I’m totally into it like a big rat.

There’s always been a part of me that loved the the old Southern gospel quartet sound, and I always wished I could sing bass like J.D. Sumner (of “The Stamps”, one of Elvis’ favorite backup quartets fame). Of course, if you really knew The Great White Shank, that should only make sense, as I’m convinced that, were there ever such a thing as reincarnation (which, of course, is a question best left to the Shirley MacLaine, get-in-touch-with-my-inner-child, tofu-eating New Age crowd), I’d swear my prior life was spent in the Deep South, where I’ve always felt a kinship and at home whenever I have traveled there.

So what is the attraction of Southern gospel music for a die-hard Anglo-Catholic? I don’t know, I like the fact that in these quartets the blend was everything; it was all about precision, execution, and the fact that there was no place to hide – you HAD to be a damned fine singer. And, of course the fact that Southern gospel was a huge influence on early rock & roll. But more than anything else, I love the passion, the joy, and the humility of it all, I guess. And listening to The King pour his heart and soul into this music – a form he obviously loved singing – is a joy to listen to. And that’s the difference from so much of the so-called music spelled C-R-A-P of today – this form of music is a healing, life-giving force.

Is some of it hokey? Maybe so, but it’s hard not to listen to the performances and not feel a sense of love for God, humility, faith, trust, and quiet joy – all things, I think, the world could use a little more of if you ask me.