
Founder, Editor-In-Chief of PRAYZEHYMN Entertainment
Updated: March 30, 2008

TO SUM UP THE 1980s in one article is definitely a daunting task. We all were glued to the tubes to see the uber-cool Miami Vice. We all agreed that Batman was worth experiencing. It was also cool to forget about the bellbottoms and plaid-polyester of the seventies and decide to break every rule of good fashion instead. And the European electronic sound revolutionized the American pop music frontier like never before in music history (can we say Robert Palmer, Wham! and Culture Club).

But there was also a lot in '80s gospel music to marvel about. Contemporary gospel began to make important transitions - especially on the gospel choir scene. Unlike the Golden Era of Gospel, it was definitely a cool thing to record a mass choir in the eighties. And while contemporary gospel music got much more funkier, bigger strides for traditional gospel music continued to take place. During the eighties, there was room for artists to branch out into deeper musical forms (ex. Clark Sisters went post-disco) and uncool became cool again (Rev. F.C. Barnes made climbing over the rough side of mountains popular). Coming up with a cohesive reflection of the best in gospel music during the eighties felt like a very incredible task. It's never been done - and who would have - the assignment is so great and time consuming. But after reviewing hours and hours of music and paying close attention to record sales, popularity, influence and quality of production - and also getting some input from gospel fans - the official list of the fifty best songs of the eighties is here. And there's plenty to indulge into: there's funk gospel, pop gospel, choir music, traditional gospel, quartet, contemporary gospel, urban and deep R&B-influenced crossover material. Without any doubt, these fifty songs sum up the sound of gospel music during the eighties in a nutshell.

"HAVING YOU THERE," MISSISSIPPI MASS CHOIR, LIVE (Malaco, 1989) A very contemporary sound with deep melodic R&B sonic synths, deep bass grooves and infectious harmonies - these were the prime highlights of this stunning composition. Lead vocalist Venora Brown delivers a very soulful performance on this commanding cut - taken from the Mississippi Mass Choir's debut project.	"I REALLY LOVE THE LORD," REV. CHARLES NICKS & THE ST. JAMES CHOIR, I REALLY LOVE THE LORD (Sound Of Gospel, 1981) Rev. Charles Nicks' sound, full of Southern grit and soulful class, merits a lot of celebration for recording this moving song of worship. Yes, there's an obvious bluesy taste to the music, but the power in the vocals and the St. James Choir are jubilant and full of passion.	"SWEEP AROUND," THE WILLIAMS BROTHERS, HAND IN HAND (Malaco, 1986) With a dose of bluesy guitar punctuation and a slick R&B groove, this song blossomed to become a signature highlight during the mid 80s. Lyrically the song caught the attention of so many that could relate to the growing problems of gossipers. And the song had a bite to it: "Sweep around your own front door before you try to sweep around mine."
"HOLD UP THE LIGHT," NEW JERSEY MASS CHOIR, HOLD UP THE LIGHT (Light, 1987) Inspiring lyrics fueled with gorgeous harmonies from N.J's Number One choir. Donnie Harper continues to show off his songwriting and vocal chops here. It's amazing to hear how strong the melody is on the song's smooth tempo.	"THE LORD WILL MAKE A WAY," AL GREEN, THE LORD WILL MAKE A WAY (Myrrh, 1980) After receiving a wake-up call from on high, Green resorted to doing a gospel project - this happened to be the title cut. And boy, if it's not filled with everything Al Green is known for. It's soulful, charismatic, fun, and sexy.	"AIN'T NO NEED TO WORRY," THE WINANS, DECISION (Quest, 1987) Besides the breathtaking musical backdrop and Marvin Winans' exceptional songwriting, there's another factor to consider when looking at this best-selling single (#15/R&B). R&B legend Anita Baker is on board and and fits in perfectly. This song also picked up a GRAMMY.
"EVERYTHING'S GONNA BE ALRIGHT," AL GREEN, SOUL SURVIVOR (A&M, 1987) The beloved soul singer attaches himself to a more sophisticated brand of R&B on this riveting and popular song. While this is a far cry from his Hi recording years, Al Green choose the right song at the right time during his gospel career. This song parked at #22 on the Billboard R&B charts.	"STRANGE LAND," COMMISSIONED, ON THE WINNING SIDE (Light, 1987) An exuberant ballad featuring the finest of cool harmonies, thought-provoking lyrics and crossover appeal. What is most remembered about this cut is the acapella opener. Mind you that this is pre-Boyz II Men and Take 6.	"MY SOUL HAS BEEN ANCHORED," DOUGLAS MILLER, UNSPEAKABLE JOY (Light, 1985) No one expected this song to graduate to the kind of popularity and fame it owns now, but listen clearly to its poetic lyrics and its surprising build-up to the vamp. And then there's the moment when Douglas Miller drives the train into the station as he raps joyous adlibs into the mix.
"I'LL TELL IT," NEW JERSEY MASS CHOIR, LOOK UP AND LIVE (Light, 1987) A moment of contemporary gospel excellence. Here you have gripping production using the same formula used in Maze/Frankie Beverly's soul workouts with the texturizing choir sound the New Jersey Mass Choir was mostly known for.	"HE'S WORTHY" SANDRA CROUCH, WE SING PRAISES (Light, 1983) Sandra Crouch pulls of this ode to gospel-tinged anthems using a big pipe organ drive and audacious choral execution. When the vamp enters into the picture, the song leaps into one of the most remembered spirited devotions of all time.	"JUST A REHEARSAL," WILLIE NEAL JOHNSON & THE GOSPEL KEYNOTES, JUST A REHEARSAL (Malaco, 1985) The quartet formula may be the drawing card here, but it is obvious on how funk and soul music filtered into this infectious upbeat number. Finally - quartet music that's earthy and aggressively contemporary.
"WHO'S ON THE LORD'S SIDE," REV. TIMOTHY WRIGHT, WHO'S ON THE LORD'S SIDE (Savoy, 1989) Who could resist that funky piano walk-down on the opener? Rev. Timothy Wright has always been known for penning contemporary funk outfits, but this one literally deserves its own category. Can we call it funkalicious? After hearing Wright bursts into "get-get-get-get-get-get-get", you must agree.	"RUNNING BACK TO YOU," COMMISSIONED, GO TELL SOMEBODY (Light, 1986) The world would come to know who Fred Hammond - the Davidic vocalist and songwriter - really was after hearing the earnest cries of forgiveness in this pleading ballad. Definitely one of Commissioned's greatest achievements to the world of music.	"BETTER THAN BLESSED," LOUISE CANDY DAVIS, HIS EYE IS ON THE SPARROW (Savoy, 1986) A moving testimony well suited for Louise Candy Davis' soulful singing. It was well favored with both traditional and contemporary gospel lovers. It is obvious why when one listens to the punctuating lyrics and the sheer power in her voice.
"THE CHARIOT IS A'COMIN," GOSPEL MUSIC WORKSHOP OF AMERICA, HE'S WORTHY (Savoy, 1982) A fireball of P. Funk meets Jesus. You can clearly hear the influences of George Clinton on this groovy Steven Roberts number. The song may have been a little too late to be called original in the ears of funk aficionados, but gospel listeners were sho'nuff pleased.	"I WANT TO THANK YOU," ALICIA MYERS, I FOOLED YOU THIS TIME (MCA, 1982) Myers, former lead vocalist for 70s/80s funk outfit Al Hudson & One Way, went solo and delivered one of her greatest hits ever. This funky dance & spiritual sensation soared to #37 on the R&B charts and made landfall on plenty of dance floors. Besides the infectious raw rhythms, Myers expresses her praises and devotion to God for finding true love at last.	"PRESSING ON," VANESSA BELL ARMSTRONG, VANESSA BELL ARMSTRONG (Jive, 1987) The owners of Jive Records knew what they were doing when they placed Vanessa Bell-Armstrong's sensational vocals on this R&B uptempo jam. No one was really shocked when this song became a R&B crossover success.
"YAH MO B THERE," JAMES INGRAM, IT'S YOUR NIGHT (Qwest, 1983) Soulful crooner James Ingram teamed up with former Doobie brother Michael McDonald for this stunning Quincy Jones/Rod Temperton creation. On the heels of Michael Jackson's Thriller, this song screamed to #19 pop and #5 R&B in 1983; becoming one of Ingram's signature songs. Lyrically, the song tells of God's existence and speaks of hope in a heartless, troubled world.	"TESTIFY," REV. TIMOTHY WRIGHT, TESTIFY (AIR, 1984) The Brooklyn gospel sound is summed up easily into this one song. Before Hezekiah Walker could jump on the scene with his modulation antics, Rev. Timothy Wright had already paved the way on this juicy funkfest.	"TRUE VICTORY," KEITH PRINGLE & THE PENTECOSTAL COMMUNITY CHOIR, TRUE VICTORY (Savoy, 1981) If one really wondered if funk music could be translated into gospel music, one listen to this head-bobbin' cut will end all curiosity. It was obvious that Keith Pringle and his aggregation of singers were influential to the more appealing choir sound of the nineties.
"LORD YOU KEEP ON PROVING YOURSELF," FLORIDA MASS CHOIR, LORD YOU KEEP ON PROVING YOURSELF (Malaco, 1983) There's some history behind this cut. It is the second part of the heart-touching story delivered on their 1982 hit, "It Will All Be Over". But even if you've never heard that song, this one is complete as it is. There's a pop sensation attached to the moving melody: giving the song the eternal glow it has today.	"HOLD MY MULE," SHIRLEY CAESAR , LIVE IN CHICAGO (Word, 1988) The First Lady of Gospel gets behind the pulpit on this amazing two-part saga - featuring the favored story of Shoutin' John and his spirited response of "I Feel Like Praising Him". Eight minutes of Shirley Caesar at her best.	"NOBODY BUT JESUS," VANESSA BELL ARMSTRONG, CHOSEN (Onyx, 1984) This hearty number possess the irresistible Aretha-like voice of Vanessa Bell Armstrong with divine production from Thomas Whitfield. This song became one of her trademark favorites - simply because of its gooey 80s R&B ballad framework and the infectious chorus. Second to Armstrong's "Peace Be Still".
"I'M JUST A NOBODY," THE WILLIAMS BROTHERS, BLESSED (Malaco, 1985) The slick, lush guitar and sensitive bass thumps marinate this colorful bluesy masterpiece. But the lyrics deserve a great deal of attention as well- as it tells the story of a wino on the streets still having faith and trust in God. Listeners took those lyrics to heart and were overjoyed with devotion to Jesus.	"WHAT IS THIS?," WALTER HAWKINS, THE HAWKINS FAMILY (Light, 1980) A revolutionary ballad capturing the drive of the Hawkins legacy (of course, with Tramaine, Lynette, Walter and Edwin on board). What's so great about the beauty of this song is how the lyrics seem so mysterious in the beginning and how it unfolds like a parable throughout the verses. You know what it is - but let's just tease those that don't know and shout the rest into a spiritual frenzy.	"I'M ENCOURAGED," THOMAS WHITFIELD WITH THE WHITFIELD COMPANY, I'M ENCOURAGED (Sound Of Gospel, 1986) Gwen Morton uses her bubbling soprano vocals to birth an irresistible coat over the lovely musical creations of this Thomas Whitfield hit. There is a minimal groove tucked deep into the corners of this song - which makes the song so uberdramatic.
"SAILIN' ON THE SEA OF YOUR LOVE," SHIRLEY CAESAR FEATURING AL GREEN, SAILIN' (Word, 1984) Never had gosp-soul sounded so good when the pairing of gospel's best Shirley Caesar merged with Rev. Al Green on this moving ode to God's love. And don't underestimate Green at all - he's is as lively and animated as he is on "Love And Happiness". The two were dynamite together on record - winning them a Grammy each for Best Gospel Performance.	"I LOVE THE LORD," RICHARD SMALLWOOD SINGERS, PSALMS (Dennis & Associates, 1984) Before Whitney Houston get a hold to it in 1996, the homework was already done on this early version from the Richard Smallwood Singers. The music is superb, the harmonies are pure and the production was freshly rendered. This is a prelude of what was to come from Smallwood - but the genesis of his craft still baffles music historians.	"UNCLOUDY DAY," MYRNA SUMMERS WITH THE COMBINED CHOIRS OF REFRESHING SPRINGS COGIC, UNCLOUDY DAY (Savoy, 1982) The beauty of this simmering arrangement of the Staple Singers hit - full of moody transitions and a touch of brightness - still has a lasting effect on listeners after all these years. And with Myrna Summers' assuring belting and the lovely contemporary arrangement, the song ought to cheer up any depressed soul.
"YOU BRING OUT THE BEST IN ME," VANESSA BELL ARMSTRONG, VANESSA BELL ARMSTRONG (Jive, 1987) Designed with the intention to crossover - and it did - this song leans on 80s R&B rapturous grooves and vague lyrics, but is highly supported with Vanessa Bell Armstrong's soaring pipes. This probably wasn't your granddaddy's gospel, but it was truly grand.	"PERFECT PEACE," KEITH PRINGLE, PERFECT PEACE (Onyx, 1984) Songwriter and musician Rudolph Stanfield may not have known what he was getting into when he wrote this stellar cut, but we are sure he's glad about it. The song has been remade a dozen times over the years by some of the biggest names in the industry, but the original recorded by Keith Pringle on his 1983 solo debut remains the finest.	"JESUS IS LOVE," COMMODORES, HEROES (Motown, 1980) While known for their Southern funk and heartfelt ballads, Lionel Richie - the group's signature songwriter, drummer and lead singer - felt led and inspired to write a song dedicated to the group's faith in Jesus Christ. This mesmeric gospel ballad, featuring a full choir on the closing minutes, rose to number 34 R&B in late 1980.
"ROUGH SIDE OF THE MOUNTAIN," REV. F.C. BARNES AND REV. JANICE BROWN, ROUGH SIDE OF THE MOUNTAIN (AIR, 1983) Many loved it, plenty disliked it, but the song launched the album with the same name to #1 on the Billboard Gospel Charts for two years in a row. This was clearly the quintessential blues gospel single of the eighties.	"WHEN THE BATTLE IS OVER," WALTER HAWKINS, LOVE ALIVE III (Light, 1985) If "Oh Happy Day" had a twin brother, look no further. Here we have funk and post-disco wrapped in a gospel tortilla. Walter Hawkins knew what he was doing when he released this rollercoaster of contemporary gospel on the masses and the young folk loved it.	"OH, IT IS JESUS," ANDRAE' CROUCH, NO TIME TO LOSE (Myrrh, 1984) This powerful ballad continued to demonstrate Andrae' Crouch's brilliance and mastery in songwriting. He takes the story in Matthew 9:20 of the woman with the issue of blood and pens a song around her faith. Tata Vega also joins in and sings up a delightful fury.
"PEACE BE STILL," VANESSA BELL ARMSTRONG, PEACE BE STILL (Onyx, 1983) Another stellar production from the Maestro (Thomas Whitfield). This arrangement is a little similar to the Rev. James Cleveland version but is updated with colorful musical layers and 80s sound effects. Yet with all of the big changes, it is Vanessa Bell Armstrong that outshines them all.	"JESUS CAN WORK IT OUT," DR. CHARLES G. HAYES & THE COSMOPOLITIAN CHURCH OF PRAYER CHOIR, EVERYTHING'S ALRIGHT (Savoy, 1981) This timeless classic, marked with zesty traditional gospel spunk and that favored Chicago drive, became a landmark in gospel music history for its widespread popularity and Dianne Williams' rapping skills. The intensity on this cut still has yet to be matched.	"AVAILABLE TO YOU," REV. MILTON BRUNSON & THE THOMPSON COMMUNITY SINGERS, AVAILABLE TO YOU (Word, 1988) Beautifully set up - there's a pop ballad approach delivered in the beginning and then comes the stirring and anchoring chorus that bears an invincible covering. But the classically-tinged tag edifies the song into a wonderful musical odyssey.
"JESUS," SHIRLEY CAESAR, JESUS, I LOVE CALLING YOUR NAME (Word, 1983) Very simple in structure - lite blues and a bit of pop. But the power in Shirley Caesar's voice and the worshipful lyrics drive the message home here. The song ended up being her greatest and most remembered classic from this decade.	"FALL DOWN" TRAMAINE HAWKINS, THE SEARCH IS OVER (A&M, 1985) Known for pouring our her heart on the most soulful of traditional church numbers, Tramaine Hawkins takes a detour into retro-disco/house music with this club hit. So hot was this cut that it made it to #1 on the Billboard's Dance music charts and thrusts her album, "The Search Is Over", to #33/R&B and #2/gospel. While conservatives disliked her decision then to record this track, the song sounds ageless today.	"SAFE IN HIS ARMS," REV. MILTON BRUNSON & THE THOMPSON COMMUNITY SINGERS, THERE IS HOPE (Word, 1986) The elements of a great song should always include a believable lyrics, a touching melody and at least one or two memorable phrases. This song has all of those components. It became a serious staple in gospel music and has been re-recorded several times, but none seem to match the star quality of the original.
"THE QUESTION IS," THE WINANS, INTRODUCING THE WINANS (Light, 1981) This timeless composition features a dialogue full of reasonable questions and then comes short, yet powerful answers from God. The song is gorgeously produced by Bill Maxwell and was the perfect debut single for the Winans.	"I WANT TO KNOW WHAT LOVE IS," FOREIGNER, AGENT PROVOCATEUR (Atlantic, 1984) Let's get the backbone of this story. Foreigner was a pop/rock AOR band and this song, a definite surprise, was released as the first single from their 1984 album. The song features the New Jersey Mass Choir on background vocals and a soaring ending from Jennifer Holiday. It also happened to be their first and only #1 single - but that's alright - the song is still being heard and played today and sums up the best of the eighties in one listen.	"CENTER OF MY JOY," RICHARD SMALLWOOD SINGERS, TEXTURES (Sparrow, 1987) A permanent signature in gospel music, Richard Smallwood, along with renowned hymnolgists Bill and Gloria Gaither, creates one of the most elegant worship ballads of all time. The song is even a favorite at weddings and has been covered by artists such as Ron Kenoly and Ruben Studdard.
"LOST WITHOUT YOU," BEBE & CECE WINANS, HEAVEN (Capitol, 1988) The intimacy and romanticism tucked in this power ballad helped usher impressive sales of its single up the R&B and pop charts. So many compared the sound to a modern Marvin Gaye & Tammi Terrell. If they only knew that BeBe & CeCe Winans were brothers and sisters and were singing about a greater love.	"YOU BROUGHT THE SUNSHINE," THE CLARK SISTERS, YOU BROUGHT THE SUNSHINE (Sound Of Gospel/Elektra, 1983) Twinkie Clark took the leftovers from Stevie Wonder's 1980 reggae-influenced hit "Master Blaster (Jammin')" and carved this animated disco thump - which became a serious club hit and a major crossover song for the female gospel group.	"TOMORROW," THE WINANS, TOMORROW (Light, 1984) The Winans were always known for winning the hearts of many with their sneaky evangelistic traits - usually soaked in the fabrics of the lyrical foundation. They conjured up this tantalizing gem, explaining the consequences of waiting too long in making the decision of a lifetime: tomorrow could very well be too late.
"CALL HIM UP," KEITH PRINGLE & THE PENTECOSTAL COMMUNITY CHOIR, TRUE VICTORY (Savoy, 1981) A giant firecracker sizzling with the right dose of excitement and churchy power, this Ricky Grundy composition taken from Keith Pringle's 1981 project stormed its way into gospel music history and remains a fixture in churches across the globe. One good listen to the vamp and you are hooked for life.	"HEAVEN," BEBE & CECE WINANS, HEAVEN (Capitol, 1988) The moving rhythms, the plangent synths and groovy guitar vibes surely placed this gospel gem into sainthood. The quality of the production compared to any of the big-wigs in mainstream music - which pretty much explained why the single soared to #12 on Billboard's R&B music charts. And who could really resist the blissful union of these two voices?

OTHER VALUABLE RESOURCES TO LOOK INTO:
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Gospel 101: Church Directory - The exclusive online directory to churches and ministries in the U.S that feature respected music ministries bearing the sounds of Gospel music. Includes church name, web links, location and pastor's name.
Gospel 101: The Official Gospel Timeline - Go back in time. From the birth of Gospel music to its present. Including dates, time periods, detailed information and coverage on multiple important subjects related to the Gospel music genre.
Gospel 101: PRAYZEHYMN's MIA's - Another hearty PRAYZEHYMN Exclusive. This extension of the Gospel's Church Directory focuses on some of the most energetic and charismatic churches across America that features outstanding music ministries. Check it out.