The least remarkable song series concludes today with the song ranked #1 among the least remarkable recorded in the history of Southern Gospel music.
I understood when I started this series that when I finally reached #1, it would probably be a contentious choice. The thing is, when I started compiling songs for the series, “We Want America Back” was the first song to pop in to my head.
The Steeles had a huge song in 1997 with “We Want America Back”. The song spent four months at #1 and went on to be nominated song of the year. The song came from an album of the same name, released in 1996 (which won album of the year in 1997).
I remember when I first heard this song (nearly 20 years ago now), my first reaction was; “from what” (in responding to the song “We Want America Back”). I guess it was coincidental the song came out during an election year.
With another election year here, it seems the type of sentiment presented in this song remains prevalent in a certain subset of the Christian community. Without totally alienating my readers, I will simply leave with the realization that I don’t like politics muddying my Gospel music. As a result, I consider “We Want America Back” the least remarkable song recorded in the history of Southern Gospel music.
What is the least remarkable song recorded in the history of Southern Gospel music? You’ll have to find out next time because today looks at the song ranked #2 among the least remarkable.
Walt Mills has a long career in evangelistic work, including recording Gospel music. Walt began his recording career in the 1960’s and carried that into the 1970’s recording a couple of albums with the Benson labels.
Walt Mills biggest success in the Southern Gospel market came in 1990 when “I’ve Got A Feeling” topped the radio airplay charts and went on to be nominated for a Dove Award. In 1995, Walt released a song that will be forever etched in my mind as the cheesiest I’ve heard.
Chris Normand and Jeff Givens combined to pen this tune that went on the be sung by a plethora of Aunt Fossies in church on Sunday morning. A song I will forever remember, but not because of its strength.
The least remarkable song series is just about wrapped up. Today takes a look at the song ranked #3 among the least remarkable recorded in the history of Southern Gospel music.
There have been a number of songs written/recorded over the years that touch on the topic of gossip and especially gossip within the church. Some attempt to take a serious approach while others tend to take a lighthearted approach.
And then there is the song ranked 3rd among the least remarkable, “The Gossip Song”, which attempts to be lighthearted but instead turns out cringe worthy. Penned by Matt Rankin, the song was recorded by Soul’d Out Quartet on their 2006 recording, Throne Of Grace.
As we get ever closer to crowning the least remarkable song recorded in the history of Southern Gospel music, today we take a look at the song ranked 4th.
Taking a melody from a mainstream musical genre and re-writing it with Gospel lyrics don’t always work. In the 1980’s, the Kingsmen had a huge hit with “Stand Up”. The song was originally a country music tune penned and performed by Mel McDaniel.
In the early 1990’s, Billy Ray Cyrus recorded one of the worst songs in the history of music; “Achy Breaky Heart”. The song was a huge hit during the time period and as a result a family group by the name of the MaHarreys decided they would re-write the words and record, “Jesus Can Heal Your Achy Breaky Heart”. While the Gospel lyrics were on point; having it mixed with the melody of one of the worst songs ever recorded doomed the appeal of this song from the start.
Country music songwriting legend, Don Von Tress can be thanked for giving the world “Achy Breaky Heart”.
We are close to wrapping up the least remarkable song series. The song ranked 5th among the least remarkable is on the list because of the change in connotation of a single word in this particular song.
R.E. Winsett is most noted for writing one of the Southern Gospel music’s biggest songs, “Jesus Is Coming Soon”. In the mid 1960’s, Winsett penned a song titled, “Tramp On The Street”. The Cathedral Quartet would record the song in 1965 and the Sego Brothers and Naomi in 1966. The only other artist in Southern Gospel music credited with recording the song is the Hopper Brothers and Connie in 1974.
I am well aware that during the era in which this song was written, the word tramp was used to describe a vagrant or vagabond. Because the connotation of the word is now seen as something extremely different, it is hard to listen to the song without thinking of this current meaning.
This week, ranked 6th among the least remarkable songs recorded in the history of Southern Gospel music is a song titled, “Mama’s Hungry Eyes”.
Country music legend Merle Haggard penned this country tune that went to #1 on Billboard’s country singles chart in 1969. It was the first single from his 1968 recording, A Portrait Of Merle Haggard and became one of the biggest songs of his career.
While a great country record, it didn’t quite translate to the Gospel music audience when recorded by the Oak Ridge Boys on their 1969 recording, Thanks. The first time I heard the song, I thought it was about a women who left her family because her husband wasn’t providing her luxuries in life. I know, Merle’s story behind the song doesn’t translate to my initial reaction.
The only other Gospel quartet to record this song was the Blue Ridge Quartet in 1970.
As we draw closer to finding the least remarkable song in Southern Gospel music history, today let’s hear the song ranked 7th.
In 1973, Jerry and the Singing Goffs released a song titled, “Tucked In With Jesus”. The song, penned by Goff, was found on the group’s 1973 recording, Wide Awake. There is really not much to say about the song, other than it rates fairly high on the cheesy scale. Thoughts?
The least remarkable song series continues today with the song ranked 8th. As a kid, I remember hearing a song titled “Wrapped Up, Tied Up, Tangled Up”.
I didn’t quite understand the lyrics at the time and all I could picture was someone literally being wrapped and tied up. That really didn’t sound fun to me, so I tried to avoid the song anytime it came on.
As I got older and heard the song again, I then understood what the song was attempting to convey. Born out of the pentecostal/holiness camp; the version I remember is credited to Nancy Harmon. There was also a traditional Gospel spiritual, penned by the Rev. Cleophus Robinson with the same title that birthed the version I remember as a kid.
It is hard for me to listen to this song now without my five-year old mind thinking the song meant something totally different.