Through It Allposted 06/05/06
Last year marked Andraé Crouch's 40th anniversary of forming The Disciples—his first ensemble of singers—but the innovator, boundary breaker and legend hasn't slowed down a single bit. Though it's been a while since his last solo album, he's kept busy working with other artists as a songwriter, arranger and producer—including work with Elton John, Quincy Jones, Vanessa Williams and Michael Jackson. On top of all that, he regularly mentors new artists and stays plugged in with various church ministries. Yet the time has finally arrived for his much anticipated return to recording, found in the brand new album Mighty Wind. Christian Music Today caught up with Crouch recently to hear about his new CD, early memories of the Jesus Movement, his ability to blur color lines and more..
How does it feel to be officially back in action?
Andraé Crouch: I've heard people refer to certain artists they haven't seen in the marketplace [for awhile] and they sort of think they've moved, packed up from here and gone to Japan or China, but I've still been around! We just haven't been making records. I've been working on a new album, and always felt like I've never gone anywhere. I just took some time to record and get things done the way they needed to get done.
What are the differences writing for yourself versus someone else?
Crouch: Actually, there's no difference whatsoever. It's always been difficult for someone to tell me a story. I'm not as blessed as some people, and it's a different thing for me to hear a story and have someone tell me what they want me to write. Usually when someone records my songs, they become an array of tunes I've already written that would fit into a particular style with them. I might arrange it in a way with that character in mind that could be different from going out solo. I may put on some background vocals or none at all. But I love writing for people as far as a song, just not in the character of them.
What type of writing direction did you take up for Mighty Wind?
Crouch: This new album only has one song I've previously recorded and the rest [are new songs]. I'm a Joseph coat of many colors. I like so many kinds of music, and that's a plus in fact that I haven't been stuck in a musical style according to geographically where I am. I've traveled around; I've gotten a little bit of everybody. When I look for a song to write, I could be inspired by anything. It might be a car passing by and me hearing a kick drum or a high hat. Then I'll go to the piano and go in that style. If it reminds me of some place I've been, then I'll start writing in that character.
What have you discovered from your travels outside America about how other churches perform your material?
Crouch: When I first went to Africa, I heard them sing all American music. I wanted to hear them! It's okay to pick up something, but don't let that be the only thing you do. And I'm glad that when I've heard my songs in [other trips] to Africa and different countries that they sing it [in the style of their region]. I don't want them to have an Andraé trademark. I want people of Africa and people of Japan to sing the way they sing.
How do you balance the art of having such stellar production with accessible material for the church?
Crouch: When I first started, I never considered myself a singer. Everybody that I liked didn't sing anything like me, so I couldn't do what they did. I used to limit my writing according to what I could sing, so my melody became a plus because the average truck driver could sing them. In black gospel music, that's a negative sometimes and a plus other times because it pulls the best out of you—the strength to hit those notes. Much of it is geared in performance. It may not even be a good song, but if people like the way it's sung, it's accepted. I always try to write songs, as my father told me, with melodies a truck driver could sing. My range is limited, so I've usually kept the melodies at certain register. My songs are singable because of my deficiency. God uses the strength out of weakness!
Has it been difficult being the only outspoken Christian in the group?
Crouch: Early on, being the one with the religious background and strong faith, sure. There were times when the other guys would wonder why my view differed from everyone else's in the group. But I think people come to understand each other as relationships build over time, and we've learned that we all need each other. We all play a certain role in the group, and if I can smack these guys around a little bit, share with them, and help them realize there's a light at the end of the tunnel, then I've done my part.
How have you been able to break so many cultural boundaries over the years, particularly the bridging of urban gospel and contemporary Christian music?
Crouch: I was conscious of it and worked hard to try to bridge everybody. Before I started writing, I remember seeing different choirs growing up, that people sang songs with different lingo. My goal has always been to reach everyone and be real transparent. A lot of my music got through to people on both sides of the black and white because of the subject matter. In the black church, there are spirituals like "Motherless Child," but you never talk about [what that means]. When you say "sometimes I feel like a motherless child" you're trying to say you feel really lonely and that nobody loves you. But you wouldn't say that because it's too negative, so you say "Motherless Child" and it paints your own picture. But when you said "I feel like jumping off a cliff," well not really jumping but filled with that much despair, that's when you're being real.
What was it really like pioneering your own styles throughout the early days of Christian music?
Crouch: In the Jesus Movement, groups like Love Song and 2nd Chapter of Acts made great music. Larry Norman was like Bob Dylan, 2nd Chapter of Acts was like ABBA, and Love Song had Latino [elements]. We would actually all perform together before thousands of people—250,000 would show up from all over the country and they'd have to close the freeway. Ten thousand of them would be baptized in one day! We would just stand up and sing, not [worry about] who's first and who's second. We would pray behind each other on stage.
What is your opinion of the CCM industry today?
Crouch: I think things of Lord are most fabulous, but I think today there is a little too much edge. [Artists are] leaning towards [the world] and counteracting the situation rather than us building and them trying to be like us. You see guys with long hair looking like the hippest rappers, and I just don't feel like we have to be them. "Hey brother, if you want [God], you've got to come over here. We're not going to come over there."
I believe some of them have gone over the edge. I saw this guy and he had on a dew [head wrap], which I see with kids in my church all the time. I don't put down the way they dress, but there's got to be a change in even the way people look at us. Even the styles people wear, they say something. Do you want to still have that culture think that you're twined with who you are, or do you think you have to do that to lead a soul to Christ? I think you have to relate, but still I don't believe you have to do that. Maybe I'm a little old fashioned, but I don't care how hip you look.
What advice would you offer to a developing artist struggling with these sorts of identity and appearance issues?
Crouch: God does not need us; we need Him. God does not need our praise, but we need to praise him. I try to be very conscious of that because where I come from, you have a kid in the neighborhood who wants to be a basketball player, and thinks only because of success you can have fun and be famous. I think we really have to mentor the kids and that's one of my goals—to tell them you don't get there like that. It's by loving Jesus and glorifying him. Every door that opens is from God even though you thought it was something that you were.
No comments:
Post a Comment