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Gospel - something accepted as infallible truth. Whether used in a religious context to describe the first four books of the Bible or in a studio session to summarize an impressive and flawless musical - expression, gospel is always connected with truth and excellence.
In the last decade the genre identified as gospel has made some serious noise in the music industry. With its increased sales and increased visibility, gospel is no longer just seen as the music for Sunday morning. It has stood up and made an indelible mark on the industry and consumers alike. Entities known for applauding and appreciating great music (i.e., the Grammys, American Music Awards, Soul Train Music Awards and Billboard Magazine) have begun to embrace gospel for its creative element and inspirational worth. ASCAP also recognizes gospel as a viable music art form and applauds the hard work and undying determination of the artists, songwriters, producers, record executives, radio announcers and retailers who are immersed in the genre. To that end, in this first column to focus squarely on gospel music, Playback will be devoting attention to those writers who pen their experiences in hope that somebody will be inspired, healed, encouraged or changed. Now, take note and draw deeply from the gospel according to Smokie Norful.
Ted Winn: When you're writing a song and get stuck, what do you do?
Smokie Norful: Generally that doesn't happen because my songs are so organically born. My songs are real spontaneous. When I get in a flow things usually come out complete. I don't move until it is complete, because after the flow is over the moment is gone.
TW: How long does it usually take you to write a song?
SN: Anywhere from five minutes to two or three hours. When I start writing songs, I just turn the tape recorder on and start playing, because I never know what's going to come out. That's one of the blessings of being able to play for myself.
TW: How significant is your ability to play piano to your songwriting?
SN: For me it's essential. Many of my songs are born without instrumentation. I'll be on a plane, in the shower or riding down the street with the radio off and things will pop in my head. However, to be able to sit down and further communicate that idea with my own gift and talent is phenomenal. Nobody can give voice to your songs like you can. A lot of times my playing will set the tone and the mood for the song to be birthed.
TW: If you had to write a song for the people who were impacted one way or another by the tsunami, what would it say?
SN: Actually, I wrote a song that would be applicable. There is a song on my new CD called "Healing". It talks about all of the different things we need healing from. A lot of the different trials, situations and circumstances that we encounter that are not good, but that if you place your hope and trust in Christ he can provide the healing needed. It would be a song that gives encouragement and uplifts their spirits and let's them know that healing is on the way.
TW: What made you decide to join ASCAP as a writer?
SN: Because of relationship. I perceived Keith Johnson to be genuine, sincere, effective and really interested. In subsequent conversations my thoughts were solidified and I determined these were the types of qualities I wanted people or an entity I partnered with to have. I felt like we were focused on the same things and seeking to accomplish the same goals. In addition to that, they pay us well (laughs).
TW: What would you like to see happen in the ASCAP system for Gospel writers?
SN: I would like to see a greater concentration on gospel music and writers/artists. By that I mean there needs to be a higher level of involvement by gospel artists in ASCAP functions. I don't mean just getting one gospel artist to open a show, but inviting the gospel writers/ artists who are a part of ASCAP to be involved in seminars and workshops that share the perspective of these writers as it relates to the gospel and Christian community. This would also include bringing in people who are going to educate and train gospel writers/artists with respect to publishing and licensing songs. Finally, I would also like to see an outward show of appreciation for gospel writers/artists.
TW: As a writer, what would you like other writers be able to draw from our music? What do you want people to say about the music Smokie Norful leaves on the planet?
SN: I want people to recognize and associate Smokie Norful's music as a music of hope. I think that's the crux of my ministry and desire. I want to communicate to the world that there is hope, and for me that hope is found in Christ. I believe that he is the solution to a lot of peoples' concerns and problems. So, when you listen to my music I want you to be so inspired, uplifted, encouraged and empowered.
TW: What do you feel is the most significant song you've ever written?
SN: A children's melody called "Daddy's Little Boy" that I wrote when my son was in intensive care. While I was sitting in intensive care holding my child in one hand because he was premature and weighed four pounds, I began to sing the words to this song.
- Ted Winn
Ted Winn is an ASCAP member who is formerly of the gospel group Ted & Sheri.
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