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Publication Date: 19 February 2006
UK Gospel.com's
With Steve Alexander Smith
YINKA AWOJOBI's
INTRODUCTION
In many ways, UK Gospel.com's existence was born out of one simple, overriding fact: the glaringly obvious lack of a publicly accessible repository, wholly dedicated to UK gospel music.
I've always held the view that recording and reporting this social subculture of ours not only adds a supportive, celebratory angle to affairs, it also encourages other 'workers in the field', as it were. The more we know about what's going on and the people intending to impact our world for the gospel via music, the more others are galvanised into action. It is a self-perpetuating cycle...
I'm of the view that this UK Gospel.com project would not have been viable in a hard copy, magazine format in the tough gospel magazine consumer market. Even if the logistics were achievable, the overheads required to publish a high-end mag would have been crippling for a hobbyist like me. Back then I was sad to see many a labour-of-love publication created as a support platform either have to inevitably fold, or totally modify its editorial approach to include more saleable American content, or even resort to sacrificing significant editorial output for
the essential financial support advertising provided. It was - and probably still is - the only way to survive in the narrow-margin, labour-intensive world of gospel music publishing.
I've always held the view that recording and reporting this social subculture of ours not only adds a supportive, celebratory angle to affairs, it also encourages other 'workers in the field', as it were. The more we know about what's going on and the people intending to impact our world for the gospel via music, the more others are galvanised into action. It is a self-perpetuating cycle...
I'm of the view that this UK Gospel.com project would not have been viable in a hard copy, magazine format in the tough gospel magazine consumer market. Even if the logistics were achievable, the overheads required to publish a high-end mag would have been crippling for a hobbyist like me. Back then I was sad to see many a labour-of-love publication created as a support platform either have to inevitably fold, or totally modify its editorial approach to include more saleable American content, or even resort to sacrificing significant editorial output for
the essential financial support advertising provided. It was - and probably still is - the only way to survive in the narrow-margin, labour-intensive world of gospel music publishing.
Anyway, I digress. Back to my case in point; I couldn't do much about gathering information and intelligence on the relatively distant history of contemporary UK gospel (talking specifically about the state of the scene from the 1950s through to the late 1980s), but I certainly was going to go to town with the more recent material that fit within my time frame. My gut feel that there is a whole demographic 'out there' that would appreciate dedicated coverage of the evolving UK industry continues to be confirmed in the sheer number of hits this site receives.
But that's where that man whose rather stately picture is on top of the page, STEVE A SMITH, comes into the mix (pardon the pun). STEVE is passionate about the history of the UK evolution
and the players involved in the early scene, and he brings to UK Gospel.com's HERITAGE FILES a wealth of drive and knowledge about the goings-on of the UK industry from way back. The best part about all this is that STEVE is a permanent student of the time, continually researching
the era, bringing you the history, and frequently updating this information.
That makes him the perfect person to look after UKG's HERITAGE FILES. Watch out for his book on the era, due to be published soon. And while we're on the subject, one final point: the soon-to-go-live UKG Spin! (I know I keep saying that), the audio station dedicated to 100%
But that's where that man whose rather stately picture is on top of the page, STEVE A SMITH, comes into the mix (pardon the pun). STEVE is passionate about the history of the UK evolution
and the players involved in the early scene, and he brings to UK Gospel.com's HERITAGE FILES a wealth of drive and knowledge about the goings-on of the UK industry from way back. The best part about all this is that STEVE is a permanent student of the time, continually researching
the era, bringing you the history, and frequently updating this information.
That makes him the perfect person to look after UKG's HERITAGE FILES. Watch out for his book on the era, due to be published soon. And while we're on the subject, one final point: the soon-to-go-live UKG Spin! (I know I keep saying that), the audio station dedicated to 100%
UK Urban gospel music, will be bringing you a whole series of audio interviews with people and players from back in the day. I've already started recording the shows and have a few in the can (as I've heard the professionals say)
As ever, I hope this is another one of those UKG initiatives that will make the music of Black gospel in the UK even more alive to you. Be sure to show STEVE some love, and let us know how we're doing....
Yinka Awojobi
Content Development
UK Gospel.com
February 17, 2006
As ever, I hope this is another one of those UKG initiatives that will make the music of Black gospel in the UK even more alive to you. Be sure to show STEVE some love, and let us know how we're doing....
Yinka Awojobi
Content Development
UK Gospel.com
February 17, 2006
STEVE SMITH's
INTRODUCTION
My name is STEVE ALEXANDER SMITH, and I have a passionate interest in Black gospel history. I was born in the West Yorkshire town of Huddersfield, England on the 14th of December 1963, and discovered from a very early age that without history or heritage, we remain insignificant, weak and without purpose.
I am an avid reader of international history in general with specialist enthusiasm on the evolution and development of Black gospel music from its very early beginnings in the American Deep South. I also collect British Black gospel records, and have discovered some real gems in high street charity shops and on the ever-popular eBay.
I have written for THE VOICE, Britain's most successful black newspaper and count it a great privilege to be amongst the chosen few contributors of UK Gospel.com. I am glad to be part of a website that is exciting, progressive and forward looking, but in my articles I aim to look back.
Black gospel music was born out of slavery in the southern US State of Virginia USA 400 years ago. The music evolved from its embryonic stage as Negro-spirituals before being successfully fused with Blues until eventually forming the basis by which every style of American musical
I am an avid reader of international history in general with specialist enthusiasm on the evolution and development of Black gospel music from its very early beginnings in the American Deep South. I also collect British Black gospel records, and have discovered some real gems in high street charity shops and on the ever-popular eBay.
I have written for THE VOICE, Britain's most successful black newspaper and count it a great privilege to be amongst the chosen few contributors of UK Gospel.com. I am glad to be part of a website that is exciting, progressive and forward looking, but in my articles I aim to look back.
Black gospel music was born out of slavery in the southern US State of Virginia USA 400 years ago. The music evolved from its embryonic stage as Negro-spirituals before being successfully fused with Blues until eventually forming the basis by which every style of American musical
entertainment would have its root.
Pioneers such as the FISK JUBILEE SINGERS in the 1870s, and some of the 20th century greats including MAHALIA JACKSON, ANDRAE CROUCH and COMMISSIONED all made a contribution towards the shaping of this musical genre. However, that is all I am going to say about our American cousins, apart from the fact that their gospel music industry is worth a staggering 500 million dollars.
Black people in Britain are slowly discovering and taking note of the rich heritage that they have accumulated. Almost 60 years ago the first wave of post-war Afro Caribbeans arrived in 1948 on the troop ship SS WINDRUSH. Many bought with them hopes and dreams which would be fully realised in a later generation.
We need to look back and assess where we have come from as it may help us to map our future destination with more knowledge and awareness. I hope this provides a new dimension for UK Gospel.com, not just for the nostalgic, but the inquiring young mind.
Pioneers such as the FISK JUBILEE SINGERS in the 1870s, and some of the 20th century greats including MAHALIA JACKSON, ANDRAE CROUCH and COMMISSIONED all made a contribution towards the shaping of this musical genre. However, that is all I am going to say about our American cousins, apart from the fact that their gospel music industry is worth a staggering 500 million dollars.
Black people in Britain are slowly discovering and taking note of the rich heritage that they have accumulated. Almost 60 years ago the first wave of post-war Afro Caribbeans arrived in 1948 on the troop ship SS WINDRUSH. Many bought with them hopes and dreams which would be fully realised in a later generation.
We need to look back and assess where we have come from as it may help us to map our future destination with more knowledge and awareness. I hope this provides a new dimension for UK Gospel.com, not just for the nostalgic, but the inquiring young mind.
I will be looking back at the pioneers of Black gospel music in the UK, and aim to improve awareness of a past achievements and milestones. I will be featuring accomplished as well as unsung heroes, in fact anyone I feel deserves to be given credit. I will be reviewing classic and rare albums as well as offering an overview of the different gospel music subgenres that have been tried and tested. I love a challenge, and if you require a feature on an artist or group that seemed to have disappeared from the face of the earth, let me know and I will see what I can do.
I will be hoping that my enthusiasm is infectious and if it stimulates my readers go away on their own initiative and uncover historical black British gospel gems then my ultimate objectives would
have been met.
Steve A Smith
I will be hoping that my enthusiasm is infectious and if it stimulates my readers go away on their own initiative and uncover historical black British gospel gems then my ultimate objectives would
have been met.
Steve A Smith
Contact Steve
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