’s Preacher Boys By James R. Goff, Jr.

Remembering the Couriers

The Couriers Quartet, Assemblies of God boys molded at Central Bible Institute in the mid-1950s, persevered to become one of the most successful gospel music groups of the late twentieth century — pioneering southern gospel music in the Northeast states and in parts of Canada. More importantly, they helped shift southern gospel toward an emphasis on ministry and evangelism. Their heartfelt singing and testimony continues to share the message of Jesus Christ even today.

“When we first got into southern gospel, they called us ‘the preachers.’ We’d hear them say, ‘Here come the holy boys.’”1 This was one of the first stories I learned from the Couriers. It was from an interview with tenor singer Duane Nicholson under a tent set up to feed the hundred or so gospel singers invited to record one of the Bill Gaither videos in the mid-1990s. T Unfortunately at the time, Nicholson and the other members of the Couriers Quartet knew that the comments were not meant, directly at least, as compliments, and many years later the story still caused pain. Nicholson searched his heart wondering if his fellow singers really believed he and his comrades in the Couriers thought themselves spiritually superior. Such was the depth to which “southern gospel” had sunk by the 1960s — if singers shunned the appearance of evil and demonstrated a Christian ethic in their private lives, they were accused of looking down on and, in effect, “judging” everyone else. This might seem strange to many raised in the church, where ministers and gospel singers are expected to live the life about which they preach and sing. But it was business as usual in the entertainment world of southern gospel a mere four decades ago.2 To its credit southern gospel has entered a new era. My own experience reveals that the overwhelming majority of those singers associated with the genre today do indeed try to live what they profess. None are perfect of course, but something remarkable changed over the past half century in this world of harmonious quartets, smooth-sounding trios, and talented soloists. Somewhere along the way, probably through a combination of the The Couriers, about 1965. Back (l-r): Duane Nicholson and Dave Kyllonen. Front (l-r): Neil and Phil Enloe.

4 AG HERITAGE 2007 third-wave revival begun in the 1970s, quartets, , who intense media scrutiny, and competition appeared for a concert in 1955 at from contemporary Christian singers, a downtown auditorium owned and southern gospel artists reclaimed their operated by the local Shrine Club. spiritual devotion. Themselves members of First Most had “believed” all along. They Assembly of God in Memphis, came from evangelical families and Tennessee, the Blackwoods easily churches, suffered the disillusionment swayed aspiring young singers with of travel and bright lights, and endured the smooth sound that had taken them the competition of a large number of literally to the top of the entertainment performers struggling for the same industry. From humble beginnings in slice of the economic pie. But, in the northern Mississippi in 1934, the group end, they came home. Artists like the had risen to unprecedented heights for Couriers — missionaries sent in haste a gospel quartet. With an exclusive baritone, J. D. Sumner on bass, and — were no small part of the reason contract with RCA, in the summer of renowned pianist Jackie Marshall why. 1954, the troupe had been the featured providing accompaniment. In winners on CBS’s Arthur Godfrey’s September 1956 the quartet would Beginnings Talent Scouts television program in once again compete in and win the The dream started in Springfield, New York City. Literally less than Arthur Godfrey contest and, despite Missouri. In 1953, a small group a month from this lofty perch, the the tragedy of 1954, remained one of of amateurs attending Central Bible Blackwoods had then endured the the headlining gospel groups in the Institute began singing on campus tragedy of a plane crash that killed nation through the next decade. Little and in area churches using the name two prominent members of the group. wonder that the young CBI students “Couriers,” literally “messengers,” Though initially distraught, group were inspired to tap the ivories in search members “of a diplomatic service leader James Blackwood had pressed of their own harmonious blend.4 entrusted with bearing messages.”3 on, hiring new bass and baritone Over the next few years, personnel After a year of inactivity, the name singers to continue touring as one of in the Couriers varied as students was reclaimed by a new quartet of the pinnacle quartets in the industry. graduated or left school and were students for the 1955-56 school The group that appeared in replaced by other eager singers. By term. The reorganization of the Springfield in 1955 would comprise 1957, the group had achieved some group was prompted in part by the a litany of household names — James local notoriety, appearing in the school excitement generated by the visit of Blackwood singing lead, Bill Shaw yearbook, The Cup. Members by one of southern gospel’s most heralded singing tenor, Cecil Blackwood on that time included Dave Kyllonen, a bass singer and a young Assemblies of God preacher from Pennsylvania; Don Baldwin, a baritone singer from Illinois and the quartet’s manager; Duane Nicholson, the group’s lead singer and an Assemblies of God preacher’s kid who had grown up in Iowa and Oklahoma; Lemuel Boyles, the tenor singer; and Bob Casebeer, group pianist. During the 1957-58 academic year, Boyles and Casebeer were replaced as the Couriers Quartet took on the personnel that would chart the group’s future for most of the next decade. Nicholson switched to the tenor part,

Eddie Reece (piano accompanist, far left) with the Couriers (l-r) Duane Nicholson, Neil Enloe, Don Baldwin, and Dave Kyllonen in the recording studio, about 1958.

6 AG HERITAGE 2007 making room for the addition of Neil Enloe, an introspective young Illinois Assemblies of God boy from a staunch AG home who took over the responsibilities as lead Debate on the Merits of Gospel Quartet Music singer. Also joining the group that fall was Eddie Reece, a Tennessean who took the spot as the group’s piano accompanist.5 This coterie of energetic students even made a recording at the school of their most popular songs. Using the studio of the Revivaltime radio show, an evangelistic program broadcast over the ABC network by Reverend C. M. Ward, the quartet recorded enough material to ship off to the West Coast in order to have a number of inexpensive 33 1/3 records pressed. Once the product, collectively titled Beyond the Sunset, was returned to campus, the five young men lovingly hand- packaged each long-play record into their own homemade album sleeves.6

Beyond Springfield With this inauspicious beginning, Though Billboard magazine in the 1950s separated the music of white and in the summer of 1958, the five young black Americans by designating “sacred” for white music and “spiritual” for black Couriers ventured out from Springfield music, the question of entertainment raised equal concerns for churches in both to seek their fortune in the world of white and black communities. Early on, Assemblies of God leaders took a stand southern gospel. The logical choice against some of the aspects of the southern gospel quartet industry. Apprehensions would have been a move toward the tended to boil down to two basic concerns: 1) How relevant is “entertainment” to a music that is focused on the gospel message? Does it demean and trivialize the Southeast — the hotbed of southern message? Generations of Pentecostals expressed the concern with the words, gospel radio and concert promotions. “That music just sounds too worldly.” 2) Even more problematic was the lifestyle, But the young men were apprehensive the personal witness and example, of the singers. Shouldn’t gospel singers live of what such a move might bring. In the Christian life about which they sang? If so, many judged them and found them wanting. 1996 Enloe recalled it this way: “We As early as 1937, Robert A. Brown, the pastor of the heralded Glad Tidings were so bad and we knew it … so we Tabernacle in New York City, complained that “in many Pentecostal meetings ... said, ‘Let’s settle somewhere where the sacred songs are now put to ragtime music, and ... people work themselves into a people haven’t heard much and they frenzy playing and singing in the effort to please their listeners.” Pointedly he went don’t know the difference.’” Similarly on to argue that gospel tunes put to modern secular sounds reflected on the spiritual condition of those caught up in its intoxicating pull. Nicholson remembered sizing their situation up with the analysis, “We’re Jazzy music and singing is merely a substitute, and instead amateurs ... we’ll only get lost in the of appealing to deep spirituality it caters to the natural man, and South.”7 bespeaks two things. First, that the person who thus entertains has largely lost the deep touch of God they once possessed. Ultimately the key to this youthful Second, that their audience, who applauds, have [sic] drifted in the insecurity was the ministry contacts of same direction.1 bass singer Dave Kyllonen. Choosing Harrisburg, Pennsylvania, as a base, By 1955, the Pentecostal Evangel was criticizing the very industry that the the group ministered in churches and Couriers would soon leave Springfield to pursue. In a news brief entitled “Shallow- Pan Christianity,” the Evangel warned: began to slowly carve out their own niche. The boys literally walked into A tropical hurricane of a different but equally devastating the studios of radio station WCMB character is moving northward. The Prairie Overcomer calls and asked for an audition. After duly Continued on next page

2007 AG HERITAGE 7 Continued from page 7 impressing the station manager, they explained that they had no money but it a “musical monster.” It says: “Capacity crowds come to be entertained and, occasionally converted during an ‘All-nite Sing,’ would sing for free in order to advertise colloquially called ‘gospel boogie’ or ‘jumping for Jesus.’ Admission their availability for local concerts. The charges in one city, where 6,500 attended, were $1.25 to $1.60, gamble paid off and, for the next twelve children half price. We warn God’s people not to be swept into years, the Couriers were a mainstay supporting the gospel show business ... May God make us as on the station’s Sunday morning serious as the days in which we live. Fun, froth, and religious frolic are indicative of shallow-pan Christianity.”2 programming. Eventually they were able to farm the program out to ten Ultimately, most criticism from additional northeastern radio outlets.8 Assemblies of God members focused The connection with local AG on the need for a commitment on the part of those who sang gospel music, congregations also proved fortuitous. giving at least a greater degree of The Pennsylvania-area Youth Director latitude on musical style than did most was engaged in an effort to build a mainline denominations. Among the strong denominational summer youth severest critics was the pastor of the camp and youth convention program Blackwood Brothers’ home church. Reverend James Hamill of the First and asked the Couriers to help advertise Assembly of God, Memphis, who was and promote this effort. Slowly but also the father of Jim Hamill, lead surely, the radio and church exposure singer for a number of southern gospel quartets beginning in 1953. paid off. Located strategically within In an address entitled “Praising the Lord in Song,” Hamill first gave support to the unusual style of gospel singing that the quartets offered. Though opining “I do a couple hours drive from the major not believe there is any place in the church for rock and roll, or jazz, in the name population centers of the nation in the of religion,” Hamill went on to embrace quartet singing as a legitimate vehicle for late 1950s, the quartet found that they Christian worship. could sing to a different crowd literally every night — even when churches I grow a little tired of people who have appreciation for only one type of religious music, whether it be what we commonly were located only a few miles or even refer to as quartet singing or whether it be anthems or classics. I blocks apart. believe there is a place for simple songs that carry a message, The promotion also took the group done well and done under the anointing of the Holy Spirit. I also beyond the comfortable quarters of believe there is a place for anthems and the great psalms of praise and adoration to God.3 Assemblies of God churches. They found their services and unique brand Even so, Hamill was convinced that quartet music, or any other type of religious of ministry requested by Baptist, music must of necessity be backed by a solid Christian life: Methodist, Lutheran, and even Catholic congregations. In the process, the We have disgusting examples of ungodly persons singing hymns and religious songs on radio, television, and elsewhere Couriers provided a vital service across this country, which must be nauseating to a holy God. to the spread of southern gospel — We also have the sad state where men and women sing in “pioneering” in the Northeast and, choirs professionally who know nothing about Jesus Christ. They increasingly as the years rolled on, in have good and well-trained voices. They will sing rock and roll, 9 pop tunes, the classics, or hymns. It means nothing to them other parts of Canada. than the money or fame received for their services. God surely will Early in 1964, the group’s success bring such people into judgment. This same indictment must also landed them a spot on one of southern apply to those who sing in so-called gospel quartets who do not gospel’s most important new venues. 4 live for the Lord Jesus Christ. On the strength of a local television More than others in the evangelical community, Pentecostals persisted in their show, The Gospel Song Shop, run in support for the legitimacy of gospel quartet music. Profoundly, they recognized in selective markets beginning in 1961, gospel music an effective evangelistic outreach tool. Despite occasional misgivings, the Florida Boys from Pensacola were they opted to use the power of the music rather than surrender it to purely secular chosen to headline a new hour-long, forces. Notes color program on Sunday mornings. 1 Robert Brown, “Jazz,” Glad Tidings Herald (February 1937): 3. Produced by Showbiz, Incorporated, a 2 “Shallow-Pan Christianity,” Pentecostal Evangel (March 20, 1955): 2. subsidiary of Noble Dury and Associates 3 James E. Hamill, “Praising the Lord in Song,” Pentecostal Evangel (November 24, of Nashville, the Gospel Singing Jubilee 1963): 13. became a phenomenal success for a 4 Ibid., 2. syndicated music program, ultimately appearing in more than ninety markets

8 AG HERITAGE 2007 across the country for the next two decades. Chosen to co-host with the Florida Boys during that initial 1964 season were the Happy Goodmans, the Dixie Echoes, and the young group from Pennsylvania, the Couriers Quartet. In addition to the syndicated broadcasts, the connection with the show created increased opportunities to travel alongside the industry’s established groups.10 In November 1964, the quartet was spotlighted in the pages of Billboard on the strength of their album Nothing But ... The Gospel Truth, which ranked as the second most popular gospel album on the Warner Brothers label.11 Though well-respected by the other quartets, the young Pennsylvanians scored lowest in fan response to the new program and, as a result, were not picked up for the second season of programming. Building on their knowledge of other years, the Couriers were blessed by Duane Nicholson remembers that the groups in the industry, the boys brought few personnel changes. Nevertheless, southern audiences expected a bigger, in other talent — first the White Sisters, change did come. Around 1961, Jerry more hyped-up sound, which, despite then Ira Stanphill, and finally more Evans, a pianist from California, their efforts, the Couriers simply well-known southern gospel talent replaced Eddie Reece but then left the could not perfect. Southern audiences including the Sons of Song and the group himself a couple of years later oftentimes produced remarks like “You Harvesters Quartet from Charlotte, to be replaced by Little David Young, don’t sound too bad for Yankees” and North Carolina. As interest grew, so a talented accompanist from . the group members smiled, though the did the concert venues — moving to a Young stayed until 1965 when he remarks hurt a bit more than they let junior high school auditorium and then departed, handing the keyboard duties on.12 larger concert halls in Chambersburg, over to Eddie Hawks of West Virginia. Even so, the broader connection to Lancaster, and Harrisburg. That same year, Don Baldwin, the southern gospel had proven invaluable. Pretty soon, the biggest names in group’s mentor since the days at Early on the Couriers had started a southern gospel — the Speer Family, CBI, also left to pursue a career in local monthly concert in a firehouse in , the Blackwood music recording. Neil’s brother Phil Harrisburg. In the beginning, attendance Brothers, and the Statesmen Quartet succeeded Baldwin on the baritone barely topped a hundred listeners but, — were all appearing in Pennsylvania part. But these changes ultimately each month, the crowd grew larger. and other northeastern states singing failed to replicate the stability of the alongside the young quartet from CBI. earlier members that had come out of By the late 1960s, Hershey Sports Park Springfield almost a decade earlier. in Hershey, Pennsylvania, with a seating In 1968, after Hawks and Phil capacity of 6000 had become the site Enloe had both left the group to pursue of a semi-annual event sponsored by local ministry efforts, Neil, Dave, and the Couriers — only to be replaced Duane made a momentous decision. a few years later by the 10,000-seat Concerned both about musical Farm Show Arena back in Harrisburg. chemistry and a shared vision for Through the 1970s the Couriers’ events missions, the three decided to break in western Pennsylvania remained one tradition and become a trio. As a of the major stops on the southern result, Kyllonen assumed the baritone gospel circuit.13 part and the Couriers Quartet became Changes simply the Couriers.14 During these crucial foundation Though the group often relied on

2007 AG HERITAGE 9 “The Assemblies of God has enjoyed the rich ministry of the Couriers down through the years. Their music has been Christ exalting. ”

Thomas E. Trask General Superintendent

TM

To view more photos of the Couriers and leave comments, visit FPHC’s photo group on FlickrTM at the following web address:

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To share your own photos of the Couriers, join our public Couriers photo group and start uploading. http://www.fl ickr.com/ The Couriers — Neil Enloe, Duane Nicholson, and Dave Kyllonen — and their families in 1978. groups/couriers/ Neil Enloe’s ability on the keyboard heights within the gospel music world, bred into the group from its earliest in introducing new material — he had treading the line between ministry and days at CBI: “We felt an obligation often filled in when they lacked a regular entertainment and gaining from many because of our background. All three pianist — the Couriers soon became a new-found respect for the role of of us were ministers. In the early years known for a technological addition. gospel music in the church.15 They also of the Couriers, we did the concerts. As a trio they began using recorded branched out into their own television We tried to sing higher than everybody tracks as backup music, a daring move ministry by the 1970s, appearing on else. But with the trio, we felt that given the industry’s commitment to a weekly program entitled simply wasn’t enough for us. We felt an live musicians. Though criticized by Couriers and ultimately dominating obligation to go to the mission field. some, the decision proved important the local ratings for their time slot.16 We had an obligation to share Jesus in launching a new direction and Christ.”17 establishing them as one of the groups Ministry and Southern Gospel As a trio, the Couriers passionately at the forefront of southern gospel’s The evangelistic direction pursued their vision for music new emphasis on ministry. Ultimately that came from the Couriers was purchasing the services of the London complemented by other artists who Symphony Orchestra, the tactic did found the big quartet sound of many not deter the quality of the Couriers’ southern gospel groups awkward as sound and, if anything, enhanced the an avenue of worship. The success of group’s ability to sing in churches and the Bill Gaither Trio in the late 1960s to conduct mission trips abroad. and the emergence of contemporary Combined with Enloe’s unique Christian music both emphasized what songwriting ability — his Statue the members of the Couriers had been of Liberty won the Gospel Music trying to articulate all along — gospel Association’s Dove Award in 1976 — music should first and foremost be the Couriers became as a trio what they about the message. could not as a quartet and the decade Duane Nicholson remembered this of the 1970s propelled them to further new direction for the trio as something

10 AG HERITAGE 2007 ministry. By the mid-1970s, the group singers. More profound is the fact to their combination of music and had traveled to more than forty-five that Pentecostals recognized in gospel ministry. countries and was donating a month music an evangelistic outreach tool and, Duane Nicholson remembered of each year to travel at their own despite their occasional misgivings, the shift to a trio as solidifying this expense to work with missionaries in opted to use the music rather than commitment to fervent Christian the field. When the Gospel Music dismiss it.19 evangelism: “We shared from the Association authorized the publication Despite occasional reservations Word. This is not to put anyone else of the Gospel Music Encyclopedia in by their fellow AG constituents about down. This was just us. We felt we 1979, the authors noted, “if it were their chosen vocation, Neil Enloe, had to give out the Word ... We felt a possible to describe the Couriers in one Duane Nicholson, and Dave Kyllonen tremendous responsibility that what we word, it would surely be ‘ministry.’”18 — the Couriers who would make the said, although we had a lot of fun, we The disconnect between the world most lasting contribution to the group’s wanted to make sure that those people of the quartets and the mindset of the legacy — persisted in consciously knew where we were coming from, church had been around almost from mixing a Christ-centered message with that we had an obligation to share the beginning of commercial gospel the excitement and passion of southern Jesus Christ with them. And they had music. Early on, church leaders — gospel harmony. And, along the way, to make some kind of decision in our particularly those from the Assemblies they took great pains to ensure that services whether to accept Christ or of God — had taken a stand against the testimony of their personal lives reject Him again.”20 some of the aspects of the industry (see remained intact. The reason was clear. In a group promotional published sidebar on page 7). From their unique beginnings at CBI, in the mid-1970s, Enloe echoed the Christians of all denominations the Couriers had always been at ease in evangelical emphasis that drove the were comfortable with hymn singing an evangelical church setting complete group: “We live for the altar call each and choral numbers but small groups, with an altar call. Both in the Northeast evening. We judge the success of our especially when such music doubled and in southern Canada, evangelical program only by the response of that as entertainment, raised serious Christians unfamiliar with the southern altar call. We might have sung well questions. Primarily church leaders tradition of all-night sings responded and received standing ovations, but this were concerned with exactly how to mix entertainment with the serious dissemination of the gospel message. Even more troublesome was the issue of “worldliness” in the lives of some of the singers. If singing gospel was seen as another popular way of spreading God’s message, didn’t the singers become de facto evangelists and shouldn’t their lives be expected to aptly represent that gospel in the same way that a minister’s should? If this was the case, many church members surveyed the landscape of gospel singing entertainers and were distressed at what they found. In short, many judged them and found them wanting. Even so, much more than others in the evangelical community, Pentecostals oftentimes looked the other way. One reason was simply because so many Pentecostal believers genuinely liked the music and fit it into their overall religious worldview, even if they occasionally questioned individual styles or frowned at the lack of spirituality in the lives of gospel

2007 AG HERITAGE 11 At the height of their ministerial 50 Years Later success, the Couriers suddenly headed in new directions. In 1979, Duane Dave, Duane, and Neil Nicholson was forced to have throat surgery due to the presence of nodules By the late 1990s, the Couriers on his vocal chords. Though Neil — by then a trio consisting of Neil and Dave stood unequivocally by him and Phil Enloe along with tenor singer during the trying time, the medical Duane Nicholson — worked toward crisis temporarily interrupted the preserving the ministry legacy of the group’s ministry efforts as Nicholson Couriers by passing the baton to a younger generation. From 1997 to 2000, continued to have persistent problems Scot Womble, Larry More, and Kristian that restricted his ability to tour. Dave Walker were incorporated into the group Kyllonen continued his preaching — making the Couriers for a brief time ministry and ultimately began traveling an ensemble of voices young and old. After that initial period, the name and singing with his family. Likewise and traveling were turned completely Neil Enloe continued to write music and over to the younger trio. Walker left to also began to sing as a soloist and with pursue his own ministry in 2002 and his own family group. Temporarily off was replaced by Tim Beitzel. Similarly the road, Nicholson contented himself Womble left the group for a solo ministry in 2005 and was replaced by Brett Scarem. Today, the trio made up of More, Beitzel, and Scarem continue the by working as host of the group’s strong ministry tradition of the Couriers. You can learn more about the modern- television ministry and in local concert day Couriers by visiting www.thecouriers.com. promotions. Due to the excitement of a reunion concert in 2001 and at the request of During the early 1980s, however, a number of churches, the most famous and longest-serving of the Couriers — Neil Enloe, Duane Nicholson, and Dave Kyllonen — formed a new part-time little by little, Neil and Duane began to ministry trio. Traveling a limited schedule as Dave, Duane, & Neil, the magnificent sing together again, getting a number sound of the older Couriers along with their genuine Christian testimony remains of individuals to fill in on Kyllonen’s available both to a new generation of Christians and to those who fondly recall the part. By the mid-80s, Phil Enloe music of yesteryear. joined the group on a permanent The group’s recent release of the project entitled One Nation Over God mixes new material with older Courier favorites. If you’re interested in scheduling basis and the Couriers returned to full Dave, Duane, & Neil to minister at your church, you can reach them at 45 operation until their formal retirement Tannery Road, Dillsburg, PA 17019, by calling 717-432-7244, or by e-mailing in 2000, when they turned the group [email protected]. You can also access their schedule by consulting name over to a younger group of www.daveduaneandneil.com. family members. A Couriers reunion concert in 2001, however, renewed the means nothing if we do not see people opportunity, as their parallels in the interest in the three men, Neil Enloe, come to Christ. This is the whole secular music industry. In fact, gospel Duane Nicholson, and Dave Kyllonen, message of our music.”21 music insiders had colorfully dubbed who traced their roots all the way back Consistent with the evangelical female groupies who followed popular to Springfield, Missouri in 1958. The emphasis of the Couriers was a decided quartets to and from their concerts as result has been a rekindling of those effort to personify a Christian life “diesel sniffers.”24 marvelous voices and testimonies (See and avoid anything that would harm But the Couriers knew how their witness. Nicholson remembered quickly a rumor of infidelity, even if that the group members discussed untrue, could kill a Christian witness. the biblical injunction “to abstain The result was rules, firm and fast from all appearance of evil.”22 As a rules: 1) No woman could ride the bus result, members made it a policy that unless she had a husband also on the there would be no smoking and no bus or she were accompanied by the drinking.23 wives of the Couriers themselves. 2) There was also concern about Absolutely no woman, even a group the perils of life on the road. In member’s wife, was ever to be behind an industry dominated by both bus the Courier table. 3) At every concert, travel and male performers, gospel group members made a point to talk quartet members faced the same openly to the audience about their temptations, complicated by increased wives.25

12 AG HERITAGE 2007 sidebar on page 12). Today traveling Tennessee, which opened in 1999. Mighty Power, 23-24. a limited schedule as Dave, Duane, His publications include Fields White 14 Sources vary on the precise dates of Unto Harvest: Charles F. Parham and personnel changes. I have pieced this and Neil, the spirit of Springfield 1958 the Missionary Origins of American 26 chronology together from a variety of lives on. Pentecostalism (Univ. of Arkansas, The 1988); Close Harmony: A History of Courier sources. See “History,” Conclusion Southern Gospel (Univ. of NC, 2002); Couriers: Purpose, Passion, & Praise www. So it was into an ambivalent world and Portraits of a Generation: Early thecouriers.com (accessed September 28, of entertainment and ministry that five Pentecostal Leaders (co-edited with 2006); John Crenshaw, “Southern Gospel Grant Wacker, Univ. of Arkansas, News History 101” www.daveduaneandneil. young men from an Assemblies of God 2002). He has also published widely com (accessed September 28, 2006); and background forged on in the summer of in academic journals and popular John Crenshaw, “SG History 101—Don 1958 to make their mark in the world of magazines. Baldwin” www.sogospelnews.com/ southern gospel. Along the way, they index/history/comments/5968/ (accessed clearly found success — producing Notes September 20, 2006). more than fifty albums and traveling 15 Enloe interview, April 3, 1996, and in 1 more than four million miles. They Personal interview with Duane Nicholson, Birmingham, Alabama, August 14, 1999. were also honored with three Dove Alexandria, Indiana, April 3, 1996. 16 Hembree, Mighty Power, 20-23 and Goff, 2 The term southern gospel was not awards, the gospel music industry’s Close Harmony, 230. routinely used until the early 1980s. With 17 highest honor.27 Nicholson interview. On the Couriers’ the expansion of musical styles in the gospel role in southern gospel ministry, see Goff, But, to their credit and much more music fi eld, the term has come to describe Close Harmony, 249-51. impressive than awards and longevity, traditional, and mostly white, multi- 18 Robert Anderson and Gail North, Gospel they never let go of their dedication harmony gospel music. For a discussion Music Encyclopedia (New York: Sterling to Christ and their understanding that of the evolution of the term, see James R. Publishing Co., Inc., 1979), 51. gospel must be lived if the singing is to Goff, Jr., Close Harmony: A History of 19 In his study of Pentecostals, historian have any effect. The mission of every Southern Gospel (Chapel Hill: University Grant Wacker recognizes this trend as evangelical church is to win souls for of North Carolina Press, 2002), 274-82. a unique ability to blend the primitivist 3 Christ and then to turn those souls into Merriam-Webster’s Collegiate Dictionary, impulse with a strong pragmatic one. Grant Tenth Edition (Springfi eld, MA: Merriam- soul-winners. The Assemblies of God Wacker, Heaven Below: Early Pentecostals Webster, Inc., 1998), 266. and American Culture (Cambridge and can be duly proud of the fact that the 4 On the career of the Blackwoods, see London: Harvard University Press, 2001). background, training, and influence Goff, Close Harmony, 135-39, 172-74. 20 Nicholson interview. provided by the church made a lasting See also Kree Jack Racine, Above All: The 21 “Two Decades of Music Ministry,” The impact on the lives of the young men Fascinating and True Story of the Lives Couriers (Mechanicsburg, PA, ca. 1974): who established themselves as Couriers and Careers of the Famous Blackwood 2. — messengers sent in haste to share a Brothers Quartet (Memphis: Jarodoce 22 The biblical reference is to I Thessalonians message of hope and marvelous grace. Publications, 1967) and James Blackwood 5:22. and Dan Martin, The James Blackwood 23 For an early refl ection on this, see Story (Monroeville, PA: Whitaker House, Hembree, Mighty Power, 84. 1975). 24 The term was revealed to me in a number 5 See “That’s Life,” Concert Life 5 (July- of interviews with older quartet singers August 1977): 34. recalling the bus travel of the 1950s, 60s, 6 For early information on the Couriers see and 70s. Charles R. Hembree, They Sing the Mighty 25 Nicholson interview. Power: The Unique and Inspiring Story of 26 For information on the current the Couriers (Stow, OH: New Hope Press, arrangement and schedule of the group, 1975), 11-30 and Goff, Close Harmony, see “Dave, Duane, & Neil” at www. 185-86. daveduaneandneil.com. For information 7 Personal interview with Neil Enloe, on the younger set of Couriers, see www. Alexandria, Indiana, April 3, 1996 and thecouriers.com. Nicholson interview. 27 The Couriers’ Dove Awards included 8 Hembree, Mighty Power, 20-21 and a 1975 Associate Membership Award Nicholson interview. for the song Statue of Liberty’s overall 9 Goff, Close Harmony, 186, 250. contribution to gospel music; Song of the 10 James R. Goff, Jr., Ph.D., is professor Hembree, Mighty Power, 22-23 and Goff, Year in 1976 (also for Statue of Liberty); of history at Appalachian State Close Harmony, 228-29. and Inspirational Album of the Year in 1977 University in Boone, North Carolina. He 11 Billboard (November 7, 1964): 33. (for Ovation). “Awards History,” GMA 38th served as the chief historical consultant 12 Nicholson interview. Music Awards www.gmamusicawards.com/ for the Southern Gospel Music Hall of 13 Nicholson interview. See also Hembree, history/ (accessed September 29, 2006). Fame and Museum in Pigeon Forge,

2007 AG HERITAGE 13