"The Blackwood Brothers"influenced
an earlier part of this series I examined the influence of
black spiritual music on the future King of Rock and Roll.
In this article I will further examine the influence of religious
music on Elvis, but this time the music of the great ‘white’
gospel group the Blackwood Brothers.
up in Tupelo and Memphis the young Elvis was exposed to the
music of a rich cross-section of styles and beats. One of
these was the barbershop or ‘four-part harmony’ (quartet)
style of white gospel groups. Primary among these were the
Blackwood Brothers and the Statesmen (Quartet) although it
was the Blackwoods with whom Elvis had particularly strong
is widely accepted that Elvis was raised in an environment saturated
by gospel music. His family avidly listened to gospel and it formed
an integral part of the First Assembly of God church he and his
parents attended every week. In the early 1950s the most popular
white gospel quartet in Memphis and the US was the Blackwood Brothers.
out as a ‘family’ singing group in 1934 the original members were
brothers Roy, James (nicknamed "Mr Gospel Music") and Doyle Blackwood
and Roy’s son R.W. Their initial exposure was via KWKH radio station
in Shreveport, Louisiana and WJDX in Jackson, Mississippi. As noted
by Charles Wolfe in his excellent essay "Presley and the Gospel
Tradition” their music was not unlike many barbershop quartets -
songs were performed unaccompanied and with each singer taking a
different harmonic level.
up by the influential Stamps-Baxter company in the late 1930s the
Blackwoods underwent several personnel changes over the years and
in 1950 moved to Memphis. Members over the years included Pat Hoffmaster,
Ken Turner, Tommy Fairchild and Bill Shaw. A major recording contract
with RCA Victor in 1951 was the turning point for the Blackwood’s
and a nationwide hit The Man Upstairs soon followed.
1954 they won 1st prize on a popular TV show which would later reject
one Elvis Aaron Presley - the Arthur Godfrey Talent Scout Show.
As celebrities, the Blackwoods lived an exciting and colourful life.
They were made honorary Tennessee Colonel’s by Governor Frank Clement
in 1954 and the entire quartet became staff members of Mississippi
Governor Coleman who maintained they were his cousins.
Wolfe notes that compared "to the pabalum being dished out in the
popular music of the day - crooning by Perry Como and innocuous
ditties by Patti Page - the Blackwood’s music was lively, fresh
and exciting; and furthermore, young aspiring singers of the time
could easily look upon it as the epitome of commercial success and
from this, what undoubtedly also drew Elvis to the music of groups
such as the Blackwoods was the underlying rhythm of the white quartets,
a rhythm learnt from their black quartet counterparts. Another link
between Elvis and the Blackwoods involved J.D. Sumner who led the
Stamps Quartet, the group who backed the King during the 1970s.
with his powerful bass voice joined The Blackwoods in 1954 following
the death of R.W. Blackwood and Bill Lyles in a plane crash. The
stature of the Blackwoods as local folk heroes meant this tragedy
was hard felt across America and as noted in Peter Whitmer’s ‘The
Inner Elvis’, Elvis was strongly affected by the deaths. Both he
and then girlfriend Dixie Locke attended the funeral in a packed
Ellis Auditorium on Friday, the 2nd of July. The crowd was so large
that both sides of the auditorium were filled up...To Elvis it was
as if this was an omen. Certainly it felt like a member of the family
had been lost, and from their ashes he seemed to gain inspiration
and the ability to shake off his paralyzing ambivalence about singing,
and particularly about singing songs in a style the church might
not approve of.
Sumner has placed it on the record that he used to sneak Elvis in
the back of the Ellis Auditorium in Memphis to see the Blackwood’s
perform. Apart from attending their concerts, during his lunchtime
Elvis listened to the Blackwoods on a country and gospel hour broadcast
on WMPS. Another of Elvis’s high school friends, Guy Harris, confirmed
to prominent Elvis author, Bill E. Burk, that "He (Elvis) was really
high on the Blackwood Brothers and the Statesmen Quartet".
was also around the mid 50s that Elvis auditioned to sing with Cecil
Blackwood’s gospel quartet the Songfellows. Elvis was unsuccessful
as the singer he would have replaced decided to remain with the
group. Meanwhile, Cecil Blackwood would later join the Blackwood
Brothers as its lead singer. And it was J.D. Sumner and James Blackwood
who, in 1963, purchased the Stamps Quartet Music Company, one of
the oldest and most prestigious gospel publishing houses.
1965 J.D. left the Blackwoods to become manager and lead singer
with the Stamps Quartet. J.D. is also quoted as saying that as a
mark of his love and respect for gospel music Elvis seriously considered
an invitation to join an unspecified but major gospel quartet after
he became an international star in 1956. Elvis’s cousin Edie Hand
has provided strong insights into his love for the Blackwoods. She
said "To Elvis, being a Blackwood was something wonderful. He saw
other entertainers as having as much or more talent than he did
and he never lost that childlike awe of people he thought had so
when Edie was 19 she dated a gospel singer named Aubrey. Elvis manoeuvred
for her to date Cecil Blackwood instead, although Edie’s mother
Nash decided Cecil was not right for her. When Edie told Elvis she
and Cecil were no longer dating he looked at her and said "But he’s
listeniong to Elvis’s concerts in the 1970s will be struck by the
increasing importance that gospel music played in his repertoire.
Lord, You Gave Me A Mountain, Why Me, Lord, Help Me and the superlative
How Great Thou Art became standard inclusions in an Elvis show.
Moreover, Elvis would regularly call upon J.D. Sumner, Sherill Neilsen
and the Stamps to sing solo.
his lifetime Elvis recorded three gospel albums: His Hand In Mine,
How Great Thou Art and He Touched Me. In addition, he released a
number of religious singles, usually at Easter time. Among these,
Crying In The Chapel is by far the best known, although Where Did
They Go, Lord/Only Believe, His Hand In Mine and We Call On Him
also achieved respectable sales.
fact that all three Grammy Awards won by Elvis were for gospel recordings
arguably symbolises the importance of this music to him. Those Grammy
Awards were for the How Great Thou Art LP (Best Sacred Performance
of 1967), He Touched Me LP (Best Inspirational Performance of 1972)
and How Great Thou Art (Best Inspirational Performance, 1974, taken
from the LP Elvis, Recorded Live On Stage In Memphis).
Blackwood Brothers were also Gladys Presley’s favourite gospel group,
and at her funeral on August 15, 1958 they were to sing three songs.
As stated by J.D. Sumner "We wound up singing twelve." Two of the
songs were Rock of Ages and Precious Memories. At Elvis’s funeral,
James Blackwood and the Stamps sang How Great Thou Art.
Revolutionary Sexual Persona by Jon Michael Spencer in ‘In Search
Of Elvis’, Vernon Chadwick (ed.)
Elvis The Tupelo Years by Bill E. Burk
His Life From A to Z by Fred L. Worth and Steve D. Tamerius
Precious Memories by Donna Presley Early and Edie Hand with Lynn
Tradition in ‘Elvis: Images and Fancies’, Jac L. Tharpe editor
Inner Elvis by Peter Whitmer, Ph.D.
Ultimate Elvis (Elvis Presley Day By Day) by Patricia Jobe Pierce
A Song On My Lips (And A Prayer In My Heart), The Blackwood Brothers
Quartet, CD release by BMG/RCA
article was prepared by Nigel Patterson and first appeared in ‘Elvis
Monthly’ as part of the author’s fourteen part series, Influences
On A Legend. ©1998, 2002
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