By 1989, the Bishops had created an enormous amount of momentum via radio and chart action, but they were also a huge hit on stage, and the major concert promotors were hearing from the fans and adding the Bishops to the rosters for their major events across the country. Concert promotors were utilizing them on a regular basis, because the Bishops were putting the people in the seats, thus increasing concert attendances and bringing in ticket sales. It was a wonderful time of growth for the young group; but with that growth came some changes to their sound and stage presentation. In examining the evolution of the Bishops sound, I think it was basically a two-fold process…first, since Southern Gospel Music has a very wide range in styles under its umbrella, and in an effort to make an artists’ music more acceptable to the masses, the need to find a mainstream sound, while not alienating their current fan base is paramount. It’s an important point that a record label and artist need to come to some type of creative agreement, or that relationship will not work. So, I think Eddie Crook, as their producer, worked with the Bishops to hone that sound, and the group was receptive to that. Additionally, Mark and Kenny (and I think Junior Williams as well), were the creative minds (“forward thinkers”) within the group at the time, and they wanted to create cool music that was different as well. Comparing the Bishops’ previous recordings with “Marching On”, it almost sounds like a completely different group! The unique harmonies were still there, but the group began adopting a more polished, mainstream Southern Gospel sound, making “Marching On”, a huge musical turning point for the Bishops.

As I mentioned in my last article, by this time the Bishops’ touring schedule had increased dramatically. The group continued to remain a part-time group, traveling across the country on the weekends, while also maintaining full-time jobs during the week. As time went on, this arrangement was getting harder for them to maintain, while also trying to keep a balanced family life going as well. With those pressures in place, the band eventually was dropped, and the Bishops continued with just a piano player, before eventually hiring someone to play bass guitar and drums. At this point, a young man named Jerry Hedrick joined the Bishops as their piano player, who was a very dynamic musician, giving the Bishops a rich, full sound on stage, despite no longer having a band behind them.

With their fresh ideas and ideals firmly in place, the Bishops, along with producer Eddie Crook, stepped into the studio and began work on what would be a career recording! “Marching On” definitely amped up the production value over their previous recordings, as Mark recalls the studio being much busier and involved many more individuals than their previous studio albums. This latest effort included 10 musicians (not including strings and brass) that featured such legendary names as Jimmy Capps, Sonny Garrish, Bruce Watkins, Jerry Kroon, Dirk Johnson, Bobby All, and others. Additionally, Steve Mauldin was brought in to handle orchestrations, which was mostly for one very important song. Mauldin had worked for many years at Mark V Studios in Greenville, South Carolina, and even had previously handled orchestrations for such groups as the Kingsmen (“From Out of the Past” in 1979) and the Happy Goodmans (for their TV show, “Down Home with the Happy Goodman Family” in the late 70’s). Mauldin had played bass guitar for several recordings that Eddie Crook had produced, and seeing the need for some orchestral work, Eddie tapped Mauldin to handle that for “Marching On”. For pretty much the remainder of the Bishops’ recordings, you’ll see Mauldin’s name listed as the orchestrator or as producer. In fact, many times Mauldin handled both roles, as he would play an integral part in the Bishops’ sound in the forthcoming years.

“Marching On” kicks off with the delightful, “Open Up the Window Noah”. Written by Phil Rosenthal (who sang and played for the bluegrass band The Seldom Scene from 1977-1986), the song was recorded by The Seldom Scene on their 1983 album, “At the Scene”. I remember when I first popped this cassette in the player, and this song hit, I perked up as it was something totally different for the Bishops, yet it was completely within their wheelhouse! Featuring some delightful piano work by Dirk Johnson, as well as from the string section, expertly arranged by Mauldin, which really enhanced the overall musicality of the song. It’s a highlight of the recording and one of my personal favorite songs recorded by the Bishops. It gets the recording off to a fantastic start, and it’s one of those songs that will stick with you long after the music stops!

Next, we come to the powerhouse song, “Lazarus Come Forth”, which features Kenny, as well as some robust, and tastefully arranged orchestrations. Written by Larry and Arlie Petree, this was the first single from this recording, peaking at #2 in the February 1990 Singing News chart (in my opinion, it should have been #1). Larry Petree was inspired to write this song when his uncle came walking through the living room and told him to write a song called “Lazarus Come Forth”. Larry resisted for a while because Carman had a major hit song with the same title, but Larry eventually decided to write the song, with his dad, Arlie, adding some to the song as well. Interesting side note, Roger Bennett, of the Cathedrals, produced the first demo of the song, and Kenny Hinson even asked Larry to hold the song for him, but it was already on hold for the Bishops, who had heard the song while in a revival with Larry somewhere in Kentucky. They loved the song and immediately wanted to record it. This became a major turning point for the Bishops, with many regarding it as their biggest hit song. It was something totally different for the Bishops, but it was such a huge success, it became the shot in the arm needed to finally push the Bishops into full-time ministry and leave their day jobs behind!

Mark, the perennial “old soul” of the group, steps up next to sing his sentimental composition, “The Old Days”, which is actually one of Kenneth’s all-time favorite songs the Bishops recorded. The song offers some sage advice for those wishing the good times away…“every moment of this life is so precious…we won’t always have this privilege called living, don’t take for granted what you won’t always have, there’ll be a day when you’ll want the old days back again”, but it doesn’t stop there, as before the song is over, Mark reminds us that “in Heaven, we’ll have the old days back again!”

Picking up the pace ever so slightly, we come to the song, “I Don’t Know Any Better Than Jesus”, which was written by Kenny Hinson and originally recorded by the Hinsons on their 1985 album, “It Runs in the Family”. Featuring Mark, the Hinsons were a group the Bishops enjoyed, and they didn’t stray too far from the Hinsons’ original cut, and with its nice fiddle, steel guitar and harmonica highlights, the song is a perfect fit for the guys.

The first half concludes with a stunning and dramatic acapella performance of the patriotic, “Battle Hymn of the Republic”. Written in 1861 by Julia Ward Howe, the lyric was adapted to the popular abolitionist tune, “John Brown’s Body” (which is actually a song borrowing the same tune from an early 1700’s folk hymn, “Brethren, Will You Meet Us”). While it doesn’t quite have that “Front Porch” feel that many of their acapella songs have had in the past, it shows the Bishops were not one dimensional when it came to acapella singing, as they could tackle many types of arrangements from high class and complicated, to down home and earthy.

The second half kicks off with the exciting, “I’ll Live Again”, which was written by Tammy Jones Robinette and published through Chestnut Mound Music. Tammy was one of those tremendous writers within the ECC wheelhouse who had songs recorded by such groups as the Perrys, Wilburns and Pfeifers, and this driving tune was the second single release from this recording and was the perfect follow-up to “Lazarus Come Forth”, peaking at #5 in the August and September 1990 Singing News chart. (In fact, the Perrys also recorded the song on their 1989 recording, “The Best Four You”). I remember seeing the Bishops at a concert back in maybe early 1993, in Lexington, North Carolina. In what I thought was an unusual sequence of songs, they kicked off their stand with “Lazarus Come Forth” and then immediately went into “I’ll Live Again”, and that crowd went ecstatically wild! That audience was dialed in to everything the Bishops sang that night, and it was one of the most memorable concerts I’d ever attended.

I had mentioned earlier that the Bishops were traveling with just a piano player during this time, named Jerry Hedrick. In addition to being an outstanding piano player, Jerry was also an adept songwriter, and for this recording he contributed the upbeat, “Dry Ground”. Featuring Kenny, this is one of my favorites from this recording, and one of the highlights as well.

Slowing the pace down, Kenneth, Mark and Kenny each take a verse as they sing the classic hymn, “Farther Along”. Featuring a basic arrangement, as they sing this reflective tune, you can envision them back home in Kentucky singing this at their church or on the front porch, and it’s a highlight of the recording, before Mark steps up to sing the song of promise entitled, “No More Pain”. Written by David Turner and published through Chestnut Mound Music, the song was also a popular one for the Chandlers, who recorded it the same year on their “Sermon in Song” recording, released on the Harvest label.

With crickets chirping in the background, the guys jump into a quick acapella rendition of “Joshua Fought the Battle of Jericho” (they only do a couple of choruses and a verse). Since the first acapella song didn’t quite have that “Front Porch” feel, the crickets chirping in the background allows the listener to feel as if they are listening out on the front (or back) porch! This song has enjoyed a rich history, having roots dating back to the slavery times of the 19th century. The first recorded version dates back to the early 1920’s by the Fisk Jubilee Singers, an African American acapella group from Fisk University in Nashville, Tennessee. The song has been recorded an innumerable number of times by such world-renowned artists as Mahalia Jackson, George Beverly Shea, Jordanaires, Tennessee Ernie Ford and Elvis Presley, as well as by such Southern Gospel groups as the Couriers (one of my personal favorite renditions), Pfeifers, Martins, Collingsworth Family, and many others. The Bishop’s performance is a rather lighthearted and rustic way of finishing out this exceptional recording.

“Marching On” was released on cassette only, as it was not originally released on CD. I remember buying the cassette from our local Christian bookstore, and I was completely blown away by what I heard. Prior to getting this recording, I can’t remember if I had heard “Lazarus Come Forth” yet or not, but I remember thinking it was the greatest thing I had ever heard! This was such a pivotal recording for the Bishops, as it was on a totally different level than anything else they had released previously, and it literally launched the Bishops several years forward! This is the type of career recording that most young groups can only dream of making, and the success of “Marching On” allowed the Bishops to finally make the push into full-time ministry, setting the stage for the next 12 years of hit records and hit songs!

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