With this article, we’ve reached the halfway point with this series on the Bishops, as we’ve talked through 8 recordings so far, and we have 8 more to go (including this one). As we come to 1993, the Bishops had been singing for 9 years, and they released some outstanding music during that time, but as much as I loved their previous works, “More Than My Voice” ranks as one (of two) of my all-time favorite recordings by the Bishops. (You’ll have to keep reading each week to see what the other favorite is!) Whereas their last couple of recordings had some distinct country vibes to them, “More Than My Voice” seemed to lean further into that vein, but more so along the lines of your classic “country gospel” sound, with a less rustic vibe to it, but rather a warmer and slicker feel.

Produced by Eddie Crook, and orchestrations arranged and conducted by Steve Mauldin, the guys went back to Reflections Studio (where they recorded “Once in a Lifetime”) for the making of this recording, but they also used Oak Valley and Acorn Studios as well. For the most part, they utilized many of the same musicians they had used on previous recording sessions, but there are a few names not previously seen…Craig Nelson (bass guitar), Hargus “Pig” Robbins (piano) and Terry McMillan (Harmonica), and you definitely hear their uniquely creative contributions throughout this recording. All 3 gentlemen were amazing musicians whose work crossed all musical boundaries, having played on sessions by such artists as George Jones, Dolly Parton, U2, Dailey & Vincent, Loretta Lynn, Kenny Rogers, Alan Jackson, Ray Charles, Johnny Cash, Carman, Switchfoot and Oak Ridge Boys, along with many other Southern Gospel artists such as the Hoppers, Cathedrals, Gaithers, Perrys, Nelons, Lewis Family, Hemphills and countless others. Additionally, Mark really shines as a singer on this recording and has quite a few leads as well, and I think that with “More Than My Voice”, Mark starts becoming more of a dominant vocalist in the group. Not that anyone else is taking a back seat (or that Mark had taken a back seat previously), but in the last couple of years Mark really found his voice, and if you recall in those earlier recordings, Mark didn’t have a lot of features, and it was mostly Kenny taking the leads. Over time though, Mark began taking on more lead lines, and I think it really came into focus with this recording.

“More Than My Voice” starts off with warm mandolin and steel guitar fills, highlighted by a nice string section for the wonderful prayer in song, “Lord, I Need Your Touch”, which was written by Dee & Danny Kramer. With Mark taking the first verse and Kenny taking the second, the song follows a very similar pattern and feel as “He’s in the Midst”. In fact, both Crook and the Bishops intentionally arranged the song after their former #1 hit, and the formula worked! This was the first single from the recording, and though it didn’t garner another #1 song, it did peak at #5 for 2 months in the Singing News chart for December 1993 and January 1994.

Picking up the tempo a bit with a strong beat and dominant electric guitar track, we come to the country feel of “The Greatest Love”, which was written by and features Mark. Giving off a strong “Hinson” vibe, I love the country harmonies by the guys on the chorus, and it’s one of my personal favorite songs from the recording, before Kenny steps up to sing the dramatic, “This Side of the Cross”. Written by Jerry Salley and Sue Smith, Jerry recalls the song may have been inspired from a sermon he had heard, and he ended up pitching it to the Bishops. The Bishops had recorded several songs written by Salley over the years and this is one of my personal favorites. Tastefully orchestrated with some nice electric guitar embellishments and a strong bass guitar track, Kenny does an outstanding job delivering this lyric (one of my favorite Kenny features), and I always thought this would have made an excellent single release for the group.

Speaking of single releases, the second radio single from this recording was the electric guitar, harmonica and piano driven track of the Mark Bishop penned, “That Sounds Like Someone I’d Like to Know”. Seeing the need to find a good, up-tempo song for this recording, Mark set out to write one, and this song fits the bill perfectly! Featuring guest vocalist, John Starnes, this tune made it to #8 in the July 1994 Singing News chart, and it was an exciting concert favorite for the Bishops over the next several years. The Bishops and John Starnes both supported the Galileans Children’s Home in Kentucky, and they became friends through their work there, and as this song was being arranged, it was decided that adding Starnes would elevate the excitement level of the song, and the two were a perfect match!

With it’s bluegrassy feel, the Bishops sing the Dee Gaskin penned, “Praising the Risen Lamb”. Filled with nice fiddle and dobro highlights along with the doghouse bass, it recalls an earlier sound of the Bishops. Originally recorded by Wendy Bagwell & the Sunliters on their 1987 album, “Let’s Turn the Lights On”, the song was later recorded by Doyle Lawson & Quicksilver on their 1992 recording, “Treasures Money Can’t Buy”, but the Bishops’ is my favorite version.

With nice electric/steel guitar, harmonica and piano fills, the medium tempo, “You’ll Be Back on the Mountain Again” features Mark, and it’s another one that has a strong Hinson sound to it, and one that I easily hear Kenny Hinson singing. Written by Larry Petree, another male trio, the Booth Brothers, who would just start to make their presence felt within the industry a couple of years later, would eventually pick this song up (utilizing the Bishop’s soundtrack), when they recorded their first album with Eddie Crook called, “Praise God Anyhow” in 1996!

One of my personal favorite Mark Bishop penned tunes is the emotionally tinged, “Lord, I’d Be Lost Without You”. Mark does a tremendous job delivering the goods on this personal, heartfelt testimonial, and it’s a song that I think most people can truly relate to. I love the arrangement of this song, and the dramatic lead in from the second verse to the final chorus, is spot on!

The fun acapella tune, “The Sun Didn’t Shine”, draws from the Bishops’ influence by the Swanee River Boys, who included it on their “The Swanee River Boys Finest” album that was released in the early 1960’s, but they originally got the song from the Golden Gate Quartet, who originally recorded the song back in the 1940’s. Featuring Kenneth and Mark, with Kenny taking the lead on the final choruses, I recall seeing the Bishops perform this in concert often, and it was always a treat, as Kenny would always make a spectacle of himself during the song.

Beautifully accented with strings along with the piano, doghouse bass and the acoustic and steel guitar, the guys do a marvelous job singing the Dottie Rambo classic, “If That Isn’t Love”. It’s truly a musical and poetic masterpiece, and the guys do a phenomenal job on the song, with the lead interchanging between Mark, Kenny and Kenneth, creating a beautiful moment for this recording. The Bishops were big fans of the Rambos growing up, who originally recorded the song on their 1969 album, “This is my Valley”. The song is one of Dottie’s most cherished favorites, and it was a popular one back in the late 60’s and into the 70’s, being recorded by the Speers, Downings, Jimmy Swaggart, Jimmie Davis, Bill Gaither Trio, Blackwood Brothers and Imperials, and was even recorded by Elvis Presley on his 1974 album, “Good Times”. Over the next several years, the song had pretty much laid dormant until the Bishops included it on this recording, and then other groups and artists started picking it up again including Greater Vision, Dove Brothers, McGruders, Vern Jackson, Kirk Talley, and most recently by the Isaacs on their 2013 recording, “The Living Years”.

Keeping things in a more solemn and reflective mood, the Bishops close things out with a very simple, yet powerfully stunning prayer in song entitled, “Shadow of Thy Wings”. Written by one of my favorite songwriters, Gina Vera, it’s my favorite song on this recording. Kenny does a spectacular job on the song, and as we get to the chorus, we find that the song is a humbling prayer for the lost, as well as a prayer for the soul winner seeking strength and guidance…“what can I say to make them see, let Your anointing flow through me, so that I may snatch from the jaws of hell, someone not so unlike myself, standing somewhere in the distance, so helplessly in need, find them Lord, and hide them in the shadow of Thy wings”. With simple piano accompaniment, along with some beautifully arranged strings (I love the understated orchestral swells toward the end of the chorus), creating a very stunning and breathtaking moment. I understand why they put this song last, as there isn’t anything the Bishops could have done to follow it, as you’re left alone in the quiet of that moment, pondering what you’ve just heard…maybe even taking a moment to bow your head and pray for someone you know that needs Jesus, and how He can use you to “snatch them from the jaws of hell”!

As I mentioned earlier, “More Than My Voice” is one of 2 of my all-time favorite recordings by the Bishops. I’ve always loved the overall feel of this recording, and I believe that “More Than My Voice” is the whole package! I love every aspect of the recording…from the song selection and arrangements to the singing and music tracks, down to the pacing and sequencing of the songs, and even the cover work. Despite there only being one true up-tempo song on the recording, “More Than My Voice” doesn’t drag or get musically stagnant, and as the listener, we seamlessly move through each song remarkably well, which culminates into one well-rounded and truly exceptional piece of work by the Bishops!

As you can probably tell, I have a deep respect and admiration for the Bishops, and an immense love and appreciation for this particular recording. This era of the group during the early to mid-90’s was quite spectacular, and to see them “live” back then was equally exciting and memorable. At the risk of sounding like an old “fuddy-duddy” who misses the old days…it was groups like the Bishops that made gospel music special for me back then, and I believe that the music industry as a whole (not just gospel) has lost the unique individuality and true artistry (yes, gospel music can be, and should be artistic) that made music so great 20, 30, 40, 50+ years ago. But that’s another article for another day…

Before closing, I did want to mention that there was a personnel change in the group during this time, as piano player, Johnny Sansom had departed the group, and a young man named Randall Hunley was brought on to play piano, after a lengthy tenure playing for the Kingdom Heirs. Randall was also an accomplished songwriter, who wrote or co-wrote some tremendous songs including “He Calms Me” and “Even the Valley” (McKameys), “Mercy Forgot” (Kirk Talley), “If It’s Thy Will, I Will” (Kingsmen) and “Mercy at Midnight” (Inspirations). Randall’s time with the Bishops would only last about a year or so, as he would leave and join the Wilburns, and then later, the McKameys, making way for Johnny Sansom to return for a second ride on the Bishops’ bus, just in time to celebrate their 10th anniversary year…which we’ll dive into with our next article!

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